I just cannot express how this blew my mind, in general, the work you did here in this close-up is as amazing as the whole painting (which can be found on your gallery as a WIP). The use of colors, specially on the eyes, is one of the things that impresses me most. The shading and the use of a greyish pink to a more purple-redish tone, is really beautiful, and you displayed all the wrinkles very well, making me think of an old immortal being. When most of the art we see in this website is digital, a wood painting is really cool and highlights the talent of the artist (I don't have anything against people that use digital media, I just think that it is more difficult to work with real paint, specially when you make a mistake, since there is no ctrl Z...)
I don't have much to state here, overall, the picture is astounishing. Oh, and the hand in the corner (which I believe is yours) give a nice little touch to the picture.
Unfortunately, I've seen quite a few paintings of poseidon, however, I must be true, your drawing is the best of all the ones I've got to see.
I also don't have a lot to say, you're a brilliant artist!
Again sorry for my lack of words and poor lenguage, but the impact the deviation made to me when I saw it on facebook just made me think I had the obligation to make a critique.
This is utterly, utterly spectacular. The realism of contour, shading, texture are masterful; you're very clearly a brilliant portraitist.
But I clicked on this because the *expression* of these eyes nearly pierced me through. It could be terror, it could be anger; whatever the emotion, it's forceful, formidable--nearly breathtaking. As a verbal, rather than visual artist, I can only guess that this is a virtuoso performance in terms of technique. But the fact that it's *compelling*, commanding, disturbing--and the fact that this gaze will stay with me long after I leave your page--is, to me, what makes it high art.
Your control of the middle values -- those areas that are neither very light nor very dark -- is spot-on, such that you present the subject as seen in life rather than as it might be presented in higher contrast photography. Edges are vitally important throughout; by careful manipulation and blending where necessary you depict sharp creases and gentle curves extremely well. The piece would be far less striking without the confident inclusion of vivid lights, both physical (as part of an element's structure) and reflective (as light bouncing off a surface). Personally, I find the eyes more intriguing than the full face, so this isolated composition is quite compelling. The temperature that the under-color imparts to the skin is terrific in that it is warm without being garish. A simply beautiful -- and more than that, powerful -- piece.