![]() ![]() Really nice colouring and brushwork and some great soft edges there. Not intentional I guess but, hey, he looks as cute as a button. Great job Nancy, you've made Bamsi look even younger than the photo by lowering the eyes a little and making the nose smaller. Nicely done! You've made the eyes a little smaller which has aged Bamsi a few years, but basically it's still Bamsi. ![]() I'm loving the energy of your brushstrokes and the contrast between that and the fine detailed work in the eyes and nose. Also, look at the light strips in the eyes, and note that the glints in the eyes should not be the same. You need that to stop the face looking flat. I'd like you to take another look at how the colour gets darker in the shadows of the muzzle and mouth, and also the chest beneath the chin. I'd just suggest darkening the darks in the eyes a little more because they look a little glazed at the moment. The darks of the eyes look a little too light, but perhaps that's glare off the paint. ![]() The drawing is sound enough, colouring is good and there's a good variety of brushwork and lost and found edges. The only little thing I'd change is the colouring of the top half of the left ear which seems conspicuously more yellow than any other part of the face, so it needs a little more orangey brown. Good job!ĭoggi, oil, canvas, 35 cm x 35 cm by Elena Sokolovaīeautiful work Elena, as usual. I'd only recommend that you darken the light area just above the nose making it blend more gradually into the lighter grey and also run a darker glaze over the left side of the collar to shade it a little, and perhaps add a few curls of light on the right shoulder as well to avoid flatness. Good painterly brushwork with lots of energy and enough detail in the eyes, nose and collar to hold the whole painting together. I like how you've kept it mainly greys except for the pink collar which really pops. My standard poodle Zoey by Martha Waardenburg With furry animals, if you're careful and get the eyes and the nose right, the rest is much easier. In that respect I prefer painting pet portraits where you can be a little more free with your drawing and brushwork. I've done a few people portraits in my time too, but they are a lot trickier to get just right, because of course we all pay much more attention to the nuances of human faces. It's an honour to be given the job of capturing their loved one on canvas, and so very rewarding to see the response (sometimes tearful) from a happy client, letting you know you've done a good job and that your care and attention to detail paid off. Some of my earliest paintings were of friends dogs and cats, as I'm sure many artists can attest to. The painting shows some similarities to the style of Bartolomeo Passarotti (1529–1592), who worked mainly in Bologna.Bamsi 15x15" oil on board by Richard Robinson. The portrait is probably North Italian, and was formerly attributed to Sofonisba Anguissola (about 1527–1625). The opulence of her dress and the expensive carpet suggest that she is a noblewoman. The white and gold colours of the dog’s coat match the white and gold of the lady’s clothes. The back of her hair is covered with a gold hairnet with a band of pearls and gold across the crown of her head. Her sober black gown covers an expensive white silk costume that is closed with elaborate gold buttons and thick gold chains and decorated with gold embroidery or braid. The lady’s clothes suggests a date in the late sixteenth century. It is possible that this painting was once a pair with a portrait of the lady’s husband, towards whom her body may have faced. The gold and ruby ring prominently displayed on the lady’s left hand may be a token to represent her marriage. The pair are depicted against a plain dark background, lit brightly from the upper left.ĭogs were often included in portraits to symbolise the sitter’s faithfulness, which may be the case here. The very high pleated ruff framing her face appears to lengthen her neck and accentuates this effect. Our viewpoint is quite low, making it appear that the lady is looking down on us in a slightly austere manner, emphasised by her raised left eyebrow. Both the dog and the lady look directly at us. The dog may be a pointer puppy or possibly an Italian greyhound. The lady’s hands rest affectionately on the little dog’s back, while its paw lies on the inside of her arm. During the sixteenth century, Turkish carpets such as this one were luxury items and it was usual for them to be displayed on a table rather than placed on the floor. This unknown lady stands beside a table covered with an Ottoman carpet on which her small dog is lying.
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