The Nude in the 21st Century

Lisa Ackerman



Carrie Alter



Harriet Barratt



Grace Benedict



Grace Benedict



Robert Bibler



Robert Bibler



Kelly Blevins



Jamina Bone



Tedd Chilless



Hunter Clarke



Hunter Clarke



Mona Cordell



Jennifer Cutshall



Rhoda Draws



Bruce Erikson



Shady Eshghi



Alexendra Eyer



Jeff Faerber



Rachel Foster



Graehound



Elaine Green



Annie Heisey



Keith Howard



Kathryn Hratko



Sebastian Hyde



Tom Jensen



Tricia Kaman



Mark Kaufman



Patrick Kernan



Monika Linehan



Katherine Liontas-Warren



Cathy Locke



Daniel Maidman



Jessica Marshall



Jim McComas



Jim McComas



Jessica McCoy



Christopher Mooney



Thu Nguyen



Andrew Ogus



Michael Reedy



Michael Reedy



Nick Reszetar



Bethany Rowland



Paul Rutz



Joseph Shepler



Brian Smith



Darrell Weaver



Denise Weir



John Whitehouse



John Whitten


Patrick Kernan
(Portland, OR)
Artist Website

Monnica, 4.19.12, Watercolor, 23" x 14"

Capturing the human figure from direct observation is one of the great passions of my life. When I begin a portrait, my goal is not to end up with a "beautifully rendered" or "accurate" painting. Rather, if I'm successful, the finished piece becomes a record of my observations, emotions and reactions to the model, at that specific moment in time. Accuracy is important, but if accuracy is your main goal, chances are that you will end up with something that looks like the model, but tells you very little about the model or the artist. When I begin a painting, I first consciously ask myself "What is it about this model that is unique?" and perhaps more importantly, "How do I feel about the model, what is it that interests me about this particular person?" Once I have a sense of my emotional connection, that will guide me though my approach to the painting. Composition, cropping, color, emphasis and exaggeration all work together to get to the essence of the subject.

This painting of the model Monnica was completed over the course of three, three-hour modeling sessions. I use watercolor because it's immediacy, spontaneity, and sense of commitment help keep me focused in the moment of observation.

And, yes, Monnica really did hold that smile for a total of nine hours.


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