Tuesday, April 26, 2011

PSoA Certificate of Excellence - Marina Dieul


Marina Dieul  -  La fille au fil  -  48 X 48 in.

French-born Marina Dieul was encouraged by her parents to pursue art when, at a young age, she showed a love for, and skill at painting and drawing.  After moving to Montreal in 2000, she studied with two students of Ted Seth Jacobs, the painters Tim Stotz and Michelle Tully, of Studio Escalier.  Since then, she has garnered many awards, including Best of Show at the Inspiring Figures exhibit held last year at the Butler Institute of American Art.  In addition to being a member of the Portrait Society of America, Dieul is also a member of the Portrait Society of Canada, and the International Guild of Realism.

Of her Certificate of Excellence winning painting, Marina Dieul says:

"'La fille au fil' is a portrait of my younger daughter, but I used her more like a symbol. For me it's a portrait of the new generation, our children's generation. As a mother, I have many questions about the world we will give to our children as a legacy, and a lot of questions about what we should or shouldn't teach them. I used my painting process to represent the child in the process of being created, from the unfinished monochromatic underpainting at the bottom , to the colorful realism of the face and hand using trompe-l'œil to push her out of the canvas. All the meanings I put in this painting are questions;  I have no answers. And if someone sees some completely different meanings, I'm comfortable with this too, as we all have different life experiences...

On a purely technical point of view, my whole painting process can be seen in this work. I first toned my canvas, and began painting the body with a monochromatic underpainting. Then I painted using a wet-into-wet technique, rounding forms in one layer of paint. The close value range between the neutral skin tones and the intense chroma of the blue light was quite challenging, but very enjoyable. For the concrete frame, I played with very thick textures. I rendered the strings in a careful trompe-l'oeil way, and at last I added the strings' shadows, keeping them transparent enough so the pattern of the underpainting can be seen through them."

Marina Dieul is represented by The Weatherburn Gallery in Naples, Florida, and The Legacy Gallery in Scottsdale, Arizona.  To see more of Dieul's artwork, please visit her website.



Kevin Mizner said...

I've been a fan of Marina's for awhile now. I love her technical skill, and whimsy in her paintings. Some folks portray the ordinary and call it art. Marina portrays the beauty in the ordinary and makes art.

Brandy Agun said...

Her painting is breathtaking. I would love to see her interviewed in an APVM issue!

Mark said...

There are many wonderful portraits in this competition and many sub par ones. I am very disappointed for the most part in the judges selections. It seems like the old guard always wins a few awards and then they give out awards to some whose work is nothing great just to get them to come to the conference.
In order to get these certain people to come year after year, are they going to keep awarding them. It takes more than a fun personality or a cigar smoker to make it as a great painter.
I would urge all artists to boycott this competition in the future as there selections are totally biased.

innisart said...

@Mark I'm curious why you chose to make this statement in the comment section on Marina's painting...

All competitions in which judges are involved are biased. It's the nature of the beast. Just think of the Olympics, and all of those scores the athletes receive from their home country and neighboring countries, as opposed to the scores given to a non-friend country. Unless all entrants are painting the same model under the same conditions, it's very difficult to react objectively to the work.

One of the judges did say to me that the digital images they receive can be misleading, either making a good painting look bad, or vice versa, and that there are often surprises when they get to see accepted and rejected work in person.

Besides, how many of this year's finalists had been finalists before? Ploeg, Lipking, Watwood, Burdick... I think that is it, and I might even be wrong about some of those. Kann has received recognition before, but I'm not sure she was a finalist before. So I'd say 75% of the finalists weren't part of the "old guard."

Alan Lawrence said...

This work is really beautiful, realistic, but painterly too. One of the best paintings I've ever seen in this style. Will go to her website for more of her magic.