This painting was done while working from the original piece in the National Gallery. It's a pretty
good situation that they have over there. I'd suggest it to anyone who wants to learn how to paint.
This is probably the only Fragonard painting in existence that is acceptable. Most of his work was just
a waste of canvas, time and paint. So people would come up and assume that I liked the artist and
start praising him. I'd have to say, no he really sucks and you have no taste in art for liking this
fluffy nonsense. The fact
that I was spending time copying one of his works really put a hole in my argument.
As it is with any subject, my intention is my own opinion. I can't 'copy' a painting anymore then I can 'copy' nature.
So I took what I wanted from the piece and did what I wanted with mine. Frag's head is better, my dress is better.
Now that I see them side by side I can see some glaring discrepancies that I may or may not fix, depending on my time frame.
The practice of painting at the gallery is good because it helps the artist paint with multiple distractions.
People are coming and going all day long. I don't know how many times I heard, "Gee, that's neat. I can't do that. All I can draw is a stick figure."
For the record, most artists don't care how you paint. Nor do they care about your sisters aunts uncle who paints.
I don't go to the auto mechanic and say, 'gee I could never do that.' It's obvious I can't, because I don't practice.
My usual response is, "Of course you can't with that attitude."
Then there's the people and their digital cameras, Oh man. I swear the entire world has been captured on film. All people do is go around and click buttons. There are so many people taking pictures of me. It's so annoying. It's one thing if they ask, but
no one does. Everyone tries to do it on the sly. I wanted to bring my camera and take pictures of them to see
how they like being in a fishbowl, but it was recommended by a friend that I don't. And she was right.
When I'm there I represent the gallery, so I have to be all polite and nice even when I don't want to.
Although I must admit I laughed in this ladies face, but it was only cause she was so uncouth. She walks
into the gallery and immediately walks up to my canvas and starts telling me what I need to do to the girls face. "The lips are
too puffy, she's too this, she's too that." This old betty droned on and on. I wanted to offer my opinion
of her face and how she looked plastic and had on way too much make up. Then I could have mentioned her
overwhelming, nauseating perfume that she bathed in this morning. But, as I said before, I'm representing the
gallery, so I just smiled and acted busy while she went on her rant.
It's not the criticism that was
annoying, it was her presence. And it might have had something to do with the fact that I was currently
working on the face and not more then five minutes ago I had this exact conversation with a really nice
family from Pakistan. They stood around within a respective distance and offered ideas in a very sincere way.
We actually had a nice dialogue and he gave me some good pointers. So I enjoyed that conversation.
Below you can view an eariler copy I did of a John Singer Sargent. Now that guy was the man. The master of grays. Although
sometimes I think he was just show-boating. For more information on the original work click here
Nonchloir (Repose)
32" x 24", 2002
oil on canvas
Cahol Collection