Self-Portrait, Part II

Mr Hyde
16x12 Oil - NFS

In a previous post, I wrote about a self-portrait I've been working on.  At the time, the "first draft" of the self-portrait was complete; I'd spent about an hour in the studio, channeling Lucien Freud and, perhaps, Van Gogh.  I was looking to achieve an intuitive but accurate representation in a short time.  Liking the result, I posted it on Facebook and Instagram.

Well, turning a self-portrait into a group effort is always risky, as you never know what the responses will be—especially if you like what you've done and think the work is complete.  Predictably, most responses (from close friends, family and fans) were favorable, but a few included suggestions.  The most important suggestion, I thought, had to do with background color.  The original background was a fiery red, and the red collar of my shirt got lost in it.  What if, it was suggested, I remove the red background?  The red collar would then "sing."

I wasn't sure if I wanted the red collar to "sing," but the suggestion planted the idea of playing with background color.  So, I digitally changed the color to first green and then a bluish green and took a poll.  First, here are the three images:

and here is the result of the poll:

Blue led with 47%, followed by red with 36%, and trailed by green, at 17%.

I was a little surprised that green didn't get a larger slice of the pie.  Green tends to enhance the warmth of the face as well as that red collar.  ("Now it really 'sings'!")  And as much as some viewers didn't like the red—saying it made my expression feel even angrier—nearly as many people voted for red as for blue.

I also asked respondents to comment on their choices.  These comments were interesting, too.  Here are a few of them:

The Argument for Blue

• The contrast of cool and warm is more pleasing with the blue background.
• Blue...or red if you are after a very disturbing image.  But I prefer the more peaceful bluish background. 
• Although I do like the red one, the bluish background allows the red highlights to stand out in a very nice way. The red one makes me feel like you are standing near the Gates of Hades.
• They all create different moods, and they are all effective in their own way. So it depends on what kind of mood  YOU want to create. I chose blue because the other two are too intense for my taste.
• Brings balance to the whole.
• The blue is cool enough to drop more into the background than the green and it picks up the colour in your eye. I was really okay with the red, too, but when you started to talk about the nice pop of red at your collar, I realized the sense in that. 
• The intensity of the expression is exaggerated by the overall heat of the red background.  I like the blue-green better.
• The red and green are to harsh (severe). They both compete with the portrait. The blue is more neutral, more sedate and doesn't compete with the portrait. 
• The blue reads as neutral and calms the angry, intense red. 

The Argument for Green

• The red is harsh and the scarf looks better with the green or blue background.
• More on the complementary side than red.

The Argument for Red

• Green makes you look sickly; red makes you look wise! 
• Red is more unique and suits the warmth in your personality. 
• The original red has a fabulous intensity. I always believe in creative 'gut reactions.' The original was painted that for a reason. The subconscious sees it as a more cohesive whole and focuses on the subject rather than the background. 
• Red best suits the "aggressive" look of the face.
• The red is much more graphic and exciting.  Yes, more grumpy, but more powerful. 
• Red is an "energy" color..and a "passionate" color. 
• The red seems to better suit the nature of the picture, and I like how it emphasizes the red collar/scarf. 

The Argument for Something Else 

(Yes, there's always someone who wants a choice outside the ones offered.)

• If you are questioning either red or green, why not mix them to create a neutral that picks up both in the portrait? Better harmony, and a bit more highlight/shadow would have your likeness leap off the canvas.

I actually began to modify the background in the portrait before I got so many votes and began to read the comments.  As much as a fiery red background seemed appropriate at the time—I'd started with a burnt sienna background to give the canvas some initial life and warmth—it felt a little too much as I sat looking at it with a cup of tea during a relaxed moment.  Green, I decided would make it too jazzy and, as someone else pointed out, invoked Van Gogh in a heavy-handed way.  I decided to try blue.  Blue calms, and I felt that's what the thing needed.

So, that one-hour self-portrait ended up having another few hours added to it in the way of background changes and tweaks.  I initially started with a light blue scumble, but it gave the sense of floating through the sky.  I darkened it, greyed it, and finally ended up with something that seemed to give the overall painting more weight.  I also adjusted the contours of the head, getting it closer to the actual thing.  (Yes, I had to pull out my antique 50-pound wall mirror a few more times.)  I tweaked the facial hair, losing the lower lip and then regaining the lower lip.  That "mystery eye," as someone called it—my right eye—needed more definition despite being in the shadows, so I played with that some until it read right.  (Oh, and I ended up darkening that red collar.  Too much "sing.")

The result of all this is the painting at the top of the post.

Am I as satisfied with the portrait as I was after that initial single hour of inspired bravura?  I do like it, but it's going to sit on the easel for awhile longer.  It is said:

A work of art is never finished, only abandoned.

and I think this is more true of a self-portrait than of any other type of painting.

Mr Hyde (framed)
16x12 Oil - NFS

Self-Portrait

Mr Hyde 12x9 Oil

This past week, I decided to paint a self-portrait.  It was one of those days when you feel rudderless, even though you have plenty to do.  I had hoped to paint outdoors, but the weather had suddenly turned Arctic.  Painting from a photo didn't appeal to me, either.   But what did get me excited was the idea of a self-portrait.  I haven't painted one in awhile, and I could use more practice in that, so—why not?

Sometimes the best way to do a self-portrait is to do it quickly.  Get the paint down, and then adjust minimally.  I envisioned a rough, painterly look, thinking of Lucien Freud and Van Gogh.  I gave myself an hour for the project.  (Plus a couple of days looking at the results and adding five-second tweaks now and then.)

The setup

Messy but effective palette

I set up a big mirror on another easel by my main one and pulled out a 12x16 stretched linen canvas.  I toned it with burnt sienna, using Gamblin's FastMatte so it would set quickly.  Then I laid out my palette.  I wanted to make this simple, so I went with a limited one:  Hansa yellow light, naphthol red, ultramarine blue plus raw umber to help in muting the colors.  I used titantium-zinc white, and also a little of Gamblin's Solvent-Free Gel to help the paint dry a little faster.   While painting, I used mostly a small, worn-out flat brush—not much more than a chopstick with a chewed end—but did use a knife where it suited me.  I had "red" in my head as I worked, since that was the color of the toned canvas, and you can see the result at the top of this post.  I know I look a little severe in the painting, but remember it is just the look of intense concentration.

After I posted the image on Facebook, asking for title suggestions, an artist friend said that the red background was a little overwhelming and if I took it out, that "the wedge of red shirt would sing."  This, I felt, was an interesting thought.  So I ran the image of the painting through my Photoshop mill, changing the red background to a cool green.  I posted that and took a poll of what people liked best.  The original, red background (as of this writing) has a slight edge over a green background.

Some offered explanations for their choices.  Among those favoring red:

• The red seems more cohesive. The green a little disconcerting.
• Red matches his demeanor.
• Color harmony on red works better. The highlights are cool and the darker areas are warm on the head, so it makes visual sense to me the deeper values of the background continue that.
• Red must support the intensity of the vision. Green is too placid. This is a living portrait and yes a lusty lad.
• The red looks better than the green, but I think it blends too much with the face, and makes the face look more angry. But I’m not really a fan of the green...Not sure I can explain why, though. Maybe too much contrast?? But I like the self portrait!!
• Red. I feel the green is too pretty (chroma too high).
• Red. The green background mimics the portraits done by van Gogh.

And green:

• The green sets off the portrait of the man in a much sharper focus.
• Green… aesthetically pleasing and highlights your blue eyes… red is disconcerting and appears to be angry 😡 color card [color of collar?] is too close between red and flesh tones. Whereas green is more of a contrast to the flesh face tones and the red scarf or collar.
• Green. Red makes me think “anger” kind of Van Gogh-ish.
• Honestly, I see you in the one on the right [green]. It creates a more thoughtful affect without losing its edge.

Then someone—there's always someone, right?—suggested a blue background, to bring out the color of the eye.

I love designing by committee.

So, I ran the portrait through the Photoshop mill a second time, changing the background to more of a blue-grey.  I thought I'd offer all three here for another vote.  THE POLL IS BELOW.  Here are the three:

RED background

GREEN background

BLUE(ish) background

Oh, and about my expression.  Another artist friend writes, "Ok, Michael, I have to say this. The portrait is acceptable as a painting. It bears a visual likeness to you—but it fails miserably at conveying your truly kind spirit and gentle nature. A portrait must exhibit the outward and inward person who is the subject if it is to be successful. I’ve spent enough time with you to know that this one does not describe the true you. Give it another try. Put some softness into it! Set this one aside as a practice piece that won’t be retained."

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