Look at some paintings of figures in interiors from different periods and choose two or three pictures that particularly appeal to you. (You’ve already looked at some seventeenth-century Dutch examples in Part Two.) At least one of these should be from the twentieth or twenty-first century. Consider what you think the artists’ intentions are and look at the technical and creative solutions that they’ve brought to the subject.
Paula Rego, Germaine Greer (1995)
Germaine Greer (1995) Paula Rego
National Portrait Gallery_2019
When I visited the National Portrait Gallery a number of years ago, Paula Rego’s Germaine Greer, 1995 was on permanent display. Its life-size, style and subject matter had an immediate impact in delivering a powerful example of contemporary portraiture.
According to the NPG website, Paula Rego rarely accepted commissions but agreed to paint Germaine Greer; the most public advocate of feminism and author of The Female Eunuch. Furthermore, Greer had been a long-standing supporter of Rego’s work, having written an introductory essay to a catalogue of her paintings when she was artist-in-residence at the National Gallery.
Greer wears a red dress and old gold shoes. Her hands rough from gardening. She sits on the forward edge of a brown coloured sofa that is close to floor. Her head is tilted, as if listening with intent and purpose. Her hair is flicked to one side, casting a shadow under the left side of her chin, pierced only by the reflection of an ear-ring. Bone structures are clearly defined through the face, collar bones and clenched hands.
The simplicity of the interior makes this painting all about the sitter. There are no distractions – no unanswered questions.
Murat Tezcan Demirbas, Ordeal (2015)
Ordeal (2015), Murat Tezcan Demirbas @ NPG
During Drawing 1, I reflected on visiting the BP Awards at the National Portrait Gallery. I found I had an affinity to a painting by Murat Tezcan Demirbas called Ordeal (2015). Murat recalled that his inspiration was his own creative process, “it all depends on your energy and inspiration – I tried to reflect the most challenging part of my artistic process.” I certainly felt empathy for the artist and could easily relate to the challenge of seeking inspiration. The blank piece of paper, clock ticking, canvas’ leaning against the wall and being surrounded by materials resembled an overload of information that the mind was trying to compartmentalise to enable clear thinking space, and room for creativity.
I still feel the same about this painting.
Lucian Freud Interior in Paddington (1951)
Lucian Freud Interior in Paddington 1951 @ Walker Art Gallery Liverpool
Interior at Paddington, 1951 (sometimes known as ‘Interior Near Paddington) is the setting of a room in Paddington, which at the time was a rundown part of London. The view out of the window is towards a wall that borders the Grand Union Canal. In front of the wall is a small boy staring towards the open window. A human figure, red carpet and a large yucca type plant occupy the space in the corner of the room.
The title of this painting, the setting and objects within the space give the impression that the figure in the painting, thought to be Harry Diamond (1924 – 2009), is less important than the room in which he stands, presenting a menacing uncertainty of what Freud is trying to portray.
The human subject has a cigarette in one hand and the other is clenched to form a fist. He wears a drab dirty mackintosh, unbuttoned to reveal loosely fitted clothes that suggest they are a size to large for this figure. The subject looks uncomfortable in his pose as if he has has walked in by mistake.
The plant, which is as large as the human subject and in need of being watered, dominants the picture. There is an overall sense of depression and neglect.
Freud’s application of paint is distinctive, muted and gouache like. Here he has used a hard line to describe the figure and objects. Overall the tone of the picture is cool – almost cold.
I have a copy of this painting in my own studio and regularly contemplate what the painting is saying. I have wondered if its a depiction of Freud’s transition from art student to artist. His own studio, style and life.
References:
Liverpoolmuseums.org.uk. (n.d.). Interior at Paddington, Lucian Freud. [online] Available at: http://www.liverpoolmuseums.org.uk/walker/collections/paintings/20c/item-239329.aspx [Accessed 5 Jun. 2019].
Npg.org.uk. (2015). BP Portrait Award 2015 – Ordeal. [online] Available at: https://www.npg.org.uk/whatson/bp-portrait-award/exhibition/exhibitors-entries/37 [Accessed 5 Jun. 2019].
Npg.org.uk. (n.d.). Germaine Greer – National Portrait Gallery. [online] Available at: https://www.npg.org.uk/collections/search/portrait/mw09597/Germaine-Greer [Accessed 5 Jun. 2019].
Tate. (n.d.). Lucian Freud. [online] Available at: https://www.tate.org.uk/whats-on/tate-britain/exhibition/lucian-freud/lucian-freud-room-guide/lucian-freud-room-guide-room-1 [Accessed 5 Jun. 2019].
OCA BA(Hons) Painting Degree - Level 1 