BP Portrait Award 2009

The extraordinary array of works submitted for the BP Portrait Award at the Dean Gallery—entries came from 54 countries—begs the question: “What makes a good portrait?” Unfortunately, there is no definitive answer: some believe an accurate likeness of the sitter to be crucial, whereas others have less tangible requirements, favouring emotional resonance.

Whatever you look for in a portrait, it can be found in the works being exhibited. The Award is open to anyone over the age of 18, and this inclusiveness results in a wide variety of artists, subjects and painting techniques. Unsurprisingly, the works which succeed in capturing the essence of the sitter are those in which subject and artist share a deep personal connection.

Changeling 2, Peter Monkman’s haunting portrait of his daughter on the brink of adolescence was awarded first prize, exploring the transience of youth. His daughter’s shimmering skin has little substance and appears to be changing before our eyes. Monkman says of the painting: “The portrait is as much about being a father coming to terms with my daughter growing up as it is about a painter trying to capture elusive moments in childhood.”

Runner-up Michael Gaskell portrays his son with almost photographic realism using tempera painting, in a labour of love that took four years to complete. He captures beautifully the softness of the skin and hair, and every fibre of his shirt seems delineated. Another highlight of the show is Philip Renforth’s moving depiction of grandfather and grandson—Philip and Joe— which perfectly communicates the closeness of their relationship; although one is nearing the end of his life and the other just embarking upon it, they seem like one being.

In the gallery, one spectator was so engrossed that as she moved back for a better view she nearly tripped over me. Many of the portraits on display succeed in pulling you into a separate world, rendering you oblivious.