Gallery

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Model: Lexi

Posted by Studio Buda on March 5, 2017
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I’m not very good at updating my own website.  I exhibit most of my works on Instagram (@studiobuda) and Facebook (Khanh N Huynh).

Lexi is another beautiful model from Portland OR.  She has an innocent face and a haunting gaze that is both mysterious and curious.   The way she rests on the couch was simply captivating to any painter.  I converted the photos that I want to pain to back & white to free my mind from thinking of color and simply let the composition dictates my choices of pigment.  I will definitely paint more of her as time permits

Model PARIS

Posted by Studio Buda on March 28, 2016
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“Paris #8” Oil on 11×14 board 2016
“Paris #2” Oil on 11×14 board 2016
“Paris #3” Oil on 11×14 board 2016
“Paris #4” Oil on 11×14 board 2016
“Paris #5” Oil on 11×14 board 2016
“Paris #6” Oil on 11×14 board 2016
Paris #10. Oil on 24×30 board 2016
Paris #8. Oil on 11×14 board 2016

Model PARIS.

Most of these painting are 11×14 format.  Oil on boards.

I started this series in the beginning of 2016 based on inspiration from a beautiful Portland OR model.  They’re all still available.  My goals for this year is to keep painting beautiful models and hopefully will grow my collection of beautiful works.

I do keep an active profile with FB (Khanh N. Huynh) and Instagram (@studiobuda) if you want to see more works.

Khanh N. Huynh, MD

Mr. Leavitt’s portrait

Posted by Studio Buda on October 18, 2014
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"Mr. Leavitt" 8x10 study oil on board 2014

“Mr. Leavitt” 8×10 study oil on board 2014

 I saw this man (an artist) at the Oregon Society of Artists meeting in October 2014 and immediately know that I have to paint him.  I asked permission to take a picture and transformed the rather mediocre iPhone picture int0 this beautiful portrait. 

It was painted straight on Ambersand board without any preparation of the board.  I want to keep the white of the board untouched as much as possible.  I used the Zorn palette (Titanium white, Payne’s grey, Yellow ochre, and Cad Red medium)

I stopped touching the portrait after 90 minutes or so with the intention to keep the painterly look.  I could go on with a softer brush and “feather” out the brush mark and slowly make it photographic.  But to me, paintings that look like a photograph is a failure of the artist’s skill and vision.

Khanh N. Huynh, MD