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Tags >> baby

Tear For Tomorrow

Posted by: Paul A Reeves

Tagged in: wave , tomorrow , Tear For Tomorrow , tear , Scottish , scotland , Paul Reeves , Painting , oil , canvas , baby , artist , art

Paul A Reeves

It was never my initial intention to show this painting. I was painting this purely as a private project, for my own enjoyment and devlopment as an artist.

I worked on it over several years. That doesn't mean it took me several years to paint, it just means I worked on it at my leisure over that time. It started to get some attention from friends and visitors to my home, and I was eventually encouraged to exhibit it. I have shown this painting in several exhibitions, getting praise from some well respected art critics, and it has become one of my most popular paintings.

Quite often people ask me about the symbolism in the painting with regards to the Twin Towers in the eye, and the Tsunami like wave, because I painted this before either of the tragic events. And the bald headed portrait in the eye is that of Aleister Crowley, a man who was considered to be the most influential occultist and dark prophet of all time, a man who came to be known as The Great Beast. When I get asked about the symbolism of it all I simply say this. It has important meaning to me, but I like people to find their own meaning and story in my work. What kind of tears do you shed for the future? Those of joy or those of sorrow?

I sold this painting for £1000. It went to a good home, so I felt good about letting it go.

Prints of Tear For Tomorrow and other artwork of mine can be seen and purchased here.

www.2canvas.co.uk Paul Reeves Art

And here.

www.pearlprints.co.uk Paul Reeves Art

 


watercolor portrait mother

Watercolor on Canson Montval 140lb cold press paper, 9×12″. 20+15 minutes.

The reference photo is my mom holding my baby son. I think she actually looks more like me here, but then – I kinda look like my mom ;) . Not happy with the bottom half of her face…Kept going back to it and couldn’t get it quite right. But like I said to my husband today, that’s the advantage of a large project like this: I don’t care too much about one painting out of 206. Even if I only get 1 out of 10 right, I will still have 20 good paintings in the end!


So I’m done with two commissioned portraits (oh the feeling of a completed project! :) ) – the sleeping baby and the Icelandic lady. I was working on both at about the same time and it was interesting to compare. First of all, the baby is practically a life size painting – 11 x 14.5″, and the woman’s portrait is 9×12″ – tiny , her whole head was maybe 2 inches! The thing is, working big is easier than working small. Most of you who paint will probably say, “Duh!” – but it’s just one of those epiphanies that come to you only from personal experience (how else would you explain the fear of a full watercolor sheet?) And working big and small at the same time is a good way to figure it out.

Here’s a step by step sequence of pictures of the baby portrait, minus the drawing stage. Starting with a preliminary sketch:

Cash - initial sketch, watercolor in LamaLi sketchbook

TADA!


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