Mary

I arrived at my painting class late, finding only the outermost corner of the studio available for setting up my easel. Half of the model’s face was hidden from view. I decided to do something different from my usual approach.  

Deeply inspired by Wayne Thiebaud’s art and his bold use of color in portraits, I had been thinking of increasing the vibrancy of my own palette. I laid out bright purples, oranges, yellows, and pinks. 

 Initially, I did not intend for the shadows of the face to remain brilliantly violet, but they contrasted so well with the yellow tones in the light that I left them unchanged. The reflected lights in the nose and jawline were made more exciting by that decision.  

Each plane of the face has its own vibrant hue, and they all work within the composition. I think this painting was successful in conveying the influence of Thiebaud and in developing my own expressive approach to portraiture.