Robin Williamson
Third Prize is a one-page editorial feature in American Art Collector magazine
My Inspiration
I have always been an admirer of dance, particularly of ballet, and for a brief time, I was a dancer myself, so dancers are an endless source of inspiration for me. They are able to glide across the stage with an effortless fluidity while executing moves and positions that defy both gravity and human capability. They are professional athletes whose graceful movements belie their physical strength. It was a dream come true to work with two artists of the worldrenown Houston Ballet, a married couple, who provided me with endless source material. I loved the way the light fell across their bodies highlighting their muscles and strong lines and also the way the light hit the floor, shadowing the pose above it.
My Design Strategy
I chose a simple composition of centering the dancers to draw attention to the lovely symmetry of the pose and the circle of light below. The completely dark background accentuated the light on the dancers’ arms, legs and stage floor. I wanted the viewer to “feel” the light beating down on their own shoulders as they viewed this painting. The faces in profile with chins slightly raised helped to convey the strength and determination of the dancers, while the delicate costume details echoed the gracefulness of the pose. The points of light on the heads, her foot and hand, and the single illuminated foot at the bottom, keep the viewer’s eye circulating around the painting.
My Working Process
I began with a pencil drawing transferred to the canvas with graphite paper.
I then did a complete grisaille (monotone underpainting) using just burnt umber and mineral spirits. This was essential to establish the value relationships early on. I proceeded with a first layer of color working transparently, then succeeding layers of color working more and more opaquely, and finally the details and highlights. This painting was as much about the shadow as it was the light. I paid careful attention to the slight value shifts in the legs and feet to correctly depict the shapes of the muscles while keeping everything in shadow. The faces required small brushes and a delicate touch as they were only about an inch high!
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