From the Artist: Perhaps this portrait may not be described as strictly expressionistic in style. I did quite a bit of research into the works of expressionistic painters before I embarked on this project and was alternately repulsed and entranced by the wide variety of styles and subjects ranging from the fearful and bizarre to a glorious celebration of life and color.
A famous artist - I think it was Picasso - once stated that it required true ingenuity to produce a painting that looks as though it had been painted by a child. Be that as it may, I tend to be rather conservative by nature, and opted for a rather more conventional approach in painting this portrait of myself. No surprises or wild flights of fantasy here, I'm afraid.
Possibly I lack the confidence to give free reign to my imagination and simply 'go with the flow', although I think that I have managed to convey an impression of deep absorption and solitude, as well as a slight sense of menace, compounded by the surrounding foliage that seems to infringe on the isolated figure in the foreground of the picture.
From the Painting Guide: "Going with the flow" doesn't work for everyone, and is only one way to approach painting. You shouldn't knock yourself if it's not something you like doing. It's the end result that counts, not how you get there.
The colors are a bit too realistic to count as Expressionist, except for those on your cheek and neck, but it's certainly a portrait with an expression. Reading your statement, I think maybe it's the expression on your face when you were viewing some of the more extreme Expressionist works!
Things to Consider When Looking at This Painting:
Background: Look at the beautiful, loose and expressive style the background is painted in. It moves from the more described leaves in the bottom left-hand corner upwards into a painterly effect we "read" as leaves through the colors and brushmarks used.
This makes a great backdrop for positioning the figure against as it's visually interesting without detracting from the focus of the painting. The use of the yellow in the hair and in the background creates a unity to the composition.
Direction of Brushmarks: Look at how the direction of brushmarks in various parts of the figure give a great sense of shape and form. For instance the side of the face, the sleeves on the blouse compared to the neckline, and the arms. It may seem a small detail, but it have a big impact.
A famous artist - I think it was Picasso - once stated that it required true ingenuity to produce a painting that looks as though it had been painted by a child. Be that as it may, I tend to be rather conservative by nature, and opted for a rather more conventional approach in painting this portrait of myself. No surprises or wild flights of fantasy here, I'm afraid.
Possibly I lack the confidence to give free reign to my imagination and simply 'go with the flow', although I think that I have managed to convey an impression of deep absorption and solitude, as well as a slight sense of menace, compounded by the surrounding foliage that seems to infringe on the isolated figure in the foreground of the picture.
From the Painting Guide: "Going with the flow" doesn't work for everyone, and is only one way to approach painting. You shouldn't knock yourself if it's not something you like doing. It's the end result that counts, not how you get there.
The colors are a bit too realistic to count as Expressionist, except for those on your cheek and neck, but it's certainly a portrait with an expression. Reading your statement, I think maybe it's the expression on your face when you were viewing some of the more extreme Expressionist works!
Things to Consider When Looking at This Painting:
Background: Look at the beautiful, loose and expressive style the background is painted in. It moves from the more described leaves in the bottom left-hand corner upwards into a painterly effect we "read" as leaves through the colors and brushmarks used.
This makes a great backdrop for positioning the figure against as it's visually interesting without detracting from the focus of the painting. The use of the yellow in the hair and in the background creates a unity to the composition.
Direction of Brushmarks: Look at how the direction of brushmarks in various parts of the figure give a great sense of shape and form. For instance the side of the face, the sleeves on the blouse compared to the neckline, and the arms. It may seem a small detail, but it have a big impact.