Latest Portraits of Judith Reidy

Latest Portrait "Rachael"
Sketch Club Portrait
10/27/10
11x14 inches
oil



"Tom"
Model from Fred Bell's Portrait Class
10/21/10
10x10 inches
oil

The top portrait "Rachael" intrigued me with the idea of having the major side of the face in shadow. That meant I needed to paint in grayed middle values, creating form using warm and cool colors. I had been working with a similar problem in my landscape paintings when painting a white or light colored building in shadow, when the light elsewhere is mostly in light.

The square painting, "Tom" was interesting to me for two reasons. One Tom's features were so very angular. The second challenge was painting his rich brown skin in the light.

This portrait has a different feel than some of the other portraits, perhaps a little Ernst Ludwig Kirchner feel.

Enjoy!

Latest Portrait Work

Mary
(Painting number two from Portrait Class at Fred Bell's )
Thursday, October 14, 2010
quick study

Gelinda
(Painting number one from Portrait Class with Fred Bell)
October 7, 2010

Old Man
(Revised Painting number one from Sketch Club Open Studio)
September 28, 2010

Old Man Sitting in a Chair
(Painting 2 from Sketch Club Open Studio)
October 5, 2010
quick study

Compare and Contrast

My Front Door ____________

My Front Door ___________

I have two similar paintings. One is morning and the other is afternoon light. Which is morning?

Before I went to the Milwaukee Sketch Club, I dropped off some paintings at the Rosenblatt Gallery where I will be having work through the end of November.

There will be a reception coming up on Friday, October, 15, 6:30 until 1030 and Meet the Artist Reception, Friday, November, 19, 2010, 7-10 pm at 181 North Broadway.

Cool Stuff!

Paintings Today and Yesterday

My Front Door
I painting this today out on my front yard.

October Afternoon

October at Dusk
I painted these two paintings while watching the light change, standing to the west of the scene....in my dining room.

In the Monday painting I made today, I was interested in the light on the steps and walk.

In the Sunday paintings, I was interested in studying the light in the two different light situations. In the day light painting the interest was in the shape of the light with the shape of the dark, whereas the dusk painting focus was clearly on the bench and table, the only form that could be seen in the dying light.

I consider these quick studies.