Painting of a Little Girl: Julia and Julia

How fun it would be to visit a butterfly pavilion and discover that there is a butterfly there with your same name. And so my portrait title comes from the two lovely Julia's in this painting.

Julia and Julia
12 x 9", Oil on canvas
Rita Salazar Dickerson (c) 2014

Stage 1: The drawing. With a mixture of ultramarine blue and transparent earth red thinned with mineral spirits, I used a number 2 filbert brush to draw Julia and the butterfly freehand.

Stage 2: Julia's face. Painting alla prima(Italian, meaning at first attempt), I completed the face and hair while adding some color to the background so that I could create soft edges and compare color. I did block in her face with a thin layer of paint before I came back in with a thicker second layer. (Sorry, I forgot to photograph the first layer.)

Stage 3: Painting the dress, arm and hands. When painting wet paint-on-wet paint, I look forward to seeing how the top layer of paint will work into the blocked in color of the first layer.

Stage 4: Painting the second layer of the dress, arm and hands. I mixed a pale pink to give the  impression of the white design on her dress fabric.  I like what the fabric pattern does to the painting -- adding interest, detail and color.

Stage 5: Completing the painting. This unique background created an interesting challenge for me: to give enough information to help tell the story of this butterfly, Julia, and its surroundings with Julia the little girl -- but not make it too cluttered with unnecessary detail. Because I have a tendency to paint every last leaf in a painting like this, I combat this issue of mine with a palette knife. After I applied the paint with the palette knife I then came back in with a soft brush to create the illusion of plants intermingling with the butterfly and red flowers.

Portrait Of A Little Girl: Elena Running/ The Completed Portrait

Elena Running
oil on canvas, 16x20
8th Session

As I have mentioned in earlier posts, one of my favorite elements in a commissioned painting is adding personal information that has significance to the subject or subjects that I am focusing on. In this case, the English garden in the background marks a time in Elena's life where she has had the opportunity to spend part of her life there. The roses also hold special meaning because of her middle name, Rose.  Art that tells a story; this is so much fun!

Portrait Of A Little Girl: The Background

Elena
oil on canvas, 16x20
6th Session

I thought I would add these two photos that show the painting progression of her great grandmother's buffet. It serves as an interesting background in that it is detailed but does not overpower the subject.

Painting Hands

I feel like I'm getting there with Sofia's portrait, though I have had to take a short intermission for a unique project/commission that has taken me away from my basement studio and into a paint shop.( I'll tell you more about that - soon.)
Her hands were challenging for me because of the way she was holding them, one resting inside the other with the light focusing more on one than the other.
And now, on to the stairs.The complicated pattern of the carpet on these stairs was not easy to paint in Julia's portrait so I cannot imagine them getting any easier this time around. Perhaps I'll paint tonight when I get home.

Sofia

South Africa: Portrait #2

Enchanted II, oil on canvas, 16x20,
Rita Salazar Dickerson (c)2011

There is always a sense of relief when I get to this point in a painting. I've signed it and right now it feels done though I really won't be sure until I wait a couple of weeks and then go back and look at it again. The variety of textures and contrasts in this painting made the experience of working on it so enjoyable. My hope is that the interplay between this young woman's colorful, detailed costume and the rustic South African landscape will tell an entertaining story.

South Africa: The Bracelet And The Skirt

Ah, yes. The bracelet and the skirt were just as fun as I imagined them to be plus they had the effect I was hoping for. The skirt adds contrast and visually anchors down the fantastic yellow shawl; it also balances out her black hat and hair. And the bracelet simply enhances the entire outfit. But before I allowed myself to paint them, I had to do her right hand. Underneath her hand she is cupping a yellow flower that is attached to the shawl. This poses a bit of a problem for me because right now I feel like it is hard to read visually. (Or maybe I'm just tired.) I'm not sure I will keep it in the painting. I'll do the background first and then decide.  

South Africa: The Yellow Shawl

When I painted the first twin's red shawl I knew it was going to be powerful because it was red. This yellow one seemed alright but definitely not as dramatic. Now, I take it back. I cannot believe how this color of yellow makes the painting pop. The hat and the earring are exciting yes, but where would they be without this yellow shawl to compliment them? I can hardly wait to paint her skirt and bracelet.

World War II Portrait: Hjalmer "Pete"

Hjalmer, "Pete" 16x20 oil on canvas (c)2011

In August of 1941, Pete was heading to Camp Grant, Illinois for basic training. It was World War II and he was drafted. His posture and facial expression tell a lot more than I could ever say or imagine and so I'll let the painting and photo speak for themselves. (I've included the reference photo this time because sometimes I think it is interesting to see the very beginning of my creative path.)

 At the completion of this piece, I find myself thankful on several levels. I love a good challenge and this painting did it for me. The research, the conversations with some of  those who were closest to Pete and then the final surprise presentation to the recipient, his son, were all so rewarding. My life has been enriched and it was a privilege to get to know Pete in a special way. Throughout history one of the highest forms of honoring someone is to have their portrait painted; I'm so glad Pete was honored in this way.