WHAT DOES “PERFECT LIKENESS” DEPEND ON?
In principle, we must distinguish two general but determining factors in what we have called a “perfect likeness.”
We can therefore divide these two general factors and say:
IN ITS PHYSICAL ASPECT, likeness comes from:
a) The mathematical construction of the head.
b) The deliberate exaggeration of the most characteristic features.
IN ITS PSYCHOLOGICAL ASPECT, likeness comes from:
aa) The attitude and “pose” of the model.
bb) The character traits of the model.
Do not be intimidated by this beginning, full of rules and factors. You will soon understand and learn the meaning and purpose of each of these definitions. Let us begin by studying the factors of likeness in its physical aspect, namely:
THE MATHEMATICAL CONSTRUCTION OF THE HEAD
“To perfect from a principle, to construct, to seek, to unite through lines, to compare great lengths…”
By mathematical construction, we simply mean the exact placement and measurement of proportions, an absolute precision in the positioning of the elements of the head with regard to their dimensions and relationships. In short, it is an old problem, but no less important for that. In fact, until it is solved, all the rules and factors that follow cannot stand. Likeness is born, in principle, from the accurate drawing of what is before our eyes.
THE DELIBERATE EXAGGERATION OF CHARACTERISTIC FEATURES
“In everything we see, there is a caricature that must be grasped. The painter must be a physiognomist and seek the caricature.”
Starting from this mathematical, almost photographic construction of the model’s head, we must now focus our attention on the most characteristic features, discover them, and emphasize them by slightly exaggerating them so that the physical likeness becomes more perfect. This is something that only the artist can achieve through creative intelligence and manual skill, and that even the best camera can neither perceive nor accomplish.
As Ingres rightly says, one must seek and capture the caricature that exists in everything we see. What is the model like? Does he have large eyes, small eyes, close-set eyes, wide-set eyes? Thick eyebrows?
A round face, a long face, a bony face, a broad face…? It is interesting to realize that our physical knowledge of things and people is generally based on descriptions and engravings that are, at their core, perfect caricatures. When we talk about someone and try to explain what they are like, our brain actually behaves as though it were drawing a caricature.
Look, for example, at the photographs of these two figures, President Kennedy and General de Gaulle.
You recognize them, don’t you? Well then! Could you tell me why you recognize General de Gaulle on the left and President Kennedy in the portrait on the right?
“Because de Gaulle has a large nose, a long face, large ears, small eyes, eyebrows set close together, and full lips… It’s de Gaulle.”
“And a small nose, a narrow forehead, abundant hair, a broad face, and small ears… That’s President Kennedy.”
De Gaulle, Kennedy, you and I all have characteristic personal features that define us. The only thing necessary is to see them, to know how to identify them consciously, to observe them, measure them, and compare them with those of others, so that it becomes possible to determine their height, length, width, or narrowness; in this way they can be deliberately emphasized slightly…
…to obtain an image of the model similar to that held by other people, and which should lead to the most perfect physical likeness.
THE ATTITUDE AND POSE OF THE MODEL
“Pay attention to the ‘pose’ of the head and body. Before beginning, study the natural physiognomy of your model, then draw the consequences from it.”
Each of us also has a habitual attitude and pose that characterize us, just as much as our skin color or the tone of our voice. One person slightly tilts his head when speaking; another looks over his glasses; a third seems to have a stiff neck: when he moves his head, he almost always moves his whole body as though both formed a single piece. One looks with his head slightly raised; another stretches his neck; yet another is very nervous, and his attitude and pose do not seem natural.
There are people who appear more masculine when seen from the front than in three-quarter view, and others who, even in profile, display a very pronounced character.
When David painted Napoleon’s portrait, he took into account Napoleon’s habitual attitude: he painted him with his right arm bent, his hand inside his waistcoat, in that characteristic pose which alone portrayed the man. Pope Pius XII was painted many times in profile—perhaps you remember his image in that pose—no doubt because that profile expressed more clearly his humble majesty and intelligence. We also have the example of General de Gaulle. I do not have his portrait before me, but I believe the best way to depict him would be with his head slightly raised, in that attitude which was his own and which we have seen so often in newspapers, films, and television.
Attitude and pose are elements that the model carries within himself. Our task is to let them emerge, helping in every way so that the model behaves as he naturally does and reveals his familiar pose.
THE CHARACTER TRAITS OF THE MODEL
“One can only be a good artist if one penetrates the spirit of the model.”
This is the final factor to consider in order to obtain a better likeness. It concerns the model’s character.
We must ask ourselves what our model is like and try to capture his habitual expression. Is he cheerful, confident, decisive… or pessimistic, reserved, withdrawn, indecisive? What does his face tell us? What do we know of him or her? It is often possible to find in facial features the reflection of character—the face is the mirror of the soul. In the corners of the lips, the prominence of the jaw, the wrinkles around the mouth, the folds beneath the eyes, in the very expression of the gaze—remember what has been studied about anatomy and expression…
…the skilled artist can often “read,” in broad outlines, the character of his model.
It is therefore essential to pay attention to these character traits, to keep them clearly in mind while drawing, and to emphasize them as well so that they help explain the personality of the model and produce an ever more perfect likeness.
From this study of character there may also arise a particular head position or a specific lighting arrangement that will highlight the model’s impulsive, ingenuous, optimistic, open, or reserved temperament. But we shall discuss this when we come to practical application.
For now, remember that in order to obtain a perfect and wonderfully accurate likeness, you must proceed as follows:
Carefully construct the head, emphasize its characteristic forms, draw it in its familiar pose, and capture the traits of its character.
To understand and study these factors, Ingres gives us a valuable piece of advice. Read it carefully; it is the best practical advice on the subject of likeness. Moreover, it is full of meanings that can be interpreted in several ways. He says:
BEFORE BEGINNING, ONE MUST QUESTION ONE’S MODEL
Question…? What does Ingres mean by this verb?
There is no doubt about it. Ingres means:
QUESTION YOUR MODEL IN ORDER TO KNOW HIM
so as to have the opportunity to observe his features and gestures, to converse with him, and to create an atmosphere of trust that allows him to show who he is and what he is like, what his habitual attitude is, and which traits of his character are most visibly expressed in his face.
Naturally, this questioning should take place through words, conversation, and dialogue. But do not think it cannot also be done through drawings and preliminary sketches, which allow a practical study of the factors related to likeness—as though each drawing were a question. Yes, indeed, it can and should be done this way. The execution of these drawings or preliminary sketches is indispensable; through them, you will have the opportunity to mature your work and ask yourself with each sketch:
“Is this the best position? Is this the best lighting? Is this the best version of the likeness that can be achieved?”
Moreover, these drawings will give you the opportunity to awaken your creative imagination and to think about the artistic quality of the work—that is, composition, the contrasts produced by light and shadow, texture, and style.
