The Nude in the 21st Century

James Archer



Andy Beck



Alexandra Becker-Black



Joseph Besch



Mike Binzer



Susan Boehm



Sarah Burns



Reed Clarke



Don Copper



Robert Creighton



Angela Cunningham



Angela Cunningham



Seth Daulton



Seth Daulton



Evan Degenfelder



Rachel Foster



Graehound



Alison Harris



Larissa Hauck



Annie Heisey



Sabrina Hughes



Michael Kelly



Elizabeth Kendall



Patrick Kernan



Patrick Kernan



Junsoo Kim



Junsoo Kim



Cynthia Lahti



Cynthia Lahti



Cathy Locke



V.E. Long



V.E. Long



Mary Mahoney



Mary Mahoney



Andrea Moni



Kathryn Nussdorf



Colin Poole



Gail Postal



Gail Postal



Nick Reszetar



Ben Rosenberg



Ben Rosenberg



Robert Rosenthal



Robert Rosenthal



Bethany Rowland



Steven Rushefsky



Soo Ock Ryu



Dixie Salazar



Deborah Shapiro



Deborah Shapiro



Gregory Siler



Ellen Soderquist



Ellen Soderquist



Jon Sours



Tovah Stevenson



Lisa Taylor



Georganne Watters


Patrick Kernan
(Portland, OR USA)
Artist Website

Dierdre, 10.24.13, Watercolor and Pastel Pencil, 23x14

Painting the human figure 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 journal of my observations, emotions and reactions to the model, at the specific, shared, 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 either the model or the artist. When I begin a painting, I first consciously ask myself "What is it about this model that's unique? How has this person's life experience expressed themselves in their form?" and perhaps more importantly, "How do I feel about the model? What is it that interests me about this person?" Once I have a sense of my emotional connection, that will guide me through my approach to the painting. Composition, cropping, color, emphasis and exaggeration all work together to get to the essence of the person who has granted me the honor of observing them.

All of my work is done from directly from the live model. I choose to work in watercolor because its immediacy, spontaneity, and sense of commitment help keep me focused in the moment of observation.


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