What’s just as amazing as the work itself, is the models in the fancy dresses must have sat or stood very, very, very still for a very long time.
“If your leg moves a centimetre, it will completely destroy the folds and reflection of the entire dress that I’m currently painting”.
Could he not have started the face then switched to a mannequin?
Yes, that’s a very good point - and given the time period, actually pretty likely.
I feel foolish.
No worries, happens to all of us, maybe me more den anyone :D
Beautiful artworks! Can’t imagine the time it took for all those details.
Btw it’s “no one” and not “noone”
Btw it’s “no one” and not “noone”
Far as I can tell, compound words like “someone” or “everyone” work because they don’t break the ‘C-V’ (consonant-vowel) pattern, which “noone” does.
Sound about right, or is there maybe some other aspect to that?
And now *I* want a satin dress! :D
(well, uh… I guess maybe… uh, it was the moment)
This guy was incredible
I can feel the fabric, it’s so cool!
Hhhhhhhow 😧
It’s probably possible with lots and lots and lots and lots and lots and lots and lots of work.
Nghhh, the one thing I lack. Foiled again!
It is also fascinating to see the way he idolized ths feets and hands.
He had amazing grasp of everything and he still made the decision to not make those appendages realistic size.I thought maybe the people weren’t the emphasis, but it seems like he was going for full realism. Maybe just doing them a favor by paintshopping their hands and feet to be a bit smaller? Wouldn’t want to make them look like Lana.
I think he is kinda hyper realistic. Looking at more works of his even the peasants were tiny handed and feeted :)
Paintshopping is a thing, but to see it inevery pieces of a painter, that is really curious.
- no one
Well, that’s just…stunning.
