Dark Hazel ... Moonlight

Second try. Underpainting in purple and prussian blue... again.. it breaks the rules... and I am painting the flesh blue... how far can I go??

picasso blue period

celestina

The blue painters of the Viennese New Art Group... Klimt and Schiele used blue, or green underpaintings with cool flesh tones... Goya used cerulean blue in the underpaintings of the flesh tones in his tapestry studies.

I've gone about as blue as I can go... now must recapture drawing.


The next challenge is the light source, and the time of night... moonlight.
I can go warm or cool in the flesh tone glazes.... she's either going green or purple... or a combination of both.


Moonlight... the only indication of the direction of light I've got is the arch of the brow and the nose... she's nearly back lit... which means she has to be darker than the background.

What I think the direction of the moonlight is:

The direction of the light tells me I need more deep shadows on her chest, and to define her shoulder area.


Maggie on the Moors at Midnight


Not quite Caravaggio


If I had a model, I would place her hand holding her scarf against the chill. Her eyebrow looks anxious/worried... all too Harlequin Romance for me... maggie on the moors at midnight...

However, I looked at about 200 paintings of moonlight, and most of them cast a warm hue... I added some burnt sienna to her skin, but she's still trés trés bleu...

There are some good things about it.