It's in the details, Victoria.

My artist-du-jour specializes in portraits, with especial attention to (are you ready for this) hair. Okay, she has a BFA from a prestigious institution, so she must know what she's doing. But a detailed portrait of a woman with hair on the top of her head, and the bottom, where there is usually a mouth and a chin, etc., kind of turns me off. Now, I did pay attention to the hair in this little ditty, so much so that I went back into it because the hair looked kind of flat on one side (sort of like MY hair, actually, which sticks up over my cowlick on the left and lays flat on the right). I did this painting originally just to see if I could do it, then got so into it, I got kind of excited. She is young, and kind of angelic. I think it is that sweet mouth. Okay, the eyes are something, too. This is from my acrylic opus, and a bit of a tribute to Julian Freud in the layers of paint that define the features. I, unlike Julian, do not think my subjects need to uglier than life. It is enough to get a decent likeness to begin with. Anyway, back to the hair. I was surprised and delighted with the way the acrylic let me drag colors over one another without making one amorphous glob, like oils tend to do, so it is perfect for defining hair, which should be diffuse and particular at the same time. And blond hair so lends itself to the medium, as it is so many different shades, from platinum to honey. Sort of like my own as I have reached that stage where red or brunette make me look more prunish than I am comfortable with. My little gal here is all pink and blue and rose. Looking at her after a little while has passed, I am particularly proud of her neck. Lots of definition there. And no one else has to like her for me to be okay with this painting. Planing on framing her, yes I am. If I were really brave, I would put her up for grabs at the Art for Life auction this year. Could happen. No one will be more surprised than I if that happens.