Portraits in the manner of William Adolphe Bouguereau, French, 1825-1905
Landscapes in the manner of Jan Van Der Heyden, Dutch, 1637-1712
Paintings in the manner of
Inspiring Smiles Forever
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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.
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 Daughter VIII, Second state, 20" x 24", Tuesday, November 25, 2014, Portraits, Figure, Traditional
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