Interesting and valuable comparison.  I would only say that artists working from life also have to critically evaluate what they're seeing, and edit, enhance or modify the visual information before them.  It is not necessary, nor is it desirable to record everything that is observed, precisely as it is observed.  

Thanks Steve for focusing on this particular detail of sketching from photos..I am basically a three-minute sketcher..and for this matter in portraiture, I prefer to do it with Live models than with photographs since there is really a great difference in "visual perception and treatment of space"...specifically, expressions and the essence of that particular moment of a model is more profound when done in actuality..than by mere photograph.

There is always an essential and significant difference..live sketches  compared to photographs....actual sketches reveals specific essences...photographs simply documents i guess...

interesting indeed

On the other hand, a model who knows he or she is being observed will convey a much different 'essence' than someone who is photographed unselfconsciously.  It really depends on what the artist is interested in and after.  Most deliberately posed portraits or figures cannot escape that what is being recorded is a *posed* essence.  Sometimes that is desirable, other times not.  

Hey Steve - thanks for the even-extra Promotion!   And, as I think

I said before - your drawing looks awesome... :0)

XO - George

As a painter who often focuses on the male figure, I was glad to see this article featuring the work of George Towne. It's very rare to see an article which focuses on the male figure. It was fascinating to learn how George applies layers of colors and has to wait for them to dry. I could never work that way! Even working with Golden Open acrylics, which take longer to dry than conventional acrylics, is proving a challenge to me!

Good points were brought up in the article about knowing/not knowing your model which is an issue I always face when painting a portrait. I'm not quite up to Andrew Wyeth's point of refusing to paint commissions of people I don't know! ;-)

Like George, it's typical for me to work with a combination of photos and live posing. It would be impossible to work otherwise, given everyone's time demands and the prohibitive cost. I don't know how the old masters did it!

It was a wonderful experience to become familiar with George's sensitive yet manly works.

I wish this article had at least been mentioned on the cover of the magazine. I would have never seen it if not for this blog.

this is one ugly dude,  wait I think I know this whore! omg what a scary nasty thing

could you have picked a better looking model