sight-size article 3

8/12/2019 Sight-size Article 3

http://slidepdf.com/reader/full/sight-size-article-3 1/13

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As the final painting demonstrates, Rubens’ final

&-42-/(%(-' (/ /(,'(.(&)'%*1 0(..#+#'% .+-4 %"# -'# (' "(/

#)+*1 /:#%&"7 !"# .(,3+#/ -. F(4#-' )'0 %"# 2+-2"#%#//

Anna are reversed, Mary’s gesture is altered, and the

:'##*(', G-/#2" (/ %3+'#0 %- %"# /(0#7

8*%#+')%#*1< %"# #)+*1 /:#%&"#/ 51 )' )+%(/% 3/(', %"#

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&)/#< %"# ('(%()* /:#%&" (/ ) 2+#&(/# -3%*('# 0#/(,'#0 %-serve as a guide or template for subsequent “coloring in”

-+ .('(/"(',7 !"#/# ('(%()* -3%*('#/ )+# )&&3+)%#*1 2*)&#0

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"#$%&'()* 0'#1,//,/

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human eye’s natural, and incredibly remarkable, ability to recognize

/##4(',*1 '#,*(,(5*# 0(..#+#'&#/ 5#%6##' (4),#/7 M(9#' %"+##

2(&%3+#/ -. ) 9)/# 5#*-6< .-+ #;)42*#< #9#' )' ('0(9(03)* 6(%" '-

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%")% (/ /*(,"%*1 %(22#07 !"# /)4# &)' 5# /)(0 -. %"# )+%(/% 6"- (/

&-42)+(', "(/ -6' /:#%&" %- )' )&%3)* 9)/#7 H. %"# )+%(/% .('0/ %"#

%(22#0 9)/# "# ")/ /:#%&"#0 (/ 3')&&#2%)5*# "# /(42*1 4):#/ ) K3(&:&-++#&%(-'7

N#-')+0- O) P('&( (/ -'# /3&" )+%(/% 6"- %--: )09)'%),# -. %"#

"34)' )5(*(%1 %- /6(.%*1 )//#// )'0 %"#' &-++#&% "(/ 0+)6(',7 H' %"#

3-4#5 6/+ -)! 36/+7. 8/"40!"- D+(,"%E< .-+ #;)42*#< '34#+-3/

&-++#&%(9# 4)+:/ &)' 5# /##' )+-3'0 %"# 2*)&#4#'% -. '#)+*1 #9#+1

-5=#&% (' %"# 0+)6(',7 ?#&)3/# %"# .-3'0)%(-' +#4)('/ .*#;(5*#< %"#

)+%(/% ")/ %"# )5(*(%1 %- &-'%('3)**1 &-++#&% "(/ 6-+:< 4):# "(/

)//#//4#'% ),)('< &-++#&% "(/ 6-+:< )//#//< &-++#&%< )//#//< &-++#&%<

)'0 /- .-+%" 7 7 7 3'%(* "# (/ )% *)/% /)%(/.(#0 6(%" %"# 0+)6(',7 !-accomplish this, however, the artist’s first marks must be extremely

/:#%&"1 )'0 5+(#.7 !"(/ %12# -. 4)+: (/ /2#&(.(&)**1 0#/(,'#0 .-+ #)/1

+#6-+:(', -+ +#.('#4#'%7

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'-% -'*1 .-+ &+#)%(', )' )&&3+)%# )&&-3'% -. 6")% %"# )+%(/% /##/< 53%

)*/- 0#/(,'(', )' (4),# .+-4 "(/ (4),(')%(-'7 8/ N#-')+0- :'#6

6#**< -3+ ')%3+)* )5(*(%1 %- )//#// )'0 &-++#&% )' (4),# (/ .)+ 5#%%#+

than our ability to “get it right on the first try.” Consequently, old

4)+:/ '##0 %- +#4)(' 9(/(5*# .-+ &-42)+(/-'7 !"#1 )+# #//#'%()* .-+

/35/#K3#'% )*%#+)%(-'/7 I+)/(', )** -. %"#/# 4)+:/ .-+&#/ %"# )+%(/% %-

/%)+% &-42*#%#*1 -9#+ .+-4 %"# 5#,(''(',7

!"# 2+-&#// 3/#0 (' %"# 4-0#+' )&)0#4(& /(,"%@/(A# 4#%"-0 (/

#'%(+#*1 0(..#+#'%7 8/ (/ 6#**@0-&34#'%#0 D/##< .-+ #;)42*#<

“Drawing with the Sight@Size Method” by Ben Rathbone), the sight@

/(A# 4#%"-0 %)3,"% (' 4-0#+' )&)0#4(#/ )'0 )%#*(#+/ %-0)1 .-&3/#/

-' 0+)6(', 2#+.#&% -3%*('#/ )% %"# %!&'""'"& -. %"# 2+-&#//7 !"#/#

-3%*('#/ )+# %"#' &)+#.3**1 &-*-+#0 ('7 Q('-+ &-++#&%(-'/< (. )'1< )+#

&-'/(0#+#0 4(/%):#/ )'0 (44#0()%#*1 #+)/#07

!"# 4-0#+' )&)0#4(& /(,"%@/(A# 4#%"-0 &)' #)/(*1 5# 3/#0 %- &+#)%#

)' #;)&% &-21 6(%" '#)+ 2"-%-,+)2"(& )&&3+)&17 !"(/ (/ 0-'# 51

.-**-6(', ) /#% -. /%+(&% +3*#/ )'0 (/ )(0#0 51 /3&" 0#9(&#/ )/ +3*#+/<

&)*(2#+/< *#9#*/< 4(++-+/ )'0 2*345/ D/## +(,"%E7 8+%(/%/ &)+#.3**1

4#)/3+#< %"#' %+)'/.#+ %- %"#(+ 2)2#+< )' (4),# %")% (/ )' #;)&% R>R

+)%(- %- %"#(+ /35=#&% @ )/ /##' .+-4 %"# #;)&% 2-('% 6"#+# %"#1 /%)'07

DH'0##0< %"# /(A# -. %"# 0+)6(', (/ 0(&%)%#0 51 %"# 0(/%)'&# %"# )+%(/%

/%)'0/ .+-4 %"# /35=#&% @ its “sight@size”). Of course while working,

the artist’s only option is to arrange his easel and his subject so they

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4)':('0< +#K3(+(', -'*1 ) .#6 "-3+/ -. %+)('(',7E

9" "..$ '0+?.2 4+*.)$ ':'*.4#: "#%3(L"#K.')(#"(" 1". ' ?')#.(7 +- 4.'"1)#$% *.?#:." "1:3;,140"2 :',#;.)"2 )1,.)" '$* ,.?.," (+ ':3#.?.'$ ./':( :+;7 =#(3 $.') ;3+(+%)';3#: '::1)':7<#$+) :+)).:(#+$"2 #- '$72 '). :+$"#*.).*4#"('5." '$* .)'".*8C3#" ;)+:."" ('5." 4'$7 7.')" (+ ,.')$8

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N,* 4')5" '). '$ ."".$(#', ;')( +- (3. ;)+:."" +- '"".""#$% '$*

:+)).:(#$% ' -,./#0,. -+1$*'(#+$8 C3.).-+).2 '" "..$ #$ G.+$')*+>*)'=#$% '0+?.2 ' %).'( $140.) +- ',(.)'(#+$" +-(.$ ).4'#$ ?#"#0,.=3#,. (3. ')(#"( #" =+)5#$%8 DC3. 3+)". 3'" -') (++ 4'$7 ,.%"8

9"".""#$% '$* :+)).:(#$% ' -,./#0,. -+1$*'(#+$ 07 .7. #" ' $'(1)''0#,#(7 +- 4'$2 ).O1#)#$% +$,7 ' -.= 3+1)" +- #$"()1:(#+$85*B#C 4-( *&! 54-(7+ A-"B.!"* 07 G.+$')*+ I' P#$:#8



Q') ,.-(@ A-)!) 07 <#:3.,'$%.,+2 ;')( +- (3. (+40 +-A+;. R1,#1" ,, 8

G.-(@ G#(3+%)';3 07 F3'),." J')%1. *)'=$ +- ' :'"(D(3).. *#4.$"#+$', :+;7E +- (3. )#%3( ')4 +-Michelangelo’s sculpture.

J.,+= '). -+1) ./:.,,.$(2 $.'),7 #*.$(#:',2 :+$(.4;+)')7':'*.4#: :+;#." +- (3#" J')%1. ;)#$(2 4'*. '( ' ?')#.(7+- *#--.).$( ':'*.4#: ":3++," #$ ;)':(#:. (+*'78

9(.,#.) H(+:53+,4 P#()1?#'$ Q#$. 9)( H(1*#+F+,+)'*+ 9:'*.47 +- 9)( 9:'*.47 +- B.',#"( 9)(

"#$%&'()* 02'%#/,/

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23+2-/# -. %"# 4-0#+' )&)0#4(& /(,"%@/(A# 4#%"-0 (/ %- 032*(&)%#

#;)&%*1 6")% %"# )+%(/% /##/7 H% (/ )' )&)0#4(& 9/15 2+-&#//7 8*%"-3,"

)** )&)0#4(#/ %-0)1 0- '-% %#)&" %"# 4-0#+' /(,"%@/(A# 4#%"-0< '#)+*1

)** %#)&" ) 9#+/(-' -. %"# )&)0#4(& &-21 2+-&#//7 !12(&)**1< %"#

%+)('(', 2+-,+#//#/ (' %"+## /%),#/7 Q-/% -.%#' %"# /%30#'% 6(** 5#,(' 51 &-21(', 2+('%/ -+ 2"-%-,+)2"/7 H% ")/ 5#&-4# 2)+%(&3*)+*1 2-23*)+

%-0)1 .-+ /%30#'%/ %- &-21 2+('%/ 4)0# .+-4 *(%"-,+)2"/ %")% S")+*#/

?)+,3# 4)0# .-+ /%30#'%/ (' %"# RT%" &#'%3+17 F-4# -. %"#/# &-'%)('

/%#2@51@/%#2 ('/%+3&%(-'/ .-+ &-21(', ) /2#&(.(& 0+)6(', D+(,"%E7

8*%"-3," &-21(', 3/(', %"(/ 4#%"-0 &)' ,(9# %"# /%30#'% 2+)&%(&# ('

skills such as delicate shading and identifying values, the student’s

2+('&(2*# ,-)* (/ %- 4):# )' #;)&% 032*(&)%#7 U-+ #;)42*#< /%30#'%/

often copy Bargue’s lithograph drawn from a cast of the right arm of

Michelangelo’s 8/,!, (below). Each student’s work is a near perfect

reproduction of Bargue’s lithograph. As a consequence, each student’s

&-21 (/ 9(+%3)**1 (0#'%(&)* %- #9#+1 -%"#+ /%30#'% &-21< #9#' 6"#'

&-42)+#0 6(%" /%30#'%/ .+-4 0(..#+#'% )&)0#4(#/ )+-3'0 %"# 6-+*0

D5#*-6E7 G#(3+%)';3 07 F3'),." J')%1.



9:'*.4#: "(1*.$(" #$ M(',7 =+)5#$% -)+4 #$L"(1*#+ :'"("8 C3.". (3).. ./O1#"#(.,7 ).$*.).*copies of a cast (Michelangelo’s Giuliano de’ Medici.) were produced by three *#--.).$("(1*.$(" '( (3. 9$%., 9:'*.47

Q#%1)'(#?. =+)5 07 (=+ *#--.).$( "(1*.$(" '( (3. S)'$* F.$()', 9:'*.47

After copying Bargue’s prints, academic students typically move on to copy plaster casts of

.)4-3/ /&3*2%3+#/ )'0 %"#' )09)'&# %- 4):(', )' #;)&% &-21 -. ) /(',*# /%)'0(', *(9#

model. The three copies of a cast of Michelangelo’s sculpture of Giuliano de’ Medici and

%"# %6- .(,3+# 0+)6(',/ .+-4 ) *(9# 4-0#* 5#*-6 )+# 5#)3%(.3**1 #;#&3%#0 #;)42*#/ -.

%"#/#7 H. %"# )+%(/% ")/ &"-/#' %- 3/# %"# /(,"%@/(A# 4#%"-0< "# 4)1 #42*-1 "#+# %"#

'34#+-3/ 4#&")'(&)* 0#9(&#/ )'0 +3*#/ %12(&)* -. %"# 2+-&#//7

8/ /##' (' %"# #;)42*#/ -' %"(/ 2),#< %"# +#/3*%/-. %"(/ 2+-&#// &)' 5# (42+#//(9#7 !"# 23+2-/# -.

)' )&)0#4(& &-21 2+-&#// (/ %- ,#'#+)%# "(,"*1

)&&3+)%# &-2(#/ -. 6")% %"# )+%(/% /##/7 V. &-3+/#<

(. %"# )+%(/% (/ *--:(', )% /-4#%"(', 5#)3%(.3*< %"#'

%"# .('(/"#0 6-+: 6(** 5# #K3)**1 /-7

B+)(/# .-+ %"# )&)0#4(& &-21 2+-&#// %"3/

-9#+*--:/ %6- .3'0)4#'%)* 6#):'#//#/ -. %"#

2+-&#//7 U(+/%< (. ) /%30#'% (/ 4):(', ) &-21 -. )

/&3*2%3+# 51 Q(&"#*)',#*-< -+ (. ) .(,3+# (/

2+-.#//(-')**1 (**34(')%#0 51 %"# ('/%+3&%-+< -+ (.

%"# /%30#'% (/ ,3(0#0 %"-3," %"# /%#2/ -. ) /%+(&%*10#%)(*#0 &-21 2+-&#//< /3+#*1 %"# .('(/"#0 2(#&#

&)' '-% 5# /-*#*1 &+#0(%#0 %- %"# /%30#'%7 !"#

6-+:/ "#+# )+# ('0##0 #;K3(/(%#< 53% (' %"(/ "(,"*1

&-'%+-**#0 #'9(+-'4#'%< )+# %"#1 ) +#.*#&%(-' -. %"#

student’s true skill level?

F#&-'0< )'0 .)+ 4-+# (42-+%)'%*1< ', -)! ,-4#!"-

2!.+"'"& . 4,!642 ,:'22 -).- ;'22 2.-!+ .'# '" -)!

0.:'"& /6 )', /;" .+-<



!3+'(', '-6 %- %"# 23+2-/# -. %"# %+)0(%(-')*

.*#;(5*# .-3'0)%(-'< ),)(' 0(..#+#'&#/ )+# +#)0(*1

)22)+#'%7 L"#+#)/ %"# ,-)* -. %"# /(,"%@/(A# 4#%"-0

(/ %- #')5*# %"# )&)0#4(& &-21 2+-&#//< %"# ,-)* -.

%"# %+)0(%(-')* .*#;(5*# .-3'0)%(-' (/ %- .)&(*(%)%#

&+#)%(9# 0#/(,'7 8*%"-3," %"# %+)0(%(-')* .*#;(5*#

.-3'0)%(-' (/ #)/(*1 3/#0 %- &+#)%# ) "(,"*1 )&&3+)%#

(4),# (. )' )+%(/% /- &"--/#/< %"# 3*%(4)%# .3'&%(-'

-. %"# .*#;(5*# .-3'0)%(-' (/ %- )(0 (' %"# &+#)%(-' -.

)' -+(,(')* 6-+: -. )+%< 2)+%(&3*)+*1 %"-/# 6(%"

"(,"*1 &-42*#; &-42-/(%(-'/7

N--:(', )% %"# 6-+:/ -. C35#'/< S)++)&&(<

M3#+&('-< O#,)/ )'0 -%"#+/< %"(/ 23+2-/# -. %"#

%+)0(%(-')* .*#;(5*# .-3'0)%(-' (/ -59(-3/7 H'

Rubens’ drawing 8!+94+5 =!,9!"#'"& D+(,"%E< .-+

#;)42*#< %"#+# (/ ) 0(/&-'&#+%(', '345#+ -. *#,/

)%%)&"#0 %- %"# .(,3+# (' ) 9)+(#%1 -. 9#+1 0(..#+#'%

2-/(%(-'/7 C35#'/ (/ '-%< -. &-3+/#< *--:(', )% )

4-0#* )'0 ")9(', %+-35*# (0#'%(.1(', %"# )&&3+)%#

2*)&#4#'% -. %"# *#,/7 C)%"#+< "# (/ #;2#+(4#'%(',

6"(*# /#)+&"(', .-+ ) 2*)&#4#'% %")% *--:/ ,--0 %-

"(47 W# (/ 3/(', "(/ .*#;(5*# .-3'0)%(-' %- )(0 ('

&+#)%(9# 0#/(,'< '-% %+1(', %- &-21 6")% "# /##/7

!"# %+)0(%(-')* .*#;(5*# .-3'0)%(-' &)' 5# 3/#0 (' )

variety of ways. In Carracci’s ()! >','/" /6 3-?

@+."9', D/:#%&" )'0 .(')* 2)('%(', %- +(,"%E< .-+

#;)42*#< %"# )+%(/% 4)0# ) K3(&: 2+#*(4(')+1 /:#%&"

-. %"# -9#+)** &-42-/(%(-'7 H' %"(/ 6)1 "# &)'

K3(&:*1 )//#//< %"#' )&&#2% -+ +#=#&% 4)=-+ (0#)/ -.

%"# 6"-*#7 !"(/ %12# -. .-3'0)%(-' /:#%&" #')5*#/

%"# )+%(/% %- %+1 -3% ) '345#+ -. 9#+1 0(..#+#'% (0#)/

K3(&:*1 6"(*# /#)+&"(', .-+ 2#+.#&%(-'7

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Michelangelo’s ()! (/+0!"- /63.'"- A"-)/"5 )% X(45#** 8+%Museum, Claire Barry, Kimbelchief conservator, notes “The(42-+%)'% %#&"'(&)* ('.-+4)%(-'

")/ &-4# %- *(,"% ('&*30#/+#9#*)%(-'/ -. '34#+-3/ 2#'%(4or artist’s changes, that showQ(&"#*)',#*- 6-+:(', %"+-3,"

ideas in paint.”

D)--1,CDD;;;?:'0%!22.+-?/+&DE E!;,FA+-'92!?.,1G<"'#HIIJE

Concerning the authenticity of Raphael’s

8.#/"". /6 -)! *'":, )% %"# Y)%(-')* M)**#+1<N-'0-'< (% 6)/ +#4)+:#0 %")% %"#+# 6#+#“many slight but significant refinements to%"# -3%*('#/ -. .-+4/ &")+)&%#+(/%(& -.Raphael’s paintings.”

K2/,! LG.0'".-'/"C @.:!,M 0',-.:!, ."##',9/N!+'!, .- -)! E.-'/".2 O.22!+5M

)--1CDD;;;?-!2!&+.1)?9/?4:D942-4+!D.+-D.+-F+!N'!;,DPQRJSJTDK2/,!FLG.0'".-'/"F@.:!,F

0',-.:!,F."#F#',9/N!+'!,F.-F-)!FE.-'/".2FO.22!+5F+!N'!;?)-02

8*%"-3," %"# 23+2-/# -. ) .*#;(5*# .-3'0)%(-' +#4)('/ %"#

/)4# D%- )(0 %"# )+%(/% 03+(', %"# &+#)%(9# 0#/(,' /%),# -.

"(/ 6-+:E %"# *--: -+ %12# -. 4)+:/ 6(** 0(..#+ ,+#)%*1 .+-4

)+%(/% %- )+%(/%7 H' .)&%< #;)4('(', "-6 ) 2)+%(&3*)+ )+%(/%

4)'(23*)%#/ ) .*#;(5*# .-3'0)%(-' ,(9#/ )' ('/(,"% ('%- %"#

%"(':(', 2+-&#// -. %")% )+%(/%7 U-+ #;)42*#< C)2")#* -.%#'

6-+:#0 ) &-'&#2% -9#+ )'0 -9#+ -' 2)2#+< )/ (/ /##' (' "(/

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+#&-+0(', "(/ 2+-&#//7 !"#/# ,(9# 3/ ) ,+#)% 0#)* -.3'0#+/%)'0(',< '-% -'*1 -. 6")% "(/ .*#;(5*# .-3'0)%(-'/

*--:#0 *(:#< 53% "-6 "# 4)'(23*)%#0 %"#4 03+(', "(/

&+#)%(9# 2+-&#// )/ 6#**7 ?#&)3/# "# /2#'% /- 43&" %(4#

6-+:(', -3% "(/ &-42-/(%(-'/ -' 2)2#+< &-42)+)%(9#*1

/4)** &")',#/ 6#+# '#&#//)+1 03+(', %"# /35/#K3#'%

2)('%(', 2+-&#//7

H' &-'%+)/% %- C)2")#*< !(%()' 6)/ .-'0 -. #;2#+(4#'%(', ('

2)('% 0(+#&%*1 -' %"# &)'9)/< -.%#' )*%#+(', %"# )&%3)*

2)('%(', 4)'1 %(4#/ 5#.-+# 0#&(0(', 32-' ) .(')* 9#+/(-'7

8*%"-3," "# *#.% 5#"('0 .#6 ('0#2#'0#'% /:#%&"#/< 5#'#)%"

%"# %-2 9(/(5*# *)1#+ -. "(/ 2)('%(',/ #;(/%/ #9(0#'&# -. %"#

4)'1 )*%#+)%(-'/ "# 4)0#7 8' #;)42*# -. %"# K3(&:< *--/#<

.*3(0 5+3/" /%+-:#/ !(%()' 3/#0 .-+ "(/ ('(%()* 4)+:/ &)' 5#

/##' (' )' Z@radiograph of Mary’s right hand in his >'+&'"

."# K)'2# D+(,"%E7 !"#/# #)+*1 4)+:/ .-3'0 3'0#+'#)%" )+#

-.%#' /(,'(.(&)'%*1 0(..#+#'% .+-4 %"# .(')* 9(/(5*# 2)('%

*)1#+ @ +#9#)*(', %"# )*%#+)%(-'/ !(%()' 4)0# 6"(*# 6-+:(',7

P)+()%(-'/ (' .*#;(5*# .-3'0)%(-'/ '-% -'*1 )(0 %"# )+%(/% ('

+#)*(A(', ('0(9(03)* &+#)%(9# ,-)*/< %"#1 ,(9# 3/< )/ /%30#'%/

-. %"#/# 4)/%#+/< 2+(&#*#// 9(/3)* /')2/"-%/ -. "-6 %"#1

)&%3)**1 0(0 (%7 8+%(/%/ %")% /%301 %"# 0(..#+#'% &-++#&%(-'/ -+

&+#)%(9# 4)'(23*)%(-'/ 4)0# 51 )' ('0(9(03)* 4)/%#+ &)'

,)(' &-'&+#%# :'-6*#0,# -. "-6 %- )&"(#9# /2#&(.(& ,-)*/7

8/ /##' (' %"# #;)42*#/ 5#*-6< )+% "(/%-+()'/ )*/- &)' ,)('9)*3)5*# ('.-+4)%(-' 51 /%301(', %"# &")+)&%#+(/%(&/ -.

individual artist’s flexible foundations. The creative

manipulations made to an artist’s flexible foundation are so

0(/%('&%(9# %")% #;2#+%/ &)' #9#' 3/# %"(/ ('.-+4)%(-' %-

)//(/% (' 0#%#+4('(', 6"#%"#+ ) 2)('%(', (/ ) .-+,#+17 8/

6(%" ")'06+(%(',< )/; #)&" )+%(/% &+#)%#/ )'0 4)'(23*)%#/ )

.*#;(5*# .-3'0)%(-' (/ 0(..(&3*% %- &-3'%#+.#(%7



1223+*"& 4$(2*+!5 I#.%+P.,'KO1.K ='" -).. (+ *."#%$'$7 $140.) +- ?',1. ;'((.)$";,.'"#$% (+ 3#" .7.2 5$+=#$% 3#"#,,1"#+$" =+1,* 0. "1--#:#.$( (+4'5. (3. =+)5 ';;.') ).',8

%&! P!!#0!9-.+"07 I#.%+ P.,'KO1.KD*.('#, 0.,+= )#%3(E

6))3%(.$ 4$(2*+!5 A'/(+$).,#." +$ (3. *.('#,.*'::1)'(. *.;#:(#+$ +-.?.)7(3#$% D+06.:("2 ,#%3(2"3'*+=" .(:8E (+ :).'(. 3#"#,,1"#+$ +- ).',#(78

%&! 5*(,"2 -4 '!+(0)07 A'/(+$D*.('#, 0.,+= ,.-(E

!"# (')5(*(%1 %- %):# )09)'%),# -. %"# &+#)%(9# .*#;(5(*(%1 -.

illusions dramatically affects the finished look of an artist’s work.

This can be seen by comparing Paxton’s ()! 3-+'"& /6 *!.+2,

(right) and Velazquez’ The E!!#2!;/0." D.)+ +(,"%E7 B);%-'< )

'-%#0 4-0#+' )&)0#4(& )&&3+)%# +#)*(/%< +#'0#+/ #9#+1 0#%)(* 6(%"

precision. Looking at a detail of the left hand in Paxton’s painting

D5#*-6 *#.%E< #)&" 6+(':*#< #)&" .(',#+')(*< #)&" /")0-6 -' #)&"

2#)+* )'0 /- .-+%" )+# 9(/(5*#7 !"# (**3/(-'/ -. +#)*(%1 )+# '-%

&+#)%#0 )'0 2*)&#0 51 %"# )+%(/% %- /322-+% "(/ &+#)%(9# 0#/(,'<+#)*(%1 #;(/%/ /(42*1 5#&)3/# #9#+1%"(', (/ ('&*30#0< 43&" %"#

/)4# 6)1 ) &)4#+) +#&-+0/ ) /&#'#7

P#*)AK3#A -' %"# -%"#+ ")'0< %--: .3** )09)'%),# -. "(/ )5(*(%1 %-

4)'(23*)%# (**3/(-'/7 8 &*-/# *--: )% %"# ")'0/ (' ()!

E!!#2!;/0." D5#*-6 +(,"%E /"-6/ ) *--/# 2)('% )22*(&)%(-'7

W#+#< 51 )*%#+(', %"# 6)1 %"# 2)('% 6)/ )22*(#0 %- %"# &)'9)/< 51

4)'(23*)%(', %"# 9)*3#/ D(' ) .)/"(-' /(4(*)+ %- %")% /"-6' -' %"#

2+#9(-3/ 2),#E< )'0 51 -%"#+ )+%(/%(& /*#(,"%/ -. ")'0< P#*)AK3#A

6)/ )5*# %- &+#)%# )' (**3/(-' -. +#)*(%1 6(%"-3% %"# '##0 .-+ %"#

precise detailing evident in Paxton’s work. Velazquez could

%"#+#.-+# 0#/(,' )** )/2#&%/ -. "(/ 2)('%(', D.+-4 %"# )++)',#4#'%

-. *(,"%< /")0-6/ )'0 9-*34# %- %"# 2*)&#4#'% -. +#0 )&&#'%/E (')'1 4)''#+ "# &"-/#< &-'.(0#'% "# &-3*0 )*/- ('&-+2-+)%# )'0

&-'%+-* 6")%#9#+ (**3/(-'/ -. +#)*(%1 "# 0#/(+#0 )/ 6#**7

L"(*# %"# )&&3+)%# +#)*(/% (/ +#/%+(&%#0 %- )&&3+)&1 +#,)+0*#// -.

(%/ )22#)*< %"# (**3/(-' +#)*(/% (/ .+## %- &+#)%# "(/ -6' 0#/(,' –

4):(', &+#)%(9# 2)%%#+'/ %")% )+# 5#)3%(.3*< -+ .+(,"%#'(',< -+

0+)4)%(& )/ "# 2*#)/#/7



_.). (3. -#%1)."2 ?',1."2 :+,+)" '$* 4'$7 +(3.) .,.4.$(" :'$ 0. "..$(+%.(3.) '" ' 1$#(8 9,, :'$ (3.$ 0. '""."".* '$* ',(.).* '" $..*.* (+0','$:. (3. =3+,.8

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5*B#,!) 4-( ]B#,*& +"#Z-0-4!("!) 8+U,# +"# K-0,+*+"# T*&!( :-./-),*,-")D*.('#,E07 P.)+$.".

8*%"-3," %"# (')5(*(%1 %- 3%(*(A# (**3/(-'/ (/ -'# -. %"# 4-/% /#+(-3/

*(4(%)%(-'/ -. ) 0#2#'0#'&1 -' )&&3+)&1< %"#+# )+# -%"#+ 6)1/ %"#

academic copy process limits the artist’s creativity. For example, the

'#&#//(%1 -. /#&3+(', )' )&&3+)%# -3%*('# )% %"# 5#,(''(', -. %"#

6-+:(', 2+-&#// )*/- ")/ /#9#+# 0+)65)&:/7

!"#/# &)' 5# /##' 51 &-42)+(', %"# P#+-'#/# /:#%&" %- %"# +(,"% 6(%"

%"# )&)0#4(& &-21 2+-&#// 0#2(&%#0 5#*-67 H' %"# P#+-'#/#< 5-%" %"#

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&-42-/(%(-'< %"3/ )//3+(', %"# .(')* &-42-/(%(-' )/ ) 6"-*# 6(** 5# %-

"(/ *(:(',7

?1 &-'%+)/%< 03+(', %"# )&)0#4(& &-21 2+-&#// 5#*-6 %"# -3%*('# (/

/#&3+#0 .(+/%< )'0 %"# 9)*3#/ )+# &-*-+#0 (' *)%#+7 8% '- %(4# (/ %"#+#

)' -22-+%3'(%1 .-+ %"# )+%(/% %- -5/#+9# )'0 )0=3/% "-6 5-%" %"# .(,3+#

)'0 %"# 9)*3#/ 6(** *--: %-,#%"#+7 H% (/ ) /3+2+(/# )% %"# #'0< .-+ ,--0

-+ (**7 L"#' 3/(', %"(/ 2+-&#// %"# K3)*(%1 -. %"# &-21 (/ &-42*#%#*1

0#2#'0#'% -' %"# K3)*(%1 -. %"# -+(,(')* )+%6-+:< '-% %"# /:(** -. %"#

&-21(/%7

M$ ' :+;7 ;)+:."" (3. +1(,#$." '). ".:1).* -#)"( (3.$ :+,+).* #$8 C3. -#%1).2?',1." '$* :+,+)" '). $+( *."#%$.* (+%.(3.) '" ' 1$#(8 W3.$ 1"#$% (3#";)+:."" (3. O1',#(7 +- (3. :+;7 #" *.;.$*'$( +$ (3. O1',#(7 +- (3. +)#%#$',

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!"# (')5(*(%1 %- #)/(*1 &--+0(')%# %"# 0#/(,' -. ) &-42*#; &-42-/(%(-' ")/ )

profound effect on the appearance of an artist’s work of art. When an artist does not

")9# %"# %--*/ %- #)/(*1 -+,)'(A# *)+,# '345#+/ -. &-42*#; #*#4#'%/ ('%- ) /(',*#

&-"#/(9# 0#/(,'< "(/ 6-+: %):#/ -' ) &")+)&%#+(/%(& /%(..< /%)%(&< +)'0-4< -+ #9#'

2"-%-,+)2"(& )22#)+)'&#7 !"(/ &)' 5# /##' 51 &-42)+(', %"# %6- 2)('%(',/ -' %"(/

2),#7

!"# 2)('%(', -' %"# +(,"% 6)/ 0-'# 51 Y#*/-' F")':/< ) 9#+1 2-23*)+ 4-0#+'

)&)0#4(& )&&3+)%# +#)*(/%7 !"# &-42-/(%(-' (/ #//#'%()**1 ) &-**#&%(-' -. 9#+1 6#**

2)('%#0 ('0(9(03)* -5=#&%/7 !"# +#'0#+(', -. #)&" /#2)+)%# -5=#&% .)+ -3%/"('#/ )'13'(.1(', &-42-/(%(-')* 0#/(,'7 U-+ #;)42*#< %"# +#0 &-*-+ (' %"# F")':/ 2)('%(', (/

/&)%%#+#0 +)'0-4*1 )5-3%7 !"#+# (/ +#0 4)%#+()*< +#0 -' %"# 2)('% &)'< +#0 -' %"#

6-4)' *(2/< .(',#+/< %-#/< #)+/ )'0 /- .-+%"7 F")':/ %--: ) %+#4#'0-3/ )4-3'% -.

care painting the red material behind the woman’s ankle. However, if the red shape

6)/ ) 5(% "(,"#+< ) 5(% 6(0#+ -+ ) 5(% 0)+:#+ (% 6-3*0 ")9# *(%%*# #..#&% -' %"#

&-42-/(%(-' )/ ) 6"-*#7 N(:#6(/#< %"#+# (/ '- ('%#'%(-')* 0#/(,' -. 0)+: /")2#/ ('

%"# F")':/ 2)('%(',7 O)+: /")0-6/ )+# /2+(':*#0 +)'0-4*1 )5-3%7

?1 &-'%+)/%< F)+,#'% D5#*-6E 0(/2*)1/ ) &-"#/(9# 0#/(,' %")% 0#4-'/%+)%#/ ) ,+#)%

0#,+## -. &+#)%(9# &-'%+-* -9#+ %"# #'%(+# &-42-/(%(-'7 V. &-3+/#< F)+,#'% (/ /:(**#0

)% &+#)%(', ) '345#+ -. (**3/(-'/ /3&" )/ %"-/# 3/#0 %- #'")'&# 4-9#4#'%< *(,"%<

9-*34# )'0 0+)4)7 ?3% 4-+# (42-+%)'%*1< "# .3**1 3'0#+/%)'0/ %")% )'1 0#9()%(-'

.+-4 )&&3+)&1 6(** '-% ")+4 "(/ (**3/(-'/7 W# &)' ")9# 5-%" "(/ &+#)%(9# 0#/(,' )'0

+#)*(%17

U-+ #;)42*#< %"#+# (/ ) *)+,# 0)+: /")2# %")% /%)+%/ -' %"# *#.% /(0# -. %"# 2)('%(', )'0

snakes along the floor, rolls up and through the woman’s torso, then back to the

.*--+ #'0(', -' %"# +(,"% /(0# -. %"# 2)('%(',7 !"(/ /")2# &-'%+(53%#/ &-'/(0#+)5*1 %-

%"# .##*(', -. 4-9#4#'% (' %"# 2(&%3+#7 F(4(*)+*1< %"# +#0@-+)',# &-*-+ )22#)+/ )/ )

/2*)/" -' %"# +(,"% #0,# -. %"# 2(&%3+# )'0 ) /4)**< /(',*# 0+)4)%(& 2-('% -. ('%#+#/%

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“Academic training” has had a variety of definitions over the years. The debate

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