The Metropolitan Museum of Art's latest exhibition, 'The Face of Modern Life', is a captivating exploration of the multifaceted nature of portraiture. This thought-provoking show challenges the traditional understanding of what constitutes a portrait, showcasing a diverse range of artistic expressions that go beyond mere physical likenesses. The exhibition, curated by Stephanie D'Alessandro, takes a broad and imaginative approach to the subject, inviting visitors to question the very essence of portraiture and its role in art history.
One of the most intriguing aspects of the exhibition is its focus on the artist's role in creating a portrait. D'Alessandro highlights the tension between the subject and the artist, asking: 'What is it that resembles them? Is it the physical look, or something else?' This question is particularly relevant when considering the works of Max Beckmann and Wifredo Lam, whose portraits are rooted in memory and myth rather than a strict physical likeness. Beckmann's 'The Beginning' is a triptych of childhood scenes, while Lam's 'Ídolo' is a melange of forms based on the goddess Oyá, revealing the artist's interpretation and emotional connection to the subject.
The exhibition also features Pablo Picasso's iconic portrait of Gertrude Stein, which redefined ideas around portraiture of women and led the Spanish artist toward cubism. Stein's poem, 'If I Told Him, A Completed Portrait of Picasso', accompanies the painting, questioning the very concept of likeness and resemblance. This interplay between art and text is a fascinating aspect of the exhibition, inviting visitors to consider the relationship between the artist and the subject in a new light.
Another standout piece is Francis Picabia's 'Elegance', a bizarre portrait of a woman with a parasol that reflects the artist's dadaist history. This work is paired with Wallace Stevens' 'Thirteen Ways of Looking at a Blackbird', creating a compelling dialogue between the visual and the poetic. D'Alessandro notes that these works are about 'human presence, the drive to connect, proxies or allusions to existence', suggesting that even works that don't appear to be portraits can function as such.
The exhibition also includes abstract compositions by Paul Klee and Vasily Kandinsky, which offer impressions based on the texture of experience and emotional temperature. Klee's 'May Picture' and Kandinsky's 'Improvisation 27 (Garden of Love II)' are examples of how artists can convey a sense of place and emotion without depicting a physical likeness. D'Alessandro emphasizes that these works are 'direct aesthetic experiences', inviting visitors to immerse themselves in the artist's vision.
'The Face of Modern Life' is a testament to the enduring appeal of portraiture and its ability to connect us to the past and present. D'Alessandro sees in portraiture a fundamental human urge to connect and bridge the gap between the inside and the outside, as described by EM Forster. The exhibition encourages visitors to take the time to look into a portrait, understanding something far beyond the subject and the artist's intention.
In conclusion, 'The Face of Modern Life' is a thought-provoking and engaging exhibition that challenges the traditional understanding of portraiture. It invites visitors to question the very essence of the form and its role in art history, offering a fresh perspective on a seemingly simple but truly elusive art form. The exhibition is a must-see for anyone interested in the complexities of portraiture and its enduring appeal.
