Oil on gessoed watercolor paper
24" X 31"
Monday, March 12, 2007
Dorian Allworthy
Posted by Dean at 9:14 PM
Labels: Dorian Allworthy, oil, painting
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4 comments:
This reads more like an oil sketch than a painting. The over all finish needs a bit more work for me to feel that it's completed. Especially the hair and face.
There are some very nice color choices and the composition is great, especially the cropping.
The construction of the face, specifically the structure of the eyes could use some working out.
In tems of content, I would like to see Dorian take her work up a notch by providing more of a theme or idea in the work. If this is just a sketch, then I suppose this comment doesn't apply.
My first test of art is always my visceral reaction (mostly whether I have one), and I had one to this. That instantly puts it on the "good" side of good, bad, or indifferent.
Critically, the hair gets lost, and looks more like a hole in the painting than anything else. A little contrast, and perhaps a line demarcating where hair stops and background begins, would go make an astounding difference.
agree with hair comments, love composition and colors. but about the suggestion of terms of content i don't know, i don't like when paintings tell too much sometimes, i like when they leave me like in a dreamy state, wanting more?
Interesting comments.
Kenney has some good points, however some of the criticisms I see as strengths. I wrestle with the conceptual versus the aesthetic elements of art.
Some days I’m focused on the conceptual bend of a work, another I wonder if the aesthetic nature is what really draws me to art in general. Anyway, the impulse to want to see more of an idea in the work is something I can sympathize with in this painting. I don’t know how to speak to that more, with this piece, I guess some kind of narration comes to mind. Some prop hinting at a history, a story I’m not sure.
Right now, the figures appear somewhat like a still-life, as if it were more about the painting than the person. As if the person were a means to make the painting, not that the painting was a means to describe something about the person. Part of that feeling comes from remembering the model from a different painting when she was holding an accordion. Maybe there’s an idea to explore there, the feeling of a painter to dwell on the visual element of a subject matter that ordinary causes people to react to it differently. The inverse of Lucien Freud.
What I meant by the strengths is that while I can see how certain passages look underdeveloped, I’m fond of some of the economy of mark (this may be a piece in progress). Abstraction is something I appreciate, and there are some nice passages in the painting, they have a painterly feel. My quibble with some parts isn’t necessarily that it has to be perfected, but that the passages have sharp transitions from one mark to the next. They’d work for me better if they were just softened a bit.
I can see what you’re saying dhonig about the black, makes sense.
Romina: I think a painting can work with a degree of mystery, an element of suggestion. But perhaps that can be investigated, what does this painting suggest? How far does it provoke the imagination? If the painting were slightly different how could it be more suggestive of a story or narrative, what could be taken away to make it less so? I think these kind of questions could be brought up.
Anyway, I’ve been happy that people have been sharing their work here again. It’s great to have Dorian’s work here, and to show current work like this painting.
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