In 1976 Kyffin Williams was commissioned to paint the portrait of the President of the Royal College of Physicians. The sitter arrived at the studio in Pwllfanogl at ten a.m. with the announcement he was due at a meeting in Liverpool at five that afternoon. Williams did the job. The resulting portrait of a black-suited Sir Cyril Clarke captures the intelligence of the medical consultant allied to the toughness of the management leader.
It is inconceivable that Lorraine Bewsey might complete one of her portraits of Britain’s champion athletes within a similar space of a few hours. A Kyffin Williams picture, even in the poorest reproduction, is recognisably composed of its material. The palette knife is used in broad strokes. Lorraine Bewsey works her pastels to a precision of line and density of tone that is uncommon, distinctly unmodish. Even with the viewer’s eye at a distance of six inches the images hold on to their subjects and do not switch to their substance as pigment.
The term “photographic” might be applied but her work is a world away from that of a Richard Estes. The luminosity of colour evokes better the craft of the generation of Byam Shaw, himself encouraged as a fifteen year old by Millais. Tanni Grey-
Lorraine Bewsey states her intention: “I want my portraits not only to draw out the essential character of my subjects, but to be appreciated for the quality of line and tone…to feel that the skill of an individual artist in drawing and painting is important.”
The nine portraits, five pastels and four oils, differ from photography in two prime respects. Firstly, the works have a quality of three-
Accomplishment in sport, as elsewhere, is capability tethered to will. The works repeatedly capture that blend. Nathan Stephens is painted in profile poised to throw the javelin. The face is focussed intention. The fingers are painted meticulously with a grip that is firm but loose, ready for action. Rower Tom James is similarly turned towards the water of the river which is the background. Mind and body are again in apposition; the force in the folded arms, a look of distant concentration in the eyes that can read the meaning of every ripple of the water’s surface.
Bernice Hooper and Tanni Grey-
This particular picture encapsulates painting’s second difference from photography. The artist plays, knowingly or not, with those boundaries of the physiology of human vision. The best portraits exploit the switch of the brain between core and peripheral vision. Simon Richardson’s upward gaze is open to a galaxy of interpretation, steadfastness, pain maybe, resignation. That elusiveness and ambiguity of expression are the aesthetic accomplishment.
Each host country creates an Olympics to its own image. It is a part of Britishness to cock a snoot at authority, to relish taking pomposity down a peg or two. Lord Coe is ambassador, chairman, visionary, but he is also cheerleader, the universal P-
But “Painting the Flame” takes the Olympics back to what it is. It is the athletes that matter. Fretting over whether Danny Boyle’s opening ceremony “beats” its predecessors belittles both sport and art. This collection is of the greater significance.