Pilar Pascual, on that day, came dressed and ready to dance. Indeed, pose for us four times every Monday for four hours. As a ticket of appreciation, some students gave her posing drawings.
Above is one best piece about her under the teacher’s request to paint it over Masonite wood. It is a smooth material and works well with brush strokes. But then, in the end, the artist decides what the finish will look like.
The glow within came from another technique approach based on artificial light. Presently that adeptness gave me new ideas for future techniques I use in landscapes. Everything goes hand in hand; learn anatomy, and you can paint any other object from life.
Moreover, Pilar face is the focal point; the dress is in unison and flows with the rest of her body. Surprisingly she used to know Vargas, a male dancer friend of mine, Who partici[ate with a prominent guitarist called Sabicas.
Moreover, there is something about her subject and the painting. Years have passed, and it feels as if it was painted yesterday.
The oil painting justifies the shades. Its spontaneous quality; feels like velvet printed on a plank of aged wood.
We sketched her as a warm-up before the painting, and it would have been better to keep the drawing. Sketches are the best reference for a third study painting in the future.
Also, painting over masonite wood is suitable for achieving a smooth technique. My instructor at the art school suggested using it and gave me tips on how to gesso it—and sand it with the finest sandpaper.
Afterward, the portrait is unique, like the Cante Hondo; it ages like a glass of wine in a barrel as the years pass. Not ready to drink but prepared to be visually digested.
“Pilar Pascual” Oil on Masonite Wood, 24″ X 18 1995