Life vs Photo

[SB Wang]

http://www.bbc.co.uk/history/british...amera_04.shtml

What happens is that the lens spreads bright points of light into so-called circles of confusion. Such effects would not be seen by the naked eye. The art historian Charles Seymour and the photographer Henry Beville have tried to reproduce these effects, by photographing a similar decorative lion's head in a slightly unfocussed plate camera, with some convincing success. Several authors, including Seymour, have argued that Vermeer painted this and another tiny portrait, Girl with a Flute, using a box camera. The sizes of both pictures are of the order of size of a typical box camera's screen.

[Mischa Milosevic]

"You can paint from life until you're blue in the face. If you're not properly guided you'll never have the foggiest idea what you're actually looking at."

I tend to agree and would add that life is short and if one wishes to be a professional in this field then one should bite the bullet and get some training, a few years at least.

If one is not proficient in at least the basics of drawing should one be posting the work under "Unveilings, for the Seasoned Pro"?

[SB Wang]

[Enzie Shahmiri]

Thanks SB - that is a great fable and makes a great point!

If one is not proficient in at least the basics of drawing should one be posting the work under "Unveiling's, for the Seasoned Pro"?

To degrade another artist's work is definitely not a sign of professionalism and a practice that I refuse to participate in, no matter how low the blow.

The artist represented by 'A stroke of Genius' have to submit their work to be considered by Cynthia and definitely have to have attained certain standards to be considered for representation. To question the drawing ability of one of this organizations artist is equal to questioning Cynthia's experience in selecting of what caliber work she is representing on her site.

I think in all fairness that there should be a better distinction between the Unveiling sections. The Novice/student/emerging artist section is fine and well defined .

There should be a Professional Artist section, one for all those who are practicing professionally and are making a living selling portraiture.

Finally a Masters category (or Seasoned Pro), which is exclusively reserved for those who have received overall recognition within the field of portraiture.

I am sorry to have veered off track Marvin. Regardless of how we each work, each and everyone of us deserves to be treated with respect and I had to address this.

[Vianna Szabo]

Painting from life is definitely best and after years of doing commissions from photos I can never say the word photograph without the words "soul sucking" in front of it. I have been painting plein air now for several years and find it is the best resource for developing artistic skills. I also find that it sharpens the visual memory allowing me to find what is essential in a scene and place those elements quickly. I have been using it for portrait as well and find I enjoy the process much more. I am currently working on a portrait of a Native American performer. He has been kind to sit for me and we spent much of the time talking while I paint. I did shoot photos but I find the portrait goes smoother when I put the photos away and trust what I know and what I remember. In this case the photographs become a distraction. Photographs freeze a moment in time but the memory is more fluid and I find better for remembering expression and personality. Memory also leaves out unimportant details that a photograph will accentuate. Developing visual memory has freed me from a bad habit of copying.

[SB Wang]

Vianna:
Very good point!
I've read your blog! I'll try that device.

Photorealism, a reference:
http://en.wikipedia.org/wiki/Photorealism
http://en.wikipedia.org/wiki/Hyperre...%28painting%29
http://en.wikipedia.org/wiki/Chuck_Close

[Enzie Shahmiri]

Vianna,

On the subject of developing a visual memory here is what Robert Henri proposes to try out:

...I have often thought of an art school where the model might hold the pose in one room and the work might be done in another. The pupils would have their places in both rooms, one for observation and the other for work. The pupil would return to the model for information. In getting the information he would view the model from his place or could walk about and get an all-around concept; he could also make any sketches he might desire to make-for information-but these drawings are not to be carried into the work room. Into this room he only carries what he knows.