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9. Developing the Likeness
 Developing
the likeness.
Q: During the rest would you explain what you meant
when you said just now that a likeness was developed
by establishing the correct relation of light and shade?
"I cannot think of a likeness as something apart
from the general effect. There is definitely the beginning
of the likeness directly the right beginning of the
general effect is made and the development of the likeness
goes on steadily as the general effect is amplified
and made more complete. At first, as I have already
told you, I deal with the larger planes only, hut as
I proceed I occupy myself more and more with the smaller
planes and with those lesser subtleties by which what
I would call the intimacy of the likeness is attained.
But, of course, all through I aim at the correct relationship
of values because without that a real likeness is impossible."
Q: It still seems strange to me that you can get
a likeness in a portrait without a preparatory drawing
on the canvas, something plainly stated that you can
build upon -- most artists seem to regard a drawing
as an indispensable foundation.
"I do not believe in doing a drawing first and
then painting over it. That way there is a danger of
losing one's freedom to take in the general effect and
of becoming a slave to one's own doings. I consider
that an artist should acquire such a thorough understanding
of drawing that he can use it instinctively in his work
without thinking of it as being separate from painting
— but I see my sitter is ready again so I must
get back to my picture."
10. Unity of Effect
Head and
accessories
receive almost
simultaneous
attention to achieve
unity of effect.
Q: Well, what is the next stage?
"Hitherto I have been concerned mainly with the
head, as you have, I expect, noticed. Now, before I
carry that further, I want to bring the rest of the
picture to the same stage of harmonious unity throughout.
This is necessary to enable me to judge how much more
development the head will require to have the strength
and significance of effect at which I am aiming. But
remember this, that no two heads can be treated in exactly
the same way and that in each one the character and
type must to a great extent dictate the manner of dealing
with it which should be adopted. A head with strongly
marked features, for instance, does not demand such
detailed treatment as one with less definite forms.
It can be presented much more broadly and simply because
its characteristics are more immediately apparent."
Q: For a while, then, you will leave the head as
it is?"
"Yes, before I finish it I must attend to the
surroundings and give them, or at all events the more
important part of them, their full strength. I can tell
then what degree of force should be added to the head
to make it, as it should be, the dominant fact in the
picture. Even when I am not actually working on the
head, I am still thinking about it and the relation
which must be established between it and the accessories
among which it is set."
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he
brilliant Hungarian artist, Philip Alexius de László,
1869-1937, was the successor (in 1907) to Sargent's portrait practice
in London. In 1933 de László demonstrated his dashing
technique in a series of photographs, while answering questions
posed by the writer A.L. Baldry. The photos and text were published
in 1934 by The Studio Publications of London, in volume six of their
"How to Do It" series.