|
|
 |
|
|
|
K O'Connor(1939-2039) |
Life Painting 2.5 hours Painted into a mid-toned grey
primed canvas. Form built up with light colors against darker. It is
basically a "tonal-form-building method". The right, leg from the light
flesh colored thigh to the foot, provides a good example of tonal painting.
Both textured brush strokes and the use of subtle color attracts the
eye to the interior forms which would otherwise be dominated by the
strong contour. |
||
K O'Connor(1939-2039) |
Life Painting 4.5 hours. Painted into a light grey primed canvas; It uses more color to attract the eye to the interior forms and places less emphases on the contour. The additional color is used in a "form lighting" style to bring out the smaller individual forms as sub-components of the larger form of the figure's back. The entire painting shows a strong sense of male energy in it's overall form; note how right leg captures the strong male forms. |
||
K O'Connor(1939-2039) |
Life Painting 4.5 hours This is also a tonal painting. Note how the female model does not radiate the energy of the previous male model - it closes in on itself leaving behind only the body shell to be observed by the watching students. I found this an interesting contrast with the previous male model. It's construction follows the general methods outlined in the two previous paintings. This seems to be a common characteristic difference between male and female models. |
||
K O'Connor(1939-2039) |
Life Painting Very difficult pose to work into a composition as the head is on the right. Composed paintings shift the weight to the left and I managed to do this with the dark arch and the bull. I am still considering this painting as a illustration for my epic poem "Keith O'Connor's Minotaur". Notice again the more passive energy in the female figure. |
||
|
|
|
