I shared a lot about this painting on my stories (see highlights!) but I haven’t posted an update in a while on my feed!
I used to exclusively paint portraits before getting into lettering. I attribute my training in realism to how well I can grid and letter out large menus! But MAN do I miss this. I miss every aspect of painting, brush on canvas, watching the white drop come to life...
I’m still not quite done with this piece, but sometimes we need to put things on the shelf for a bit until we’re re-inspired. So, this one is going to be put away for a bit while I go back to lettering some inspiring quotes for you bbs ☺️💞
So if y’all were following along yesterday, I was trying to decide which image to paint next (it’s for an application). Well... I decided to paint both...because the deadline is Monday (yeah, yeah, shut up)...and I like to do things like this to myself. Here’s the start of painting numero uno.
In nerdy painter talk, I have a few things to tell y’all about. Feel free to skip this part. I won’t be offended. First, I don’t usually sketch out this much to start. I might mark out the facial features a bit, but then I just go for it and find my image as I paint. In the interest of time, I decided to be more thorough at this stage, so 🤞🏽that it don’t mess with my flow. Second, because I know y’all gonna ask, I paint on a bright red background because it pushes my eye to see color a little more vibrantly. My personal style is to use colors that are just a touch past natural. I also like when tiny slivers of hot red peek out here and there. That’s all, folks.
Roelof Paul Citroen (15 December 1896 – 13 March 1983) was a German-born Dutch artist, art educator and co-founder of the New Art Academy in Amsterdam.
When Paul Citroen first came into contact with avant-garde movements such as Die Brücke and Der Blaue Reiter in 1914 at the famous Berlin gallery Der Sturm, he was greatly impressed and shocked at the same time. Even so that he stopped painting for a few years, because he doubted whether he could achieve equivalent artistic results. In 1922 he picked up drawing and painting again. His portraits in these years show strong influences of German expressionism, mainly due to the unnatural use of color. The portrait of his school friend Heinz Aron is a good example of this, with the bright green and blue in the face, the contrasting red mouth and the deep red, rimmed ear. Lemon struggled to keep his connection with the avant-garde. In 1966 he sighed: "I have been forced to be modern in all possible curves, but, with God, I have not succeeded. I am not modern in nature, I have to do it in my "ordinary" way, against certain ambitious wishes of my vanity. "In his own words, Citroen has drawn and painted about seven thousand portraits in his life, most in a naturalistic style. #avantgardeart#amsterdamsehogeschoolvoordekunsten#berlinart#berlinartweek#germanexpressionism #1914 #portraitpainter#amsterdam#berlin