Some of the differences between the approach of Carolus-Duran (and Sargent a bit but see the Evolution of Impression series where i talk about him specifically) and the Boston School to laying in a picture are discussed. Both have Velasquez among their influences but the addition of the Monet influence on the Boston seems to set up other possibilities or necessities.
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Lewis McK
QUESTION: You probably already have a video comparing and contrasting the Boston School approach with that of Sargent/Carolus Duran, but if not, what would you say are the main points of departure? If I recall correctly, students of Duran spoke of his approach to painting a head as involving painting the various planes of the head as discrete units, keeping the tones separate from one another, then mixing intermediate tones to manage the transitions between planes. Am I right in thinking this is quite different from the Boston approach, in that it proceeds from a planar conception of form, rather than from the direct perception of the light pattern? To what extent does prior knowledge of, e.g., head proportion, or a planar abstraction of the head's structure, play a role in the method of the Boston painter in getting the light pattern? Does he put such things right out of his mind, or does he use them to check his work as it develops?
Lewis McK
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