{"id":1376636,"date":"2024-10-01T00:15:00","date_gmt":"2024-10-01T06:15:00","guid":{"rendered":"https:\/\/www.artistsnetwork.com\/?p=1376636"},"modified":"2024-09-25T12:09:17","modified_gmt":"2024-09-25T18:09:17","slug":"artist-self-portraits-me-myself-and-i","status":"publish","type":"post","link":"https:\/\/www.artistsnetwork.com\/art-subjects\/portrait-figure\/artist-self-portraits-me-myself-and-i\/","title":{"rendered":"Artist Self-Portraits: Me, Myself, and I"},"content":{"rendered":"\n

The self-portrait is a venerable practice in the history of art, and yet, it\u2019s a genre that many artists\u2014even portrait artists\u2014often overlook. These watercolorists make a strong case for the creative potential of the subject.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Reflecting Inward: Ali Cavanaugh<\/h2>\n\n\n\n

Ali Cavanaugh<\/a> says that most of the painting she did in her teens and 20s was self-portraiture. \u201cI\u2019ve always painted the figure,\u201d she says, \u201cand at that time in my life, it was easiest to paint myself.\u201d Ease and accessibility is a common motivator for many self-portraits, but there\u2019s usually more to it than that, as Cavanaugh explains. \u201cIt was a great way to explore emotions and concepts as I was figuring out my artistic voice.\u201d<\/p>\n\n\n\n

When Cavanaugh set out to paint The Tired Multi-tasker<\/em>, it had been at least 20 years since she\u2019d painted a self-portrait. \u201cWhen I took an honest look in the mirror, I was struck by how tired I looked and began to reflect on that,\u201d she says. \u201cI wanted to capture a sincere portrait of what I really looked like\u2014puffy eyes and messy braids included.\u201d<\/p>\n\n\n\n

\"\"
Cavanaugh painted The Tired Multi-tasker<\/em> (watercolor, 10×8) on panel, which she prefers to paper. \u201cI like the rigid nature of a panel surface,\u201d she says, \u201cwhich allows for a push and pull of the paint.\u201d<\/figcaption><\/figure>\n\n\n\n

Good Advice<\/h2>\n\n\n\n

\u201cYour first question should always be: What\u2019s the inspiration or motivation behind this painting? Ask yourself what it is you\u2019re trying to portray. Is it about an emotion? Are you telling a story? From there, figure out what can be used to support your concept.\u201d <\/p>\n\n\n\n

\u2014Ali Cavanaugh<\/p>\n\n\n\n

Working With a Familiar Face: Michael Holter<\/h2>\n\n\n\n

Michael Holter<\/a> has long been fascinated by portraiture and, during his years as an art student, he found the self-portrait a practical choice. \u201cIn the absence of a live model, I turned to my own likeness\u2014the ever-present model,\u201d he says. It was a period of experimentation for the artist, during which he explored various techniques. <\/p>\n\n\n\n

As a result, Holter understands the learning power in the practice, noting that self-portraiture provides artists an opportunity to delve into the intricacies of facial anatomy. \u201cThere\u2019s a certain familiarity that comes with painting one\u2019s own face,\u201d he says, \u201can opportunity to study, correct and practice the subtleties of human head structure. Even the simple morning ritual of tidying up my beard\u2019s edges while shaving makes me think through the shape and structure of the face.\u201d<\/p>\n\n\n\n

\"\"
It\u2019s Greek to Me<\/em> (watercolor on paper, 16×13) is a recent work in a style of portraiture that Holter currently pursues. \u201cThe composition adopts a close-cropped, intimate approach, focusing the viewer\u2019s attention primarily on the facial features, with less regard for other elements,\u201d he says.<\/figcaption><\/figure>\n\n\n\n

Good Advice <\/h2>\n\n\n\n

\u201cUsing a careful application of brushstrokes to build facial character is not unlike the process of sculpting. Each stroke contributes to the form, depth and coloration of the surface, and adds layers of dimension\u2014unique to watercolor.\u201d \u2014Michael Holter<\/p>\n\n\n\n

A Chance to Explore: Myrna Wacknov<\/h2>\n\n\n\n

Myrna Wacknov<\/a> began her exploration of self-portraiture in 2009, in response to a class she was teaching. \u201cThe lesson was on the head and hands,\u201d she says. \u201cThe genre didn\u2019t particularly intrigue me until I started doing it. Now it\u2019s a part of my regular practice.\u201d Wacknov doesn\u2019t really change her creative attitude when the subject is herself. \u201cMy self-portraiture isn\u2019t really about me,\u201d she notes. \u201cI\u2019m always looking for interesting ways to create expression or expressive faces.\u201d <\/p>\n\n\n\n

Wacknov recommends that every artist create at least one self-portrait at some time. \u201cI\u2019ve found it very liberating,\u201d she says. \u201cIt gives you total freedom to play with your own image and do whatever you want without the worry over whether someone is going to like it. You don\u2019t have to stress about getting a likeness; it doesn\u2019t really matter. Plus, you\u2019re available 24\/7. Anytime you want to create a new image, you can.\u201d <\/p>\n\n\n\n

\"\"
In Looking Back<\/em> (watercolor and gesso, 14×16), Wacknov used gesso through stencils in the background. Her ongoing interest in textural and color experimentation and distortion are visible. \u201cI\u2019m not looking for a particular expression, just something expressive,\u201d she says. \u201cI\u2019ll label it afterward.\u201d<\/figcaption><\/figure>\n\n\n\n

Good Advice<\/h2>\n\n\n\n

\u201cJust jump in there and try it. Don\u2019t worry about what you\u2019re going to end up with. Start with a good image to work from, and keep an open mind and a willing spirit. Think of it as an opportunity to play around, have fun and explore different ideas.\u201d \u2014Myrna Wacknov<\/p>\n\n\n\n

This article is excerpted from the Winter 2024 issue of Watercolor Artist<\/em><\/a>. <\/p>\n\n\n\n

\n
\n
\n<\/div>\n\n\n\n
\n

From Our Shop<\/strong><\/p>\n<\/div>\n\n\n\n

\n
\n<\/div>\n<\/div>\n\n\n