4. Space - Research Self Portraits

Looking into the world of portrait artists, both old and new, has been really interesting . I’ve tried to look into their approaches to form, tone, perspective, mark-making, and the play between positive and negative space. Each artist has such a unique way of seeing and portraying their subjects which I find really inspiring

Form and Tone: John Singer Sargent

John Singer Sargent’s work, like Madame X (Madame Pierre Gautreau), is fascinating. His ability to create smooth tonal transitions makes his portraits look so lifelike, almost like you could reach out and touch them. I noticed how he doesn’t obsess over tiny details but instead focuses on the play of light and shadow to sculpt his figures.

What I took away from Sargent is the importance of simplifying details and really observing how light falls across a face. I want to practise this more in my own drawings—slowing down and letting tone do the heavy lifting when it comes to creating depth and structure.

Perspective: Kehinde Wiley

Kehinde Wiley’s portraits are imposing. Pieces like Napoleon Leading the Army over the Alps make such a strong impression, with their bold use of perspective and commanding poses. The way he plays with angles and scale gives his subjects such a larger-than-life presence, and his ornate, colourful backgrounds pull everything together.

I love how the use of perspective can make a drawing feel dynamic and full of energy. I’m going to try pushing myself to explore more dramatic viewpoints.

Mark-Making: Egon Schiele

Egon Schiele ( as mentioned in the previous research topic) is one of those artists whose work just jumps out at you. His portraits, like Self-Portrait with Raised Bare Shoulder, are so raw and expressive, with their sharp lines and almost scratchy textures. I love how he uses hatching and exaggerated features to convey emotion. There’s something so human and honest about his approach.

I want to be more intentional with my lines, experimenting with different textures and rhythms to capture mood and personality.

Positive and Negative Space: Gustav Klimt

Gustav Klimt’s Portrait of Adele Bloch-Bauer I uses such a brilliant balance of figure and background. The way he uses patterns and flat areas of colour to frame his subjects is quite captivating, and shows how the space around a figure can elevate the whole composition.

Klimt taught me not to overlook the background! I’ve realised how important it is to think about how the figure and the space around them work together. It’s not just about the person but about how everything in the piece interacts.

Modern Boldness: Jenny Saville

Jenny Saville’s work is raw and unfiltered. Her portraits, like Propped, feel so visceral with their thick, messy brushstrokes and attention to the texture of flesh.

I love the freedom she is able to express to be a little messy and embrace imperfection. Seeing her work reminds me to loosen up and focus on capturing the energy and life of the subject instead of aiming for perfection or picture perfect likeness.

Reflections and What’s Next

Going forward, I want to embrace the following in my work.

• Experimenting with bolder, more dramatic perspectives to add energy to my work.

• Loosening up my marks and letting them carry more emotion. Also trying to make more purposeful marks, to make them count and to try and do more with less.

• Giving more thought to how the background and negative space interact with my subject.