The appropriate and effective use of reference material–notably, where and how to deviate from it to actually heighten illusions, ironically–has been an ongoing commentary of mine on this blog, being mentioned in a few past entries. I consider this issue a central concern for any painter working in the realist genre, or who depends upon “fool the eye” illusions for the success of their images. I’m always trying to increase my knowledge and refine my skill in this area, as well as find succinct and poignant ways of explaining it to others.
Austin-based, British-born artist Edward Povey, whom I’ve recieved valuable instruction and mentoring from over the past few years, had an interesting take on this concept in a recent email newsletter:
Artists and photographers are really both image-makers. The camera truly sees, and the artists could learn from its honesty. The photographers could learn from the artists’ profound sense of composition, knowledge of color, tonal value constructions, and expressiveness–relying less on the cleverness of the modern camera.
I believe that the wisest artists will be intimately aware of this dichotomy, and will strategically use the best of each world for the overall success of their images.