Like most figurative artists I occasionally work from the live model. Working from photographs can be frustrating because the information is slight by comparison to real life. This results in a lot studies and sketches which are quicker. I started color studies in 1970 and have continued down through the years. Most of the old ones are gone now. These (and a few more) are what I have now. Call me if you like. (Send an email and I will respond.)

The portrait artist is like an athlete in some ways. Marks at times must be precise. The skill is necessary to accomplish the vision the artist has. Painting the figure from life is practice before the big game.

Studies and sketches are good to share with other artists because the construction of the piece is more visible. Parts of them will look good but some parts will be unfinished. When working leisurely from photographs freshness of color can be lost.

Sometimes the brevity of the study is the star of the painting.  "...unless you are not into that whole brevity thing."(The Dude in 'The Big Lebowski'. ) 

It is saying the most with the least. An impression of a gesture is charmed by the imagination in a way that a rendering is not. Along with color it is the core of Impressionism.

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All the pastels are on rag board prepared with a mixture of fine pumice and acrylic by Graham unless noted otherwise. All the oils are painted on stretched canvas except when noted. All pieces are framed in gold frames and pastels are covered in glass unless noted.