Child in a Straw Hat - National Gallery of Art - Copyist program

I am nearing the end of "Child in a Straw Hat" by Mary Cassatt...copying at the National Gallery of Art.  I have thoroughly enjoyed this piece and it is coming together quickly.  I chose it because I love the expression on the little girl's face.  It has been said that she was called away from her playmates to pose for this portrait and that caused the less than pleased expression on her face.  

As with my other copies my biggest challenge is mixing the colors to create the copy.  The colors in the original are so rich...it is such a good lesson for me.  Mix but not over mix...create soft strokes but boldly, and paint with thick globs of paint.  

Passers by are always very complimentary.  When I am feeling like I am lost someone will whisper "that is so good" as they walk by and I am encouraged to continue.  A young man of about 12 did ask me if I was trying to match the same colors as in the original.  I was struggling at the time and just looked at him and said "are you going to critique my work"?  He sheepishly said "no"...I did smile and wish him a good day.  He walked away smiling...I hope I didn't scare him.  Bruce says I scare people sometimes...It is hard for me to believe that is true ;)

Women with a Parasol by Claude Monet - Copying at the National Gallery of Art in Washington DC

This is where I am on my "Woman with a Parasol" by Claude Monet copy.  I worked on the grass quite a bit today and the sky...clouds specifically.  I am pleased with my progress and feel like I have learned so very much.  Monet's palette is becoming more comfortable and mixing the colors I need coming more easily.  The loose, seemingly random, brush strokes are still a challenge, but I am able to capture the feel of the piece if not match stroke for stroke.  All in all it is a wonderful experience. 

While painting I looked over and noticed this little "copyist".  What a doll.  I quickly pulled out my cell phone and asked the lady next to me...."may I take a picture of your daughter"? She was very happy and said I could!  After I snapped the shot she said "But that is not my daughter"...REALLY!!! So I asked the crowd who she belonged to and got permission to keep the photo.  Not to be outdone the first mom said..."here is my daughter and she is drawing too"...I gladly obliged by snapping some more photos.  

As I was painting, of course I get a lot of comments and thank heaven most of them are very complimentary.  One man looked at the original Monet and said "You missed a spot"...I am happy that I was quick enough to say "actually HE did...mine is correct"...hahaha.

The top comment of the day came when a young, around 12 year old,  girl told me she thought my version of the painting was better than the original.  I told her that was my favorite comment of the day.  

Masked Ball at the Opera by Edouard Manet - Copied at the National Gallery of Art

Masked Ball at the Opera

by Edouard Manet

Copied by Maria Bennett Hock

National Gallery of art

16 x 20

Oil on Raymar Panel

The is the final version of my copy of this painting.  I believe I have taken it as far as I can.  I have certainly learned a lot.  A lot about mixing blacks and shades of black, angles of hats, positioning of figures and, of course, the importance of a sound foundation before beginning detail work.  

Manet sketched this scene on site.  He finished it in his studio often asking people he knows to pose for him. It is also believe that Manet is featured in this piece.  He is one of the top-hatted party attendees looking towards the viewer.  A final bit of trivia is the signature…it is located on the dance card that has fallen to the floor in the lower right of the piece.  

As I study the masters and their techniques and really delve into the details of individual paintings I am amazed at all I find out.  I cannot wait to begin my next piece.

National Gallery of Art - Masked Ball at the Opera

Well, it looks like I have done precious little, but I worked for four hours today.  I had some struggles.  I initially sketched in the scene with a DARK watercolor pencil.  I usually just sketch in with my brush and a light neutral paint but really wanted to get the details so I decided to go with the pencil.  As I painted today the colors kept getting tainted by the watercolor pencil sketch and all my colors got muddy.  It was very frustrating.  I still have a long way to go, but will just be careful with my strokes to try not to mix with the pencil too much.  I didn't notice it last week because because I used dark colors all day long.  This week as I worked on the walls and light sconces it was quite a challenge.  Ah, well, I am here to learn!  

And here is the obligatory action shot…

The gallery was nice and quiet today.  I worked in peace most of the day.  One woman did ask if I wanted it to look like the original…huh????  Whadda ya think???  

National Gallery of Art - Day one

I arrived at the National Gallery of Art to begin this artistic endeavor.  I got my Copyist's  Permit and locker where I will be keeping my supplies and store my canvas.  My canvas was measured to make sure it is the required 2 inches larger or smaller than the piece I am copying and then the back of the canvas was stamped indicating approval.  

Then I entered the gallery I would be painting in and set up.  It was daunting...but was very exciting.

First I showed my permit to the guard in the gallery so he could log me in. Then I set up my palette and adjusted the easel, positioned it and began to sketch in the figure.  The painting I am copying is titled "Plum Brandy" by Edouard Manet.  The sketch went pretty well...I found everyone to be very pleasant, friendly and helpful.  

After the initial sketch I began mixing the colors.  This I found particularly challenging.  The palette of colors used by Manet in 1878 is quite different from the tubes of paint I use today.  That coupled with the way the paint may have changed due to environmental issues make it difficult to achieve the same colors...at least for me.  I managed to get colors I was reasonably happy with and blocked in most of the colors.  The aspect ratio of my canvas was not exactly right so I drew lines on each side to narrow it.  Aspect ratio is a term my husband used when I asked him to figure out what size canvas I should order.  I couldn't find anything perfect, so decided to use a 16 x 20 panel and adjust the sides as I needed.  I will cut the panel later if I choose to frame this piece.  

This is a view of my easel and setup with the painting "Plum Brandy" by Eduard Manet in the background.  

My first day went very well.  I was pleased with my progress.  People perusing the gallery were more than generous with their kind comments and asked quite a few questions about my work and the Copyist Program.  I feel I am learning so very much in so many areas of my artistic journey.  I am studying all aspects of painting...the history, techniques, palettes, as well as dealing with people from small children to adults discussing artwork, galleries and anything else you can imagine.  I am looking forward to my next visit.