The Painter in Oil / A complete treatise on the principles and technique necessary to the painting of pictures in oil colors

by Daniel Burleigh Parkhurst

It is never good work to paint the head and then paint a background behind it. Particularly is this true when there are windows or any objects whatever in the background. It is most important that the whole thing shall be seen in the same kind of light, and in the same relation of light. This is hardly to be done when the head is one painting and the background another.

This is not rigidly true, however, in cases when the whole thing is planned beforehand, and studies made for each part, as in elaborate portraits and compositions which include several figures or special surroundings. But the principle holds good here also. The relation must be kept of the head to the surroundings, and the effect of the one upon the other always kept in mind.

Complex Portraits.—It is often possible to pose your model so as to bring out some characteristic occupation. This is often done in portraits of distinguished men. Such a treatment gives opportunity for composition both of the figure and of the various objects which may make up the background.

In such pictures you should study arrangement of line and mass, to make the thing æsthetically interesting as well as interesting as a portrait. Composition in mass,—the consideration of the head and shoulders in relation to the space of the canvas,—is necessary in the simplest head; but as soon as the canvas takes in a representation of action on the part of the figure, line and movement must be considered, as was done so beautifully in Whistler's portrait. In this the study of composition is your problem. You may study it all the time and in every picture you do, but it should be worked out before you begin to paint.

Plan your canvas carefully always. Know just where everything is coming. When you leave things to chance, you are pretty sure to have trouble later.

Portraits Good Training.—I would not have you undertake to paint a portrait rashly. You should know what you are to expect. If you are not pretty sure of your drawing, and of the first principles of seeing color in nature, and of representing it on canvas, you are likely to get discouraged. Particularly if a friend poses for you, you may expect disappointment on both sides. Drawing a head from the life is a very different thing from drawing an inanimate object which will stay in one position as long as you can pay the rent. So in the painting of it, too, the color itself is alive. Flesh is something very elusive to see the color of. And when you find that just as you begin to get things well under way, or are in a particularly tight place, just at that moment your model must rest, you must stop while the position is changed and gotten back to again; then you will begin to realize that "la nature ne s'arrête pas."

I would have you know all this, I say, before you begin on your first portrait; but, nevertheless, if you can get a start at it you will find it extremely good practice. The very difficulties bring more definitely to you the real problems of painting. The fact that it is really the representation of something which has life has an interest quite of its own. The constant change of position on the part of the model will make you more observant, and less regardful of details; or if you do regard the details, and forget the other things, it will show you how inadequate those details are to real expression, unless there is something larger to place them on.

Don't undertake the painting of a head without considering well that you are likely to have trouble, and that the trouble you will have is most likely to be of a kind that you don't expect. But, having begun, keep your head and your grit, and do the best you can. Remember that you learn by mistakes, and failures are a part of every man's work, and of every painter's experience, and not only of your own.

You will save your self-esteem from considerable bruising if you make it a point never to let your sitter see your work till you are pretty well over the worst of it. The knowledge that it is to be seen will make you work less unconsciously, and you will find yourself trying for likeness, and all that sort of thing, when that is not what you should be thinking about; and if, after all, the thing is a failure, it is a great consolation to know that no one but yourself has seen it!

Beginning a Portrait.—The ways of beginning portraits are innumerable. There is no one right way. Some are right for one painter or subject, and some for others; but there are some methods which are more advisable for the beginner.