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Vianna,
Sorry but the whole point of this thread is to underscore the idea that working from photos is a valuable tool that when used correctly and this intelligent use can actually enhance the end result. If someone feels that working from a photo is "soul sucking" for them, that's fine. However it's not a logical indictment of the process for one and all, nor does it make a compelling argument for it's avoidance.
It's my experience that using photos doesn't have to be the equivalent of selling out. There are numerous posts, on this forum, bashing the use of photo reference. I chose not to interact on those threads and spoil the party by presenting a dissenting view. So therefore, I'm presenting my alternative point of view here.
The point of this thread is to present a rational discussion about the intelligent use of photo reference, and in particular to point up that good painting is a function of making appropriate decisions and utilizing well thought out strategies. The reason I started this thread is to go beyond the idea that any one particular methodology is "The Way".
I'm sure that working from memory has it's uses too, but it all comes back to purpose. Henri may have used it to his satisfaction (and yours) but for me personally, I much prefer to embrace the work of Henri's teacher Bouguereau. Bouguereau employed working from life, plein air studies, and using photo reference when appropriate. The key here is "when" appropriate.
If we look back through history we can find numerous examples of artists using every and anything at their disposal to advance their paintings to a higher order. I do believe that the idea of being a purist is much more of a modern rationale.
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