portrait - masterstudies, skin color and pastel technique

Portrait Master Studies

Glenn Hirsch

mater studies are a a ‘dialog’ with the past

Titian

Gauguin

Manet

Ramos

Master studies are a way to learn about style

after you do a studyyou respond with your own work

MichelangeloInspired by Michelangelo (Angela Pryor )

Student response

to Leonardo

Amadeo Modigliani

Diego Rivera

Max Beckmann

Alexei Jawlensky

try on a different

hat

(Student study of David Park)

(Student study of Maurice Quentin de Latour)

confront an

artist ancestor

(Student study of Kathe Kollwitz)

gain confidence

from a master

(Student study of Johannes Vermeer)

Study of Delacroix Kat Mergens

Study of Egon Schiele

Catherine Kreil

study of Picasso

Study of Max Beckmann Aaron Dowell

Study of Van GoghBecke Aller

study of Gauguin

(study of Paul Gauguin

study of Orozco

study of Lucien Freud

Study of Modigliani

Skin Color

Skin color depends on light

Skin color depends on genes

Skin color depends

on a great variety

of browns and pinks

Lucian Freud

Skin color depends on color green in the shadows

Skin is greasy, so skin also reflects the colors around it

Can you see the green in the skin?

Can you see the green in the forehead?

Skin color also depends on the imagination

Pastel Style

Tonal, rubbed and

smooth tonal “painting”

Linear, cross hatched, linear

“drawing”

smooth blending

of tone

Elisabeth Vigee-Lebrun

linear strokes

Henri Toulouse-Lautrec

both blended tones and linear strokes

Edgar Degas

both blended tones and linear strokes

R. B. Kitaj

physical

texture

through

many built-

up layers

Degas

Physical

texture

through

erasing

and

scraping

Jim Dine

pastel

procedure

Tonal, rubbed and

smooth tonal “painting”

Linear, cross hatched, linear

“drawing”

Lightly draw the shapes first

then color them in

block-in all the shapes with color

then add layers and depth,

save the details for last