In September of last year I had to run an errand which took me into the studio of artist Hugh Bryden. I found him surrounded by the output of his work. Canvases, linocut prints, some on the walls, others stacked against a chest of drawers or set out on a table or lying on the floor; I recognised portraits of a number of poets, both Scottish and Irish. Tom Pow was there. Hugh McMillan. Seamus Heaney. I felt some pride at being able to recognise the late Michael Longley, when shown the image. But that was probably the limit of my knowledge. Enough knowledge, however, to sustain a conversation. And the conversation led to a question which I had not anticipated. “Would I be free next Friday?”
It was explained that, if I were prepared to sit, I would have my portrait painted simultaneously by three artists.
I did not pause to inquire if perhaps a late cancellation had opened up this gap in the schedule. Such an opportunity does not come every day. I said yes.
I was to attend two sessions, a fortnight apart. I would sit for a couple of hours on each occasion. The task would be relieved by a coffee break at the halfway mark.
On my arrival at the studio for the first sitting, I was made welcome, but time was not wasted in getting down to work. “Sit there and focus on something on one of those shelves,” I was told.
That was it really. Obviously, I had to keep my mouth shut. It didn’t seem like hard work and the time passed easily enough.
At the break, the atmosphere was relaxed. I had not met Sandy Robb or Tom Lindsay before. Naturally they expressed interest in what I did when not sitting for portraits. Perhaps they were already aware that, for a spell, following my arrival in Dumfries many years ago, I worked as a jobbing gardener. It was in this guise that I had first encountered Hugh and accepted a contract to cut the grass in his back garden on a fortnightly basis during the summer months. But I moved on to other things.
In the coffee break interval, I was able to get a glimpse of the very different approaches to the task which the three artists were taking. Yet, however individual the styles, I was able to recognise in each something of the face I see every morning in the mirror.
Needless to say, these sessions were part of a larger project the culmination of which is an exhibition, Friday Portraits. It has just opened. I think it worth quoting a paragraph from the publicity associated with this:
What has made this project of particular interest is that although they have painted the same model, in the same pose, within the same time frame, each artist has produced work of a unique character. Each is “true” to the model, recognisable as them, but each is different in interpretation, approach and treatment, which raises the question, is there such a thing as objective likeness?
I find all three of the finished portraits of interest. Do I have a favourite? Jackson Browne, in his 1974 album, Late for the Sky, tells a story which I think makes a useful point. In four lines cast in his typically sinuous style he says:
Looking through some photographs I found inside a drawer
I was taken by a photograph of you
There were one or two I know you would have liked a little more
But they didn’t show your spirit quite as true.
Portraits can flatter, but the best portrait may offer a truthfulness which is a little more difficult for the sitter to digest. Graham Sutherland’s portrait of Winston Churchill is a famous example of a work that did not please its subject. The artist was determined to depict the ravages of Churchill’s decline into old age but the offence taken was great. According to the version of this story told in the Netflix series, The Crown, Clemmy, Winston’s wife, had the picture put on a bonfire, an act of art vandalism, many would say. [1]
The Friday Portraits exhibition is now showing at Gallery 1, Gracefield, Edinburgh Road, Dumfries. As well as the work of Hugh, Sandy and Tom, the show also includes portraits from three other artists: Freda Blackwood, Blossom McCuaig and Joe Meola. It’s well worth an hour of your time and is open until 16th May. As it happens Joe Meola, when not making portraits, runs the excellent cafe in Gracefield Studios, so there’s another reason for going.
End Notes
[1] The Crown, Season 1, Episode 9, “Assassins”
Header image cropped from a photograph of Gracefield Studio 1, by Richard Dorrell, source geograph.org.uk
I am a retired College lecturer, having worked originally in supported programmes but latterly having taught social science subjects, Psychology and Politics, though my degree was in Sociology. I am from Newry in Northern Ireland, but now live in Dumfries in South West Scotland. https://carruchan.wordpress.com/about/
Carruchan
Friday Portraits
A sitter’s view of the matter
In September of last year I had to run an errand which took me into the studio of artist Hugh Bryden. I found him surrounded by the output of his work. Canvases, linocut prints, some on the walls, others stacked against a chest of drawers or set out on a table or lying on the floor; I recognised portraits of a number of poets, both Scottish and Irish. Tom Pow was there. Hugh McMillan. Seamus Heaney. I felt some pride at being able to recognise the late Michael Longley, when shown the image. But that was probably the limit of my knowledge. Enough knowledge, however, to sustain a conversation. And the conversation led to a question which I had not anticipated. “Would I be free next Friday?”
It was explained that, if I were prepared to sit, I would have my portrait painted simultaneously by three artists.
I did not pause to inquire if perhaps a late cancellation had opened up this gap in the schedule. Such an opportunity does not come every day. I said yes.
I was to attend two sessions, a fortnight apart. I would sit for a couple of hours on each occasion. The task would be relieved by a coffee break at the halfway mark.
On my arrival at the studio for the first sitting, I was made welcome, but time was not wasted in getting down to work. “Sit there and focus on something on one of those shelves,” I was told.
That was it really. Obviously, I had to keep my mouth shut. It didn’t seem like hard work and the time passed easily enough.
At the break, the atmosphere was relaxed. I had not met Sandy Robb or Tom Lindsay before. Naturally they expressed interest in what I did when not sitting for portraits. Perhaps they were already aware that, for a spell, following my arrival in Dumfries many years ago, I worked as a jobbing gardener. It was in this guise that I had first encountered Hugh and accepted a contract to cut the grass in his back garden on a fortnightly basis during the summer months. But I moved on to other things.
In the coffee break interval, I was able to get a glimpse of the very different approaches to the task which the three artists were taking. Yet, however individual the styles, I was able to recognise in each something of the face I see every morning in the mirror.
Needless to say, these sessions were part of a larger project the culmination of which is an exhibition, Friday Portraits. It has just opened. I think it worth quoting a paragraph from the publicity associated with this:
I find all three of the finished portraits of interest. Do I have a favourite? Jackson Browne, in his 1974 album, Late for the Sky, tells a story which I think makes a useful point. In four lines cast in his typically sinuous style he says:
Portraits can flatter, but the best portrait may offer a truthfulness which is a little more difficult for the sitter to digest. Graham Sutherland’s portrait of Winston Churchill is a famous example of a work that did not please its subject. The artist was determined to depict the ravages of Churchill’s decline into old age but the offence taken was great. According to the version of this story told in the Netflix series, The Crown, Clemmy, Winston’s wife, had the picture put on a bonfire, an act of art vandalism, many would say. [1]
The Friday Portraits exhibition is now showing at Gallery 1, Gracefield, Edinburgh Road, Dumfries. As well as the work of Hugh, Sandy and Tom, the show also includes portraits from three other artists: Freda Blackwood, Blossom McCuaig and Joe Meola. It’s well worth an hour of your time and is open until 16th May. As it happens Joe Meola, when not making portraits, runs the excellent cafe in Gracefield Studios, so there’s another reason for going.
End Notes
[1] The Crown, Season 1, Episode 9, “Assassins”
Header image cropped from a photograph of Gracefield Studio 1, by Richard Dorrell, source geograph.org.uk
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About Stephen Shellard
I am a retired College lecturer, having worked originally in supported programmes but latterly having taught social science subjects, Psychology and Politics, though my degree was in Sociology. I am from Newry in Northern Ireland, but now live in Dumfries in South West Scotland. https://carruchan.wordpress.com/about/