Self-Analysis Through Portraits
Portraiture isn't just about capturing a likeness. A good portrait communicates something about the person who is the subject matter of the work.
I have always liked the work of the English portrait artist Sir Thomas Lawrence. Many of his subjects were famous people such as the Duke of Wellington but that is not what makes the works interesting. A look in the eyes, the smile, the position of the body reveal something about Lawrence's people even the ones who history has forgotten. You feel like you would have liked to have met them.
Along the same lines, this is why most portraits done by sidewalk artists are disappointing. Many are great technically. However, in most cases, the artist is merely producing a likeness without seeking to know or understand the person who is the subject.
Since portraiture can (and should) be a way of communicating something about the person who is the subject of the work, it can be a means of self-analysis. In order to say something about a subject, you need to understand how you feel about that subject.
The classic example of self-analysis through portraiture is the self-portrait. A good self-portrait reveals how the artist sees himself or herself. Rembrandt did self-portraits throughout his life. As a result, we can see him proud and self-confident at the height of his success as well as melancholy and thoughtful after fortune had turned against him.
Towards the end of her life, my mother, the artist Valda, embarked on a series of works chronicling the important moments in her life. Inherent in this project was coming to an understanding about which moments were significant to her. Unfortunately, Valda was only able to produce a few works in this series before she became too ill to work.
Inspired by Valda's project, I began my own slightly different project a few years ago. The idea was to do a series of pictures of people with whom I had had significant relationships. I wanted to understand what made those relationships significant, what had happened in those relationships and my feelings toward the people involved.
The first step in the project was deciding which relationships were significant. I had in my mind a general idea of the importance of my various relationships but as I began to do the pictures, I realized that some were not really as important as I had thought. Eventually, I came down to four who were game-changers in the sense that I was never the same afterward.
I have probably done more than a hundred pictures on this project. For some, I based the image on photographs but most were done from memory. They have ranged from paintings to quick sketches on pieces of scrap paper.
In doing the pictures, I have thought about what happened and why. But more importantly, I examined my feelings both then and now.
Overall, it has been a worthwhile project. I have a much better understanding of how I got where I am in life. At the same time, I have come to realize that this is an ongoing project perhaps without end because my feelings towards the past change.
It has also produced some successful artwork. I participated in an exhibition over the winter in which I showed one of the works from this series. A stranger attending the exhibition spent quite a long time in front of that picture. He then came up to me and said that he liked the picture. “I would like to have met her. You must have really loved her.” While the picture has its technical faults, it must be a good portrait as it successfully conveyed the feelings of the artist.
Rich Wagner is a writer, photographer and artist.