A couple of brand new paintings both 45cm x 35cm acrylic on gesso board.
I've also posted a number of paintings I'm considering trying out as prints. I've set them out as they would be printed with mount. Some of the paintings you have seen before, so apologies for that. But my reason for doing this is to ask you guys and gals if you could just spend a moment to say which one is your favourite.
I'll add up the votes (if I get any!) and it will be useful to figure out which ones I should print with my limited resources.....
OK here are the prints:
A quick "I like so-and-so" would be great. But any thoughts, crits are always welcome.
Your work is great and we all know that so I'll cut to the chase.
1) Tournament: I think that's the best thing I've seen from you.
2) Mr Waterhouse's Girlfriend: It's an older one but still sweet.
3) No one but me: Nice if a little confusing at places.
Overall crit: The faces, I have a problem with most of them. Sometimes its the colours that are "dirty" (Huntress) or too much space between nose and chin (Tournament), no white in the eyes (Girl in white), pouting mouths (Time traveler; Races), weird perspective (Archer), unattractive for some reason (Girl and horse). I can just imagine how I would love what you do twice as much if the faces were flawless.
"Complacency is the womb of mediocrity. " -- Jason Manley
"If you always put limits on everything you do, physical or anything else, it will spread into your work and into your life. There are no limits. There are only plateaus, and you must not stay there, you must go beyond them." -- Bruce Lee
I strongly disagree with SouMeng, I think the faces work well. Very vibrant and they have a presence that they might lack if they were "flawless".
Girl and Horse, Girl in White, Renishaw Hall, and No One But Me My Dear give me a huge composition boner.
NOBMMD in particular, maybe because the colors are more saturated than some of your other pieces? Not sure. I'm enjoying trying to pick out the relationship between the left and right half of that one, and the 'doubled' composition gives it great rhythm.
SouMeng: Many thanks for the feedback Sou, the faces thing is something that is really tricky since I am thinking of the abstract thrust of the thing as a whole and the faces get like that in the course of sorting some other thing out somewhere else on the painting. I'll then notice something is 'off' and then try and sort it out only for this to cause some other part of the painting to not balance up properly.....and so it goes on. I eventually have to stop and say that's the best I think it can look at the moment.
Andrew Sonea: Again, thanks for the feedback Andrew. The prints are on average 60cm x 50cm.
Rattus: Many thanks.
ArtEaters: Many thanks.
Ryan B: Thanks for the encouragement and feedback Ryan.
Colin Boyer: Thanks Colin, again for the encouragement and the feedback.
MLutz: That's great to hear Mlutz....I was beginning to think I perhaps not taking the best strategy with these paintings....that said I'm always trying to make the girls as appealing as possible, but without compromising the gravity of the painting as a whole.
Interesting to hear your appreciation of 'NO ONE BUT ME MY DEAR' - it is pretty close to what was going on in my mind in a formal sense. Thanks again.
dkvision: Many thanks DK, and for the encouragement.
edub9: Thank you. because of people's enthusiasm for this painting, I'm seriously thinking of entering it for the Royal Academy Summer Show in place of another painting I had in mind.
Thanks everyone for chipping in with your feedback and preferences. Anybody else with any thoughts are very welcome......it would be good to get a strong idea of what is going down well with this batch before I add more paintings to this thread.
I like " no one but me my dear", " waterhouse's girlfriend", "tournament", and " Girl in white".
Also, don't show us the details before you show the full composition! I find myself liking the details more that way! Although I will say the girl in tournament doesn't work very well without the horse. She's flat- and on her own it doesn't stand as successful without context.
"A drawing is not necessarily academic because it is thorough, but only because it is dead. Neither is a drawing necessarily academic because it is done in what is called a conventional style, any more than it is good because it is done in an unconventional style. The test is whether it has life and conveys genuine feeling."- Harold Speed [[Sketchbook]]