Finished self-portrait - 14" x 11" - oil on linen glued to board
The hints of architecture on my canvas refer to Florence, Italy, which greatly influenced my painting after I studied there for a summer.
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Monday, January 25, 2010
Tuesday, January 19, 2010
Currently on the Easel: "At Work (Self-Portrait)"
When models are hard to come by, there is always someone to fall back on: oneself. Rembrandt did over 40 self-portraits in his lifetime, and modern master David Leffel, who has also done numerous self-portraits, says in his latest book ( Self-Portraits: A Visual Journey of Insight ), that "Self-portraits are painted for a variety of reasons: the model is inexpensive with infinite time to pose; one can record the history of one's own life; and the use of the same model allows for endless study and experimentation." I try to do a new self-portrait every year, each time with a different feeling, purpose, and sometimes, medium. Past portraits were done in colored pencil, such as this one (my first self-portrait, at the age of 13. I used a mirror)... ...or graphite (2005)... ...or …
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Saturday, January 16, 2010
About my name
Just thought I'd write a brief blurb about why I sign my paintings "Anna Rose" and not "Anna Bain" or "Anna Rose Bain." Growing up, I always liked my middle name, "Rose." I didn't even mind my last name of "Holsclaw" - it was a good strong German name that was very uncommon. However, I always knew that I wanted to get married and follow the tradition of changing my last name to my husband's. So even as a little girl, I would sign my drawings and doodles with "Anna Rose." Years later, I am married, with a much shorter and simpler last name (!), but I still sign my work under "Anna Rose." I think it has a nice ring to it. My first name is only "Anna," but I like it when people call me Anna Rose.…
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Tuesday, January 5, 2010
New Portrait from Life - Olga
My current portrait is a formal pose of a beautiful woman named Olga. She carries herself with grace and regality. She is wearing a silk blouse of an elusive color - I guess I could describe it as "mauve" - and for this particular portrait, I am including one of her hands in the painting. My block-in took a good portion of the first hour this morning. I am using a 16" x 20" hand-primed linen canvas, toned with burnt sienna and ultramarine. Once I was happy with her placement on the canvas, I started refining my drawing - I toned down the hair, laid in folds of the blouse, and smoothed out some of her features, keeping my colors and values subtle, since the canvas sucks up most of the paint's luster on the first few layers anyway. Here she is so far:
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