Tuesday, April 19, 2011

The 2011 BP Portrait Award Shortlist


Louis Smith  -  Holly  -  oil on canvas, 8 feet tall


The one painting which,  judging by media attention, is the front-runner in this year's BP Portrait Award Competition has to be Holly, a monumental work by 42-year-old artist Louis Smith from Manchester, England.  In the piece, Holly (the British model Ivory Flame) plays a female version of Prometheus, the Titan who stole fire from Zeus and gave it to the mortals.  When Zeus had discovered the theft, he punished Prometheus by chaining him to a rock and allowing an eagle to eat his liver from the Titan's live body.  Each day, Prometheus' liver would grow back, and the ordeal would begin anew.  Holly is seen in the portrait at the point of the allegory when the eagle is once again approaching to tear into the prisoner's skin.  She is looking directly at the eagle as it comes toward her, "with a calm strength and resilience, accepting the fate that lies before her," states Smith.  "It is a heroic gesture of composure in the face of adversity.  One could put a modern day spin on it," suggests the artist,  and see the portrait as a portrayal of person "having the courage and perseverance to weather life's storms, no matter what."¹


Louis Smith beside his painting, Holly, in its massive, tabernacle frame


Holly is an example of what Smith refers to as a "narrative portrait."  It is a genre which allows the sitter
to be placed in a historical or mythological setting as befits that person's view of himself, or how they wish they could be.  Such paintings can trace their origins to ancient Greece, where nobles commissioned portraits depicting themselves as scholars, athletes, or heroes, but are probably more familiarly recognized in Renaissance "donor portraits," in which the person requesting the painting was added to famous stories in the form of a bystander, or sometimes even as a participant;  in many Florentine church frescoes, for example, the Medici family members are prominently displayed as characters in important religious scenes.


Last Portrait of Mother by Daphne Todd was the 2010 BP Portrait Award Winner

iDeath (oil and acrylic on canvas) by Michal Ozibko, was significantly more popular with the public
 than the actual 2010 award winner.


Despite Holly making headlines, it is by no means guaranteed to win the coveted £25,000 prize.  It is not unusual for a painting which is commonly popular, to be dismissed by the exhibit's judging panel.  This happened last year when the runaway favorite among the public, iDeath by Michal Ozibko, was beaten for the top prize by Daphne Todd's painting of her deceased mother (iDeath was not one of the 4 images on the 2009 shortlist).  Even among the four people on the jury of the 2011 competition, there was no consensus as to the inclusion of the piece.  Jonathan Jones, a critic for The Guardian and one of the four panelists on the jury, seems to championing the work, but even he appears to like the work more for the debate the painting is sparking, than for its technical and visual merits.  Who would have expected that, "in our sophisticated times, the only work that can still shock us is a 19th-century oil painting that worships the artist's idea of beauty."²


Detail from Holly


Will Holly, with its style firmly grounded in 19th century Academic training (and the Victorian Era's habit of masking pruriency with mythology), be able to claim the top prize?  Certainly, it would be another positive step in validating the genre's place in contemporary art.  It will be interesting to see if, as Jones puts it, the "shock of the old," will be enough to earn Louis Smith first place in the BP Portrait Awards.


Holly in progress.


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Who would you vote for?  Take the poll on the left hand side of this blog, and vote on your favorite of the four paintings shortlisted for the 2011 BP competition.  The paintings are shown below.

The poll has closed, and the most popular painting was that of Louis Smith, with 43% of the vote.  Ian Cumberland took 36% of the vote;  Wim Heldens 18%;  and Sertan Saltan, 1%.  Now we just need to wait and see who the judges will pick!

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Ian Cumberland  -  Just to Feel Normal  -  oil on linen,  59 X 39³⁄₈ in.

Ian Cumberland (b. 1983) lives and works in County Down, Northern Ireland. Since graduating in Fine and Applied Arts at the University of Ulster in 2006 he has had a solo exhibition at the Albermarle Gallery in London and has won several awards. Ian’s work is represented in public collections in Ireland. He was a BP Portrait Award exhibitor in 2009. His shortlisted portrait is an enigmatic half-smiling head-and-shoulders study of a friend, who has a tuft of short blond hair and slightly closed left eyelids that perhaps indicate a more melancholy demeanor. “This is a painting of a friend whose story is like many others from my generation that have fallen victim to themselves and their preferred habits,” says Cumberland. “The title ‘Just to Feel Normal’ refers to his answer when asked why he continues along his chosen path.”


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Wim Heldens  -  Distracted  -  oil on canvas,  29¹⁄₂ X 21⁵⁄₈ in.


Wim Heldens (b. 1954) is a self-taught, professional artist who lives in Amsterdam and whose work has been seen in numerous group and solo exhibitions in Europe and the United States. He was a BP Portrait Award exhibitor in 2008 and 2010. His sitter is Jeroen, a 25-year-old philosophy student to whom the artist has been a father figure since he was four. He has sat for him over 20 times, and is pictured here leaning on a section of wall with a pencil in his hand wearing the black and gray of which Heldens says, “He only seems to be wearing these days.” The simple white studio walls are used as basics for his composition, focusing on his sitter in the light from the window. ‘I have been fascinated with painting Jeroen in all stages of life through growing up. While I have painted him many times in groups, once in a while there is the desire to paint a simple portrait of just him. Now, he is an intelligent and sensitive young man’.


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Sertan Saltan  -  Mrs. Cerna  -  oil on canvas, 16¹⁄₈ X 20 in.

Born in 1982 in Eskisehir, Turkey, Sertan Saltan now lives and works in Avon, Connecticut, where he is developing a studio. He studied painting at a famous atelier in Istanbul before moving to the United States in 2006 to continue his studies at New York State University where he gained a BFA in Product Design. His sitter, Mrs. Cerna, is the younger sister of a friend in New York City, who is caught glancing at the artist, almost menacingly, in her hair rollers and latex gloves sharpening a large knife. “The contrast of knife, gloves and rollers brought both humour and horror to mind,” he says. “The animated sharpening of the knives and thoughtful facial expressions were burned into my mind’s eye. I wanted to capture on canvas that moment which allows the viewer to meet this extraordinary woman and experience the richness and complexity of her preparation for Thanksgiving dinner.”


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Louis Smith  -  Holly  -  oil on canvas, 12 X 8 ft. (including frame)

Louis Smith (b. 1969), from Manchester, studied painting at Sheffield Hallam University and scene painting at the Royal Academy of Dramatic Art. He has exhibited in Britain and Italy and at the 2009 BP Portrait Award. His eight-foot portrait shows a naked model called Holly handcuffed to a rock in a wild cave-like landscape. The Allegory of Prometheus is re-imagined in female form. Prometheus stole fire from Zeus and gave it to mortals; as punishment he was bound to a rock while an eagle ate his liver daily only for it to grow back to be eaten the next day. Holly looks into the eagle’s face with calm resilience, accepting her fate. “It’s a message of composure in the face of adversity, something we can all draw strength from in our struggle to make a daily living.” The portrait has a huge gilt frame with a marble plaque at the base, inscribed with the name “Holly.” “It’s an extravagant attempt to illuminate the Baroque style,” says Louis, who was helped with set, frame and background painting by Carmel Said.

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The above biographies were retrieved from Auction Central News.

¹Smith, Louis.  The Holly Project.  Retrieved April 16, 2011 from {www.paintaportrait.org/gallery/holly/}.

² Jones, Jonathan, (2011). BP Portrait Award 2011:  The Shock of the Old.  Retrieved April 16, 2011 from {www.guardian.co.uk/commentisfree/2011/apr/14/bp-portrait-award-louis-smith-holly}.

22 comments:

ScottWms said...

Good grief! The frame for "Holly" must have cost as much as a Volvo! Too much bling.

artist said...

Technical merit is not enough. The painting feels very staged.

AJ said...

so predictable.....photorealism and/or kitsch social commentary.

Alexandra Tyng said...

"Holly" is certainly a tour de force of painting skill. But the idea of putting a woman in the role of Prometheus seems to me to be just another excuse to paint a nude woman in a sexual theme, because there's no real point behind her being there. Rather than "calm resignation" and "composure in the face of adversity" I see fear on her face. And the handcuffs and threatening eagle swooping down support that image. Is it meant to be serious, or is the artist trying to make a mockery of the sexy female subject in realist art today?

Whitney said...

We commend the amazing variety of work done for this award.At Viachallenge we support and feature many art awards as well!

jeff said...

Wim Heldens get's my vote. His work is subtle and full of humanity. All the other examples move towards being to nihilistic. Holly is awful, and as Alexandra Tyng has pointed it also fails on an intellectual level as well. All I see here is ego.

Man that is one awful painting.

Paul Corfield said...

Wim Heldens - Distracted would get my vote, of the finalists it's the one that keeps my attention span and leaves me wanting to know more.

Stanka Kordic said...

This is not a positive step by any means. Objectifying women, regardless of the 'genre' regardless of the 'mastery of technical skill' is never acceptable. Women portrayed in ANY kind of compromising position- even when an artist may be making a statement against it- is just wrong.

Walter Woodpecker said...

In my view, it's unfortunate that paintings like "Holly" merit any serious consideration in the Art World. Debasing values undermine our hopes for a better World. Despite anyone's 'wishing to be her', etc., human depravity is not a theme that's speaks well for patronage of the arts in general. While this painting may likely sell and hang in a gentleman's castle, that fact, or an award for it, doesn't validate this tired, stale ruse for technically proficient artists who cannot discover a path that goes forward in the World.
However as a BP prize, it's seems like a winner. The symbolic representation expressed herein could be used well in all their advertising...

innisart said...

@ artist - Technical merit may not be enough, but a painting without it is nothing. Those who can go beyond the technical and create that "something more" which no one can define, are rare indeed. They are geniuses. But someone with technical skill has a better chance of stumbling upon that "something more," than someone with out that skill.

I'm not sure if you meant "The painting feels very staged" as tongue-in-cheek. After all, Smith trained as a stage set painter. Also, I can't say I've ever seen a candid, naturalistic painting of a girl chained to a rock (of course, there is Art School Confidential...).

If you meant the comment seriously, I would point to the genre Smith is working in- all of such work has a staged air to it.

innisart said...

@AJ Actually, this year's choices seemed less predictable to me, though with Jones' comment in The Guardian, "Holly" provokes the reaction that such a competition looks for- shock. Despite this being an award for figurative work, they are still approaching the event as if it were Modern Art.

innisart said...

@ Alex Wow! I don't see her looking scared at all. That is one of the things that first bothered me about the work. It looked to me as if someone had some reference they really liked, and were looking for some way to force it into a painting. For a woman chained to a rock, in a foreign landscape, she seemed quite calm, clean, and seductive to me. If we take Smith at his word, then this was intentional. I would have preferred the eagle to be part of the painting if it is meant to illustrate Prometheus.

I don't mind paintings about myths, even though I realize such paintings were a way of wealthy men to sneak dirty pictures into their billiards room and call it art. I too find it odd that Smith chose to represent Prometheus as a woman. When I first saw the image, I thought it was a representation of Andromeda. It reminds me a lot of Poynter's version of that myth. If it had been a naked man as Prometheus, it wouldn't have bothered me. Smith's manner of portraying the model the way he has, is really not trying to disguise the objective of putting a pretty, naked, larger-than-life woman right up front, and in the article in The Guardian, Jones seems to indicate that it was Smith's intention to stir up this controversy.

innisart said...

@ Jeff and Paul - In terms of a portrait presenting a psychological sense of the sitter, then I think Heldens' is the most successful. Cumberland's painting also gives a sense of his sitter, but I think his model's life is so written across his face, that it would be caught in a photograph just as well as in the painting. I just don't see Holly as a portrait, no matter the history of narrative portraiture behind it- it's an allegorical painting, and as such it is missing some elements which could have made it more complete. And I'm afraid Mr. Saltan's painting strikes me as an odd choice for a finalist.

Alexandra Tyng said...

Well, Matt, okay, maybe I would change that to a mixture of fear and lust, as though she might be enjoying the fear. Yes, I agree, a naked man in that role wouldn't have bothered me. . . unless he had been posed in the same seductive way! Then it would have been funny.

jeff said...

I've looked at Holly some more and I think I've changed my mind about it.
I don't think it's awful. I still have a lot of problems with this kind of allegorical work.

I think Smith is a on hell of a painter. I saw a painting he did of Christ on the cross scene from above which I think is a better painting.

This has a lot of Cecil B DeMille in it which makes it kind of Kitsch in a lot ways.

I also would like to see it person.

jeff said...

Check out Louis Smith' web site.
His other work is amazing.
His portrait work is superb and it seems to me that he studied at the Angel Academy. At least his academic work seems to look as if he did.
Wonderful work.

innisart said...

@Jeff I agree; Mr. Smith is extremely talented. I hope he does well, either in this competition, or as a result of the attention he is getting (he did win another big award for the same amount of money a few years ago, so it is not like he is unknown). I think the painting could be positive for Realism; let's just hope the next one is also more positive for women. I think the nudity in this could have still been present, if the pose were handled differently (eg. Waterhouse's Eulalia, where the nudity isn't used in a lascivious manner). Of course, then no one may have noticed the painting (well, at 12 feet high, I guess it would still get noticed, but you know what I mean)

Brady said...

The Saltan painting looks like the unfinished efforts of a first year art student.

The Cumberland suffers from "Everything's In Focus" syndrome and is a rare case where I would agree with you that a snapshot would have served just as well, since the painting exhibits the same lack of pictorial thought that a camera lens does.

The Heldens painting I find faintly disturbing for some reason, but I think it is the one easiest for people to relate to and is sufficiently proficient.

Smith's painting has a nice technical finish but all of the parts are disconcerted and make me uneasy. The girl's pose and expression make me think she is some nympho who loves bondage and is anticipating the return of her lover. It does not portray resiliency or acceptance and without some form of the eagle in the painting the story is lost and we are simply left with a girl chained to a rock.

I personally don't care which one wins as I wouldn't vote for any of them. I have seen much better portraits and if I was on the jury I would refuse to hand out the prize until something deserving of it showed up even if I had to skip a year.

AJ said...

@innisart you're quite right about that. What criteria, I wonder, could they use to judge the competition? Since they are (almost) all copies of photos, there is little technical skill to talk about.... say I.

BarbaraRivera said...
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babysline said...
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