Deux portraits.
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| montage de deux portraits |
La même personne.
Eclairage naturel, cheveux libres ; éclairage électrique, cheveux noués.
Chevelure vivante ; masse sombre.
Traitement affiné ; touches chaotiques.
Le résultat final doit être vivant, que l'on regarde les visages représentés, les visages montrés, l'image présente (la peinture).
Si la structure est dynamique, on peut se permettre un traitement mesuré ; si la peinture est vibrante, la sensation de vie devient agitation.
Si la structure est stable, on peut se permettre des touches plus libres - même chaotiques, sous peine de figer la vision, d'éteindre l'étincelle vivante.
La luminosité générale du tableau de jour est très sombre (des valeurs de 40 à 90%) permettent des rehauts lumineux presque à 100% (bordure de la chevelure est quelques saillies du visage). Ce choix permet d'évoquer l'expérience du modèle, tempérant une vivacité forte, évoquée par la structure générale dynamique.
La luminosité générale du tableau du soir est paradoxalement assez claire (de 10 à 60%) tempérée par le contre-jour utilisé pour traîter le modèle. Un choix qui permet d'évoquer une maturité somme toute chaleureuse, parfois contrastée.
Les couleurs de la triade secondaire (orange - vert - violet), sans contraste complémentaire, procure la sensation d'apaisement ; la dominate chaude et ses teintes éclaircies permet d'assurer l'impression de quiétude. Si la préférence avait été donnée au violet, on aurait vu une mélancolie apparaître. C'est la tonalité dite mineure en musique.
Ces deux portraits évoquent la même personne, en utilisant des options suffisamment diverses pour permettre d'offrir un dyptique respectueux du modèle.
Elle mérite d'autant mieux ce respect et cette considération qu'elle m'offrit un total de trois heures et demie de pose (210 longues minutes) réparties en sept sessions de vingt à quarante minutes. C'est énorme et difficile à supporter pour un modèle qui n'est pas professionnel !
C'est peu pour garantir une ressemblance «photographique» mais cela permet une très bonne approche de la représentation de l'état d'esprit de la personne, tel qu'il est confié au peintre.
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| Diptyque d'un jour et d'un soir |
NB : Ces deux peintures sont des tempera à l'oeuf, sur papier de 41x31cm chacune.
And now, the english version by Christina..
Two portraits.
(First picture : Mounting of two portraits)
Same person.Natural lighting, free hair; electric lighting, knotted hair.
Living hair; dark mass.
Refined treatment; chaotic keys.
The final result must be lively, that we look at the represented faces, the faces shown, the present image (painting).
If the structure is dynamic, we can afford a measured treatment; if the paint is vibrant, the sensation of life becomes one of restlessness.
If the structure is stable, we can afford more free keys - even chaotic, under penalty of freezing the vision, turning off the lively’ spark.
The colors of the so-called primary triad (yellow - red - blue) still driven by the interplay of complementary ones (blue - orange ocher) provides an immediate feeling of liveliness. As a major key in music.
The overall brightness of the day picture is very dark. Values from 40 up to 90% allow bright highlights up to almost 100% (the edge of the hair and some facial projections). This choice permit to evoke the experience of the model, tempering a strong vitality, referred to by the general dynamic structure.
The overall brightness of the evening picture is paradoxically pretty clear. About 10-60%, tempered by the light used to treat the model. A choice that evokes a mature altogether warm, sometimes mixed, personnality.
The colors of the secondary triad (orange - green - violet) without additional contrast provides the soothing feeling; dominated by the warm and sunny colors, ensures a quiet printing. If the preference was given to purple, we would have seen some melancholy appear. This is the so-called minor tonality in music.
These two portraits evoke the same person, however using a large enough variety of options allowing a diptych respectful of the model.
She deserves all the more respect and consideration that she offered me a total of three and a half hour of pose (210 minutes long) in seven sessions fromtwenty to forty minutes. This was huge and difficult to bear for an amateur model !
It's still short to ensure a "photographic" likeness but it does allow a very good approach of the state of mind of the person, as entrusted to the painter.
(Last picture : Diptych day and night)
NB : These two paintings are egg tempera on paper 41x31cm each.
The colors of the so-called primary triad (yellow - red - blue) still driven by the interplay of complementary ones (blue - orange ocher) provides an immediate feeling of liveliness. As a major key in music.
The overall brightness of the day picture is very dark. Values from 40 up to 90% allow bright highlights up to almost 100% (the edge of the hair and some facial projections). This choice permit to evoke the experience of the model, tempering a strong vitality, referred to by the general dynamic structure.
The overall brightness of the evening picture is paradoxically pretty clear. About 10-60%, tempered by the light used to treat the model. A choice that evokes a mature altogether warm, sometimes mixed, personnality.
The colors of the secondary triad (orange - green - violet) without additional contrast provides the soothing feeling; dominated by the warm and sunny colors, ensures a quiet printing. If the preference was given to purple, we would have seen some melancholy appear. This is the so-called minor tonality in music.
These two portraits evoke the same person, however using a large enough variety of options allowing a diptych respectful of the model.
She deserves all the more respect and consideration that she offered me a total of three and a half hour of pose (210 minutes long) in seven sessions fromtwenty to forty minutes. This was huge and difficult to bear for an amateur model !
It's still short to ensure a "photographic" likeness but it does allow a very good approach of the state of mind of the person, as entrusted to the painter.
(Last picture : Diptych day and night)
NB : These two paintings are egg tempera on paper 41x31cm each.
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