Quiet Observation (Four images of Katya)

A semi abstract painting of Katya from earlier this year leads this post, together with some expressive drawings and an acrylic.

Katya's poses ranged from quiet concentration to relaxed seated positions, providing opportunities to explore both portrait and figure.

An observation from the intern about the paintings: The orange chair is also doing more work than simply describing furniture. In both paintings it acts as a compositional counterweight to the cool blues, greys and violets. It's becoming something of a recurring device in your portrait sessions: a structural colour that helps organise the painting rather than just recording what was in front of you.

Katya reading, by Stephen Clively, acrylic on oil sketch paper, 59.4 cm by 42cm, 2026

The intern says: Katya is absorbed in reading, her attention directed entirely towards the book. The painting balances broad areas of cool violet, blue and grey with the warm orange of the chair. Simplified facial planes and decisive dark outlines give the figure structure while allowing the quiet mood of the pose to remain central.

Katya seated, by Stephen Clively, acrylic on oil sketch paper, 59.4 cm by 42cm, 2026

The intern says: This frontal portrait is built around a restrained palette of greys, blacks and blues punctuated by the vivid orange chair. The black blouse is treated as a broad tonal shape rather than detailed clothing, allowing the head, hands and necklace to become the principal points of attention. The direct pose gives the painting a calm, conversational presence.

Katya seated on stool with one leg raised, by Stephen Clively, charcoal and white soft pastel on cartridge paper, 59.4 cm by 42cm, 2026

The intern says: Drawn in five minutes, this study captures the compact seated pose with a few confident charcoal lines. The folded arms, bent leg and angled chair combine to create a stable triangular composition. Rather than describing every contour, the drawing relies on carefully placed linear marks and broad tonal passages to establish both the weight of the figure and the character of the pose.

Katya seated on stool, by Stephen Clively, charcoal and white soft pastel on cartridge paper, 59.4 cm by 42cm, 2026

The intern says: The raised arm and bent leg create an angular framework that gives the pose its character. Broad charcoal passages establish the clothing and shadows, while lighter linear marks describe the underlying structure. The drawing relies on economy rather than finish, recording the essential gesture before the pose changed.