A collection of Sara Streeter Works

Sara Streeter Session 1/16/2016

25 Min. from Life

24" X 36"

Charcoal on Paper

Sara Streeter Session 1/23/2016

2 Hrs. from Life

24" X 36"

Charcoal on Paper

Sara Streeter Session 9/6/2016

25 Min. from Life

24" X 36"

Charcoal on Paper

Sara Streeter Session 1/14/2017

2 Hrs. from Life

18" X 24"

Charcoal on Paper

Sara Streeter Session 1/24/2017

5 Min. from Life

18" X 24"

Charcoal on Paper

Sara Streeter Session 2/08/2017

2 Hrs. from Life

13" X 15"

Oil on Canvas

Sara Streeter Session 11/03/2016

20 Min. from Life

24" X 36"

Charcoal on Paper

Sara Streeter is a quite a legendary figure model in the L.A. area. She is the standard candle of art models, in my humble opinion. Collected here are various works completed over the last year or so. 

Ingrid B.

Ingrid B.

9" X 12"

Oil on Paper

2.5 Hr.

2015

Alla Prima Painting 5-12-2015

Alla Prima Painting 5-12-2015

9" X 12"

Oil on Paper

2 Hrs.

Gwyneth Seated in Monochrome

Gwyneth Seated in Monochrome

9" X 12"

Oil on Paper

2015

I painted this the other morning from life out in 29 Palms in a little under two hours. It was another trek for me across the mass of Southern California to a place I've never been. The workshop was held at a place called 29 Palms Creative Center & Gallery and the host, other artists, and model were more than pleasant company to keep. The drive there was amazing too. So many wildflowers in the desert. The most I've seen in quite a few years. 

Monochrome Female Head Study 02

Monochrome Female Head Study 02

12" X 16"

Oil on Paper

2014

This painting is another 2 hour study done on Canson Oil Paper. I've really come to enjoy working with it over the last year. Although at first it took some getting used to as it is a "thirsty" surface to work with. What is especially attractive is that there is a soft focus quality to the finished work that is quite unique. Although hard edges are easily defined as well.

The paint bleeds a bit into the tooth with fluid applications. So it can behave a bit like watercolor paper in that way. Although it takes opaque passages with no problem as well, which makes it quite versatile. It's very much like working with Gouache on Illustration Board, but better in that it offers the permanence and luster of working in Oil.

Skeleton Study in Green Monochrome

Skeleton Study in Green Monochrome

9" X 12"

Oil on Paper

2014

This is a 2 hour study of a full size skeleton that I purchased back in the 90s. I've returned to paint and draw from it on countless occasions. The human skeleton, along with other animals in nature, is a work of tremendous complexity and presents a unique challenge when used as subject material due to the innumerous small forms of detail throughout.

In using it as a subject over the years it really sinks in after awhile just how complicated the spine is in particular. It's like this giant tree trunk of electrical wiring running right down the body carrying out much of what the brain commands and each vertebrae is riddled with processes, ridges, and nodules. It's a bit counterintuitive given how simple the back appears from a surface anatomy perspective. In fact the back, especially the lower back on the male figure, is one of the most continuously homogenous shapes on the human form in general. It's really quite deceptive. 

Untitled #212 (Sold)

Untitled #212 (Sold)

11" X 14"

Oil on Canvas

2014

I usually make some effort to soften more edges on my Alla Prima paintings, but I found this angle to be more befitting of a flatter approach. Profile views on figures have always struck me as the most graphic of angles. 

Obviously, this isn't an original insight as it has been a primary means of graphic figurative communication in art going all the way back to the Egyptians. Given this, this viewpoint and those close to it are typically the best suited for an angular definition of shape in portraiture. Even Picasso took advantage of this oftentimes:

Untitled #202

Untitled #202

12" X 16"

Oil on Canvas

2013

Studio 117B in San Gabriel, CA. has workshops on Thursday evenings and Saturday afternoons that feature models in long poses. This portrait is from one of those sessions and was completed in nearly four hours.

Garrett; the facilitator of the studio - is a smart, generous, and all around great guy who has gone to considerable length in creating a wonderful studio set-up for visiting artists.

Sara Streeter Portrait

Sara Streeter Portrait

14" X 18"

Oil on Canvas

2014

This portrait of Sara Streeter will be a part of a group gallery show on display at the Angels Gate Cultural Center February 8 - March 27, 2015. It was completed Alla-Prima from life in about 4 hours last fall. 

She modeled on her birthday, on a Saturday morning, and stood for a four hour pose. The woman is a pro.

Untitled #176

Untitled #176

16" X 20"

Oil on Canvas

2013

This painting was completed Alla-Prima in about four hours. I typically don't use such a warm ground underneath the work, but I like the way it worked out here. It brings out the neutral blue used in the surrounding background nicely.  

My working method is pretty evident in the way I handled the subjects left ear. It's merely suggested with a couple of blunt strokes. Although I was quite suggestive in this way, I was careful to check the drawing of this painting in a mirror several times during the working session. Straight on views of the head can easily go askew if attention to bi-symmetry isn't given careful consideration. 

Untitled #183

Untitled #183

12" X 16"

Oil on Canvas

2013

This painting from life was a 3 hour pose completed at a Catalyst workshop in Westminster, CA. The profile is typically thee most graphic of all portrait positions. It lends itself well to an angular way of working. 

The "knickerbocker" canvas manufactured by Fredrix is a good surface to work on in terms of it's ability to preserve sharp edges. Granted a lot of canvas surfaces do this well, but the thing I was most impressed with was that the paint sinks in just enough while working Alla-Prima so that you don't encounter any kind of significant "railing" on either side of a moderately loaded brush.