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At least one session painting their head from life is pretty much the minimum. I always try for as much time with the subject as I can get.
Some paintings require more live sittings than others. Many official portraits like this one are not commissioned until the subject leaves office. Had he still been the House Speaker I don't think I could've gotten the several sittings that I did.
Even with the sittings (standings) I spent more time composing the picture and working out the perspective and other aspects than I did painting the head and hands.
There is always a lot the artist can do "from life" which does not require the subject to be there. I paint backgrounds, clothes (on manikins) and lots of elements without the subject being present. It's been done that way for centuries.
An aspect of realistic painting that is not often discussed is just how much is actually made up. The more one knows about light and shade, color and form, the more they know what they "can get away with" and still have it ring true as an illusion that is feasible.
I try to get my set up as close to what I want the painting to look like as possible. Working from your imagination is as tricky as trying to use photographs. It's always easier to have the real thing in front of you. The proof is in the pudding, as they say. You might notice the yellow/orange cloth hanging to Newt's left. That was to reflect some warm light back towards him to help me envision what might happen with the sun bouncing off the Capitol. It's not real evident in the reproduction posted. It affected the shadow on his collar and the back of his hand that is raised but the rest is more subtle.
I try to understand what the light is doing in every painting situation Then I can pick and choose what I want to use.
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