Portraits “Gore Vidal”
| Here is a brief look at the making of Douglas Fenn
Wilson’s portraits. |
| For a closer look at how these portraits are assembled, visit “learn more about Sculptural Paintings”. |
1) The image to the right is Wilson’s version of a “stretched canvas”—a shaped and rusticated plaster surface, mounted several inches above a wooden backing. (Note the small sketch in the upper left.) |
| 2) First the artist completes the central portrait. Here, on it’s paint-smeared easel, the painting is nearly finished. |
| 3) Here, a couple weeks later, the artist has shaped, fit together, and glued the underlying plaster components. (Note the varied materials and the different levels they occupy.) |
| 4) After eight or nine weeks the painting rests on its easel completed. |
| 5) "Gore Vidal" completed |
|
Learn more about: Layered
Watercolors | Sculptural
Paintings | Color
Cell Paintings | Constructed
Paintings
|