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.)

Click to enlarge
 
 
2) First the artist completes the central portrait. Here, on it’s paint-smeared easel, the painting is nearly finished.
Click to enlarge
 
 
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.)
Click to enlarge
 
 
4) After eight or nine weeks the painting rests on its easel completed.
Click to enlarge
 
 
5) "Gore Vidal" completed
Click to enlarge
|
Learn more about: Layered Watercolors | Sculptural Paintings | Color Cell Paintings | Constructed Paintings
 
<<Back to Portraits Gallery
|
About me | Architectural Design | Gallery | Home | Fiction | Contact