I have just taken my second workshop with the Anthony Connolly, member of the Royal Society of Portrait Painters and a thoroughly delightful man. He has been mentioned recently in articles by and about The Mall Galleries as one of the RP top ten most commissioned artists which is great - you can see it here Top Ten Portrait Painters. So as ever the emphasis is on good drawing and accuracy, and Anthony's very experienced eye and unhurried approach makes for a good working environment. I'm a slow learner but a fast painter so managed to do approximately one painting a day - they are not huge pieces and in retrospect I wish I had attempted something larger.
Some of these will be worked on some more, just for the exercise and then get recycled. They are all on 12 x 16" ampersand gesso panels.
This poor model was tortured by a persistant fly and also had a leg problem so this pose was a bit of a challenge for us all.
This model was excellent, he must have been a rock or an oak tree in an earlier life. The painting flowed so well I didnt even stop to take progress photos.
Some very different skin tones with this model, I was going for subtle and pretty but the light changed totally over the course of the day and I could have gone on repainting the different lights and shadows forever.
Since getting home I have found it interesting to look back at the original drawings and see where they had wandered off course. I can feel a process starting to emerge...
The final painting of the week and I ran out of time. I struggled with the rear end, putting in and scraping off many times. It was the drawing and the artistic decisions - what to emphasise and what to downplay. She was lit from both sides so I had numerous choices.
Still I find exaggerating the foreshortening makes it read better, although I was supposed to be playing it straight in this scenario. Anyway, I scrubbed it all out with not much time to go and then just re-drew the basic outline and decided it made it a bit of Sargentesque.