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A fearsome application of paint and bursts of merging colours towards the lower half of the painting exemplify McEvoy’s loose, non-finito attitude to portraiture.

Characteristic of McEvoy’s almost sculptural working method, the present portrait is a fine example of his understanding of line, colour and light.

Depicted in profile, the subject’s face is illuminated, and her features are highlighted with delicate attention to detail. The background is an energetic reminder of McEvoy’s style of painting with multiple layers of colour applied rapidly over one another; the portrait has been built up in multiple layers of intersecting brushstrokes of varying length, thickness and colour. A fearsome application of paint and bursts of merging colours towards the lower half of the painting exemplify McEvoy’s loose, non-finito attitude to portraiture.


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Characteristic of McEvoy’s almost sculptural working method, the present portrait is a fine example of his understanding of line, colour and light.

Depicted in profile, the subject’s face is illuminated, and her features are highlighted with delicate attention to detail. The background is an energetic reminder of McEvoy’s style of painting with multiple layers of colour applied rapidly over one another; the portrait has been built up in multiple layers of intersecting brushstrokes of varying length, thickness and colour. A fearsome application of paint and bursts of merging colours towards the lower half of the painting exemplify McEvoy’s loose, non-finito attitude to portraiture.

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500 Years of British Art