I went considerably into the impressionist camp with this one. Loose, wet, visible brush strokes -- it's all here. And, there's an open-ended story - the best kind.
I guess I'll call this a street portrait or street figure. I brought a lot together in this one. Lightest light against the darkest dark. Dark background against the lit side of the subject and no background against the shadow side. New color mixes for skintone. This one worked out in so many ways I think it's become a new standard for which to aim.
In spite of the attempt at looseness, this classic car still looks pretty detailed. It also seems more darkly-toned than most of my car paintings. That wasn't really intentional. But the shadows in the reference photo were a little unusual. Maybe I captured a little atmosphere without knowing it.