Clippy,
I think this is looking great so far! 
Here is a comparison (thanks for supplying the original):
[left]One thing you’ll really notice with Sorolla is that he is just a master of color combinations (as well as other things). Throughout his piece he is using the tints of complementary pale yellows and purples which really allow him to express form exquisitely with very little information.[/left]
[left]For example on the coat, (bearing in mind the poorness of the reproduction) you can see this illustrated best. He offsets the very light, pale yellow used as a highlight with a bit of yellow ochre and the light bluish purple for the shadows. I think if you play this up in your own piece, that area in particular will have more punch. In your rendering of the sleeve, it looks as though there is more of a white / blue combination, which is working well, but adding more flecks of pale yellow for the highlight and pale purples for the shadows will do wonders, I think.[/left]
You see darker, more rich patches / marks really of desaturated purples and yellows in the sleeve. It’s subtle, because all of the hues lie roughly within the same value range. Try spiking / offsetting things with the occasional pale yellow mark.
You see the same on the headscarf ~ try using a bit more tinted yellow to really make the scarf apprear as though it is catching the filtered sunlight.
[left]Finally, consider every mark in this piece as a part of a puzzle. For example, the two orange marks / stripes near Zorn’s signature very much hold that edge of the painting together. Note their relationship to the pale green and desaturated purple stripes on her dress. Really try to get the widths of these marks, their energy, and their richness into your own painting, which I think will anchor that corner much better.[/left]
[left]Looking forward to your progress, you’re doing a tremendous job! :)[/left]
Cheers,
~Rebeccak
)
just started second Sorolla head…
