Philip de Laszlo: Developing a Likeness

Philip de Laszlo continues to explain his process and thinking about painting a portrait in The Studio Publications of London article in their "How to Do It" series:

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 when 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, but 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, throughout 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." 

To be continued