出生于美国的瑞士国际艺术家格温妮丝·巴斯-怀特是150岁的法国兴业银行的经理，多年来担任该协会副总裁；她是美国蜡协会的大师，也是美国肖像协会的签名成员，她曾在该协会担任教员。她的作品曾在日内瓦、格施塔德、纽约、多伦多、巴黎以及许多法国和美国的展览场所展出。
格温妮丝一生的大部分时间都在瑞士的日内瓦生活和工作，她小时候就搬到了那里。在高级音乐学习后，她进入了美术学院，并毕业于装饰艺术学院。
目前，这位艺术家住在佛罗里达的西南部。
由于进入欧洲的博物馆，格温妮丝早期对绘画的迷恋促使她深入研究古代技巧和方法，在美国大师约瑟夫·鲍勒的鼓励下，她成为了一名著名的肖像画家。
多年来，人物形象的美丽和亲密感一直是她作品的主要焦点，静物画和风景画是一种额外的乐趣。
格温妮丝的作品被收藏在世界各地，从美国.和斯堪的纳维亚半岛，到中东、欧洲和东南亚。她的客户名单包括工业、政府和外交部门的领导人。她更著名的客户包括文莱苏丹和他的女王，以及沙特前石油部长谢赫·亚马尼的整个家族，以及美国最美丽的当代艺术博物馆之一的创始人。她的作品在日内瓦的百达翡丽博物馆展出，并已在巴特勒美国艺术学院季节性展出。
格温妮丝的奖项包括国际蜡笔协会的顶级“蜡笔奖”，以及在蜡笔杂志的最佳100幅绘画比赛中肖像和人物的第一名。这位艺术家的作品已被几本国际杂志和出版物所收录。
《作品欣赏》
范画步骤参考
Step 2 (enlarged): Finding The Anchor 寻找锚点
I determine the placement of the triangle between the eyebrows and the nose, which serves as the anchor. I can then work outward in sections.
确定鼻子和眉毛之间的三角形位置作为锚点，分段向外工作。
Step 3 (enlarged): Reference Section and Vertical Division of Thirds
参考部分和三分法的垂直划分
I sketch the nose; its dimensions will be used as a comparative measure to establish the other dimensions.
To find the vertical proportions of the model’s face, I consider that it’s divided into three equal sections. I measure with a plumb line from the top of the forehead to the top of the eyebrows; from the top of the eyebrows to the bottom of the nose; and from the bottom of the nose to the bottom of the chin.
画好鼻子，将其尺寸作为确定其它尺寸的参照。
将模特两部的垂直比例分成三个相等的部分：从额头顶部到眉毛顶部，从眉毛顶部到鼻子底部，从鼻子底部到下巴底部
Step 4: Finding the Light Source 寻找光源
We don’t paint objects or people. We paint the light that flows over them. The direction and the hierarchy of the light are all-important: strongest nearest the source and digressing from there; strongest on the planes that are perpendicular to the light; and digressing on the planes that aren’t perpendicular.
To begin, I need to see the subject in blocks of dark and light. Here I have two light sources. I choose the strongest oneand ignore the second. Careful of the axis of the head, I develop the drawing, chiseling with straight lines that are easily comparable. I’m using Stabilo CarbOthello pastel pencils No. 635 and 640.
最强的部分距离光源最近，从那里偏离；在垂直于光线的平面上最强，并在不垂直的平面上偏离。
Step 5: Finding the Darkest Dark and Lightest Light 寻找最暗和最亮的光
To be used as a reference throughoutthe portrait, nothing should be lighter and nothing should be darker than these two points. The terminal line between the light and the shadow tends to be the most interesting area; the darks, overall, will be darkest there.
作为整幅肖像的参考，没有什么比这两点更亮和更暗。光和影之间的终端线的区域，那里的暗是最暗。
Step 6: Establishing the Darks
I block in the darks with Rembrandt burnt umber and pay attention to the weak second light. Before starting with color, I need to establish a strong value base.
Step 7: Adding Color 添加颜色
I place the color, keeping the planes alive by chopping the sections in “tiles”of varying warm and cool tones.
Step 8: Adding Complementary Colors 添加互补色
Having arranged the lighting with a strong warm source and a weaker cool one, I contrast the hot yellow-oranges with cool purple-blues, as well as some pinkish skin tones with greens.
Step 9: Adding and Enriching Colors 丰富颜色
With the secondary cool light now in place, I progressively thicken and enrich the texture with softer pastels (Girault) into the first harder pastel layer (Rembrandt).
Step 10 (detail): Softening the Edges 柔化边缘
Because the face is the center of interest, I find simplifying the clothing and the hat, and softening those edges, brings the eye to what’s important.
Step 11 (detail): Final Touches 润色
While adding the textures in the face, I refine the transitions between planes while deliberately keeping the overall effect looseand impressionistic in Been Such a Long Day (19×15).
Finished Artwork
Now it’s time for the big reveal of the completed pastel portrait:
- The End -
