I was interested by Percy Wyndham Lewis' use of pencil and watercolour. And his portrait of Edith Sitwell (c 1921) is striking. It was the sparing use of white chalk highlights that drew me to Albert Joseph Moore's portrait of Ellen Terry (c 1880). Predominantly technical and design considerations. But not entirely.
I find copying - which is really just looking closely and taking notes - is a good (old-fashioned?) way of looking and learning and thinking. When it comes to portraits, I am conscious of how many filters I am looking through - imagining what the curator thought the artist thought the sitter thought - and then how the portrait relates to me in the here and now - and even then, tomorrow I may see new things and think differently.
When considering any artwork, I think it's wise to resist ascribing singular fixed artistic intention. Anyone who's ever tried to draw or paint knows how plural and unstable the process is - and it begins again each time a new pair of eyes claps sight on the portrait.
When considering any artwork, I think it's wise to resist ascribing singular fixed artistic intention. Anyone who's ever tried to draw or paint knows how plural and unstable the process is - and it begins again each time a new pair of eyes claps sight on the portrait.