In this painting a handsome dark haired man is viewed at a window, partially obscured by a sheer curtain. He is bathed in natural light, standing out from the shadowy interior. I love evoking a person in deep in thought, perhaps contemplating his life. There is a moody, subdued tone to this painting. The brushstrokes are liquid, distinct and loose.
This painting is a classic male nude of a sleeping figure in an antique bed. The model is angled across the bed with the white sheets framed by the dark tones of the wooden bed and room interior. There is a vigorous, painterly quality to the brushwork while maintaining a high degree of realism. It's a contemporary work but the interior details and classical technique rich with impasto imbues it with a vintage feel. This is a sleeping figure but something about this figure, perhaps the bold foreshortening and the strong diagonal of the figure conveys a restless energy.
This is a portrait of Lucille Ball as a young blonde starlet in the early days of her career. I've always loved Lucy! An amazing woman of enormous talent and perseverance, she was 40 years old when she created, produced and starred in I Love Lucy, the pioneering television show that made her a household name. Even before achieving her iconic redhead look, when she was just another beautiful girl in Hollywood, there was something unique and original about her.
This is a portrait of a lovely redhead flapper girl. She manages the rare feat of being sweet and sultry at the same time. From her finger waved hair and Cupid's Bow lips to her pretty ruffled blouse, she looks elegantly vintage and ready for high tea. As I painted her she seemed so charming and fresh that I used a spring green background to complement her peachy tones.
In this study I wanted to work on a classic portrait while exploring cool skin tones and loose brushwork. I found some lovely violets and blues in this portrait of a beautiful dark haired girl with almost translucent skin. The result is a portrait in a contemporary realist style with a lively surface quality and casual elegance.
This painting was inspired by loss and memories, grief and ultimately joy. It's a portrait of fragility and strength. In studying faces I have found that there is an odd power in openness and vulnerability. It can connect us to the essence of our humanity.
This is a portrait study of a dark haired man with dramatic features and an intense expression. I focused on loose brushwork and keeping the edges soft. While I often do paintings of my friends, this guy is based on various sources that I mashed up with my imagination. So he's entirely my creation, and just as with the women I paint, I enjoy a vintage look in men. Therefore, I wanted to concoct a man who looked like he could have posed for a painter a hundred years ago. I like inventing people and I think I got him pretty lifelike.
As I have mentioned before a few times, I love painting faces. Actually, I love painting the entire figure but a whole figure can become a big project for me so I often to stick to faces as that seems to be where I focus even when painting a figure. I'm not sure what it is about the face that gets me so involved. I guess because it's amazingly intricate. The eyes alone have such a delicate architecture. While it can be aggravating, I enjoy painting flesh so a shirtless man is a good compromise between painting a face and a whole figure. Getting the skin tones believable is difficult, it's so easy to veer off into a chalky mess if you add white too heavily. Even a very pale person has far less white in their skin tone than you'd think. Women's faces are easier for me to paint than men because the look of makeup can go a long way to highlight features and inject color and visual interest that would look odd on the average man. All this effort is required simply to produce a passable looking human being, to convey something of the human spirit and emotion is an even higher mountain to scale but one I never tire of tackling.
Although she's decidedly a girl of the 1920s, while painting this one she started to remind me a bit of Botticelli's Madonnas. The Cestello Annunciation in particular...maybe something about her golden hair and sweet but uncertain expression. So I went with a hint of Renaissance colors in the coral red of her outfit and the faded blue of the background.
This is a view I painted of Monet's waterlily pond. In addition to his beautiful paintings Claude Monet also created an amazing garden on his estate at Giverny from which he drew inspiration. This incredible artist not only created masterpieces based on what he saw in the world, he brilliantly shaped his own surroundings to express his vision. It was surreal to physically be inside a Monet painting. As a painter and garden enthusiast I am deeply grateful to Monet for his legacy.
