Original Oil Paintings by Long Island Artist ~ Self Portrait

Rembrandt did it, several times actually, as well as Monet, along with countless other artists throughout the span of their lives. I too, will produce at least one self-portrait, to not only document my existence upon this Earth but leave an impression that will far surpass the integrity of a traditional photograph. Kind of an immortality of sorts. I actually feel it should be mandatory for all artists to create a self-portrait in whatever style they deem appropriate to represent themselves. Personally, I will choose, at least for my first, to render my image utilizing Classical Academic Methods taught to and by many Master Artists living during the Renaissance and today. This will assure me that the painting will be able to survive for at least 200 years, if properly cared for.
OK, well...let's get to it shall we?!
First I must transfer my image to the panel selected, which in this case will be a 20" x 16" piece of un-tempered hard board coated on all sides with three coats of Bonded Marble Gesso, sanding between coats. This'll give a nice surface in which to paint on and allow scratching into the Gesso if corrections are needed and for the rendering of the brightest highlights in small/thin areas.

Here you'll see I'm utilizing the grid method of image transfer.
A line drawing is created and the grid placed over it, in order to document exact points where critical elements lay. I then place identical grid lines...

Below you will see the initial charcoal rendering in-progress. What I'm doing here is capturing the values (lightness and darkness) and will work on this stage until I correctly place all the subtle nuances that will combine to create an accurate likeness of the subject.

This Charcoal value study will serve as my roadmap for the application of the Grey/Green Under-painting (Verdaccio) , which in turn serves as a roadmap for the finalizing applications of glazes and oil paint.
No. this most definitely isn't a quick method but instead a precise and methodical means of helping one attain extremely accurate renderings of both faces and objects.

After blocking in the garment and reworking areas of the face it's beginning to breath :)
Have you noticed the panel has changed color? The reason is that the first 3 photos were taken inside and the one below was taken outdoors, in natural light, which is actually the best light in which to photograph something...not in direct sunlight however.

I have since erased the grid lines and continued working on the face a bit more. A few more small touch-ups on the garment and I'll be able to proceed with the mixing and application of Verdaccio under-painting values. While you may still faintly see some of the grid lines remaining even after erasure, these were made with pastel pencil and will be easily disappear when covered with paint.

The Verdaccio has now been 99% completed. A few small touches on the garment and a check with it next to my reference photo; in an upside down position, will allow my brain to study the piece and ascertain if anything "pops out at me" as being out of place or rendered in a value that may be incorrect in its placement. Once I'm satisfied with the under-painting, I may then move along to rendering the values utilizing colored oil glazes. I'll begin by first glazing the background values, beginning with values 2 through 4, working from the outside edges and moving closer to the form as the glazing values lighten.
Once these have been allowed time to dry, I may begin with the application of solid paint.

I've had an opportunity to get several glazes on the background and garment over the weekend as well as begin the application of color within the flesh areqas of the painting. I begin with the lowest values and work my way up. At the edges of the shadows I rub the paint off, to reveal the under-painting and create a nice luminosity to the skin tones. Below you'll see the signs of life beginning to appear!
I'll continue systematically in this manner for the next several weeks until i feel I've got it basically finished and then flip the painting and reference photo upsidedown, in order to see if anything "pops out" to my subconscious mind and continue painting upsidedown for several hours more, building up the paint so that in the areas which contain the lightter values the thicker the paint will be, thus it will naturally reflect its own light.

Several weeks of laboriously battling back and forth between the low values and the high values, repeating that same systematic process, time and time again. Striving to obtain my own likeness has proven a challenge, though after many hours of not giving up on myself.
I've been able to get this to the point where my signature is needed in order to call this particualr painting completed and ready for framing.

The final photo (below) shows it in its new frame and mounted on my wall.
(Again with the over-yellowed unnatural light of being indoors...rolls eyes LOL)

Thanks for following along with the transformation of my first and certainly not my last, self-portait.
It's been a challenge, capturing my own likeness but so very worth it and after all, now...I'll be around for several hundred years!
Have a beautiful day and God Bless You ¢¾