Lisa, During the height of the photo-realist movement, my friend painted a man leaning against his gleaming, black Porsche. The piece was tight and huge. The elegant simplicity of this little painting puts his to shame. I love the reflection of the hood and wheels. I bet the portraits are right-on too, in a Diebenkorn sort of way.
Oh wow! Thanks a lot for this very flattering compliment! You must have read that I am a Diebenkorn fan...? Actually the portraits are fairly right-on, as you say and that was the most difficult in the painting, as it is so small. I couldn't put in any deatails and yet wanted the persons to be recognizable, because it was a commission as a gift to one of them. Thanks again!
I did note your reference to Richard Diebenkorn. His influence on your work is subtle but certainly not derivative. I myself was strongly influence by Picasso as a young artist, which is evidenced by the plates of food. Later, I was enamored with the brushwork and flatness of Manet, then onto Sargent and Chase. It’s a good thing that Jan Davidsz de Heem didn’t make the cut or I would be on the “monthly painter’s” website. We all owe our style in some small way to those who came before us.
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Lisa,
During the height of the photo-realist movement, my friend painted a man leaning against his gleaming, black Porsche. The piece was tight and huge. The elegant simplicity of this little painting puts his to shame. I love the reflection of the hood and wheels. I bet the portraits are right-on too, in a Diebenkorn sort of way.
Oh wow! Thanks a lot for this very flattering compliment! You must have read that I am a Diebenkorn fan...? Actually the portraits are fairly right-on, as you say and that was the most difficult in the painting, as it is so small. I couldn't put in any deatails and yet wanted the persons to be recognizable, because it was a commission as a gift to one of them. Thanks again!
I did note your reference to Richard Diebenkorn. His influence on your work is subtle but certainly not derivative. I myself was strongly influence by Picasso as a young artist, which is evidenced by the plates of food. Later, I was enamored with the brushwork and flatness of Manet, then onto Sargent and Chase. It’s a good thing that Jan Davidsz de Heem didn’t make the cut or I would be on the “monthly painter’s” website. We all owe our style in some small way to those who came before us.
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