While the project is fascinating, one can't help but question whether technology can replace the human touch? Maybe the question we should be asking is: What does the artist bring to a portrait that technology cannot?

The answer ... Character.

During a recent trip to Washington D.C., I stopped by the International Spy Museum and learned that the best spies have generic faces and average build so they blend in and are forgettable. Yet, as an artist, it is our search for how one's face differs from the norm that creates its unmistakable character.

Character isn't only limited to the features, it also comes across in how individuals carry themselves; their stances, as well as their mannerisms with their hands and fingers. This is why many of us are able to spot our friends and family from afar, even if we cannot see their facial features.

Compare the two portraits of Teddy Roosevelt below. The first is a copy by Adrian Lamb after the original portrait by Philip A. de Laszlo. The second painting was created by one of my favorite portrait artists of all time, John Singer Sargent.

When placed next to each other, Lamb's painting of Roosevelt, even though masterfully executed, pales in comparison. Why? Because Sargent's painting captured Teddy Roosevelt's powerful personality. Sargent later confessed that while painting before Teddy, "he felt like a rabbit in the presence of a boa constrictor."

Compare also a photograph of Madame Gautreau by Nadar and Sargent's portrayal of her in "Madame Gautreau Drinking a Toast." Madame Gautreau was notorious for her unusual beauty and possible infidelities. She later became the subject of Sargent's most famous painting, the Portrait of Madame X.

One more for comparison, this time a close up of Sargent's portrait of Henry James next to a very similar photograph.

Like other portrait artists of his time, Sargent didn't rely on photographs or measurements to create a likeness. Instead he worked directly from the model, more interested in the gesture than the measurement of the features. He observed his patrons and through dialogue became intimately knowledgeable of their character.

Many artists might be worried that rapidly changing technological advancements will eliminate the need for high quality art. While likeness can and will be easily captured by our cameras and created by our computers, they will never replace the artist touch and the selective ability to draw out character.

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Please enjoy this following excerpt I found taken from the White House Historical Association regarding Sargent's commission of Roosevelt.

"In Roosevelt's official presidential portrait Sargent seized upon two of the President's most salient characteristics, physical vitality and a self-assurance bordering on arrogance, and he painted a tour de force of nuanced blacks, grays, browns, and creams. . . .

"The famous expatriate artist arrived in America in January 1903 and soon received a letter from Roosevelt inviting him to live in the White House during the month of February to work on the portrait. . . .

"Together [Sargent and Roosevelt] toured the White House while Sargent looked for proper light and a good pose. . . . As Roosevelt led the way upstairs, so the story goes, he said, 'The trouble with you Sargent, is that you don't know what you want.' 'No,' replied the artist, "the trouble, Mr. President, is that you don't know what a pose means.' Roosevelt turned sharply back, grasped the newel-post and snapped, 'Don't I!' 'Don't move an inch. You've got it now,' responded Sargent. . . .

"Sargent formalized the pose as an official portrait demands, but the highly colored face and hand bring the painting to vivid life. . . . The expression--a near scowl with narrowed eyes focused on the view--and the vigorously modeled head compel attention and respect."

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You can view Erica's original post here.

This post is by guest author Erica Norelius, This article has been edited and published with the author's permission. We've promoted this post to feature status because it provides great value to the FineArtViews community. If you want your blog posts listed in the FineArtViews newsletter with the possibility of being republished to our 43,000 subscribers, consider blogging with FASO Artist Websites. This author's views are entirely her own and may not always reflect the views of BoldBrush, Inc.