Unity from the Start -196

The idea of painting the thing as a whole, the unity of the big general impression, necessitates having all the parts together at one time. What, if any, legitimate ‘dodges’ or stratagems may be used to maintain visual integrity when all the elements of the ‘scene’ cannot always be present?

In Response to Richard

QUESTION: This one left me wondering what your thoughts are concerning Velazquez painting such a complex work as “les Meninas” or “The Spinners”. Would you say he had the entire “ensemble” in front of him each time he worked on the painting, or would it be necessary only for the start? Could he then complete the painting with parts missing relying on memory of the whole and perhaps a final shot with the entire cast in place to pull it together?

Richard