Portraits of Irene

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State of the painting on April 7, 2020. Taking forever to finish. Now it's on to Irene's makeup and to apply the lace. The lace will be rolled on using a rubber roller with lace glued to it. Once rolled in white paint it will apply a careful delicate lace pattern over the camisole. The hair was done and the arms were adjusted to reflect the muscles below the surface. Also Tom's left hand was finsihed and made darker. Using the castor oil medium the surface is still slightly wet since Tom was not able to finish this lastest pass at the painting. Mayeb he will have to wait til the paint drys even futher. Looking forward to finshing even it means sleeping for a week waiting for the muses to arrive.

Oil painting of the Bible's story of the Salomon and the Rose of Sharon by Tom Lohre.

Rose of Sharon, 4' x 3', oil on canvas, November 1, 2017, Portraits

Timeline:

Painting lace without trying to be tacky is tough. I think I have it but wish I could jump off and see the old masters at our local museums. Chances are I would find out they had just as much trouble. My mentor attacked the situation with heavy paint on a fan brush.
Painting lace above flesh for the last several days. It is the hardest part of a portrait. The next is the face. The face comes through by it's self. The lace has hidden the flesh under it. Without painting completely the transitions is not to paint. So then constant selected, loaded, and strokes of color achieves something. CM Posting

Days on end without picking up a brush. Many other distractions made it into a classic artist block. Now back carefully finishing edges and filling in the left hand of Solomon. Though the face, hair and see through lace is still to be done the painting is in its final troughs and will be done before you know it. Started in 1980 with one girlfriend and then another now with Tom's wife.

The fingers of Solomon next.
There is little difference between applying paint and leaving it there.

Working on the ear and redoing the Poser image (the digital manikin to see the shadows) slowly laying in the face, a little everyday and soon it is over. The ear has the personality. Irene's is straightforward (Up and down vertically, if it was slanted back it would show she thinks out of the box) large to hear everything said (small ears like Queen Elizabeth's means she acts alone) Helen's is small, Irene always asks if her hair is poking out. I say poking out is sexy remembering Princess Graces hair. The Renoir bathers hair is pulled up into a loose bun but here Irene's hair will be naturally her own.
Finishing the bust and arms
Filling in the face and cleaning up the edges.

Laying in transparent surface of canvas color and flesh color using the old combinations of Umber, Ochre, Red Cadium and Alizarin, never allowing the canvas not to be seen,
Started laying in flesh through camisole,
Laying in and repairing the form with castor paint is not like painting with regular oil paint, the painting application is different on almost every level, no fluidity, replaced with complete control working period of fifteen days and then after that can be removed easily, castor oil is alive and moves across the surface after it is applied. Painting the camisole is an exercise in painting silk or shiny linen, it is more fun to have the striking highlights using the accidental manner of applying paint and then making what you can of the strokes to keep the fabric alive, Shadows must be transparent thinly veiled transparent dark color with the color of the canvas in this case light tan, the old masters worked this point to a point
Projected Solomon's hand and confirmed Sharon's composition, her right arm obscures Solomon from seeing her. After researching reclining figures with their hands behind the head the subtle nature of expression will carry such a posture.
Laying in and repairing the form with castor paint is not like painting with regular oil paint, the color is different on almost every level, no fluiditly, repalced with complete control working period of fifteen days and then after that can be removed easily,

Painting the camisole is an excerize in painting silk or shinny linen, it is more fun to have the striking highlights using the accidental manner of applying paint and then making what you can of the strokes to keep the fabric alive, Shadows must be transparent tinely veiled transparent dark color with the color of the canvas in this case light tan, Gun Violence

Projected Solomon's hand and confirmed Sharon's composition, her right arm obscures Solomon from seeing her. After researching reclining figures with their hands behind the head the subtle nature of expression will carry such a posture.
Worked on finalizing Sharon
Projected the Poser and made adjustments in the drawing. WIll redraw the composition using Bridgman's Book. The angle of the breasts with the arms needs to be verfied.
Making a mountain out of a mole hill, suggesting form from accidents in the initial application, stopping when form reaches its maximum without a struggle, suggesting without telling, using the subtle nature of darkness when approaching light and light when approaching darkness in the edges. Once laying in then change what cannot be an leave what could be. applied for Golden Ticket, worked on advance Poser final composition for projection
Laying in linen,
Laying in the linen, using the complicated nature of castor oil and powdered pigment scrapping with a rubber spatula brush creating a veiled transparent colored film allowing the laying in to determine the shape instead of the image of the prop.

Rose of Sharon, 4' x 3', oil on canvas, Portraits

Started in 1980 with a then girlfriend, then another and finally being completed with his wife.
The name "rose of Sharon" first appears in English in 1611 in the King James Version of the Bible. In the song of Solomon ch2 v1 the speaker (the beloved) says "I am the rose of Sharon, the lily of the valley". I am the rose of Sharon, and the lily of the valleys. As the lily among thorns, so is my love among the daughters. As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste. He brought me to the banqueting house, and his banner over me was love. Stay me with flagons, comfort me with apples: for I am sick of love. His left hand is under my head, and his right hand doth embrace me. I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake my love, till he please. The voice of my beloved! behold, he cometh leaping upon the mountains, skipping upon the hills. My beloved is like a roe or a young hart: behold, he standeth behind our wall, he looketh forth at the windows, shewing himself through the lattice. My beloved spake, and said unto me, Rise up, my love, my fair one, and come away. For, lo, the winter is past, the rain is over and gone; The flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land; The fig tree putteth forth her green figs, and the vines with the tender grape give a good smell. Arise, my love, my fair one, and come away. O my dove, that art in the clefts of the rock, in the secret places of the stairs, let me see thy countenance, let me hear thy voice; for sweet is thy voice, and thy countenance is comely. Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes. My beloved is mine, and I am his: he feedeth among the lilies. Until the day break, and the shadows flee away, turn, my beloved, and be thou like a roe or a young hart upon the mountains of Bether


Mother and daughter portrait by Tom Lohre

Mother Daughter VIII, Second state, 20" x 24", Tuesday, November 25, 2014, Portraits, Figure, Traditional



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