Portrait of Pope John Paul II
 

On page eight of the December issue of "The Portrait Signature" by ASOPA, there is a picture and article about Nelson Shanks' portrait of Pope John Paul II.

For those of us who aspire to do this sort of work, it would seem that this was the commission we were all looking for. Could it get any better than this? Swept away to Rome for weeks working out of your temporary studio near the Vatican, whew!

According to the article, Shanks was able to be in the Pope's presence for only about five hours, never with fewer than five of his familiars also in tow. The article goes on to say that he was able to complete a few oil sketches which were promptly sold to collectors. Shanks then quickly went about gathering the appropriate clothing to create a mannequin to replicate the Pope back in his studio. He also referenced some 570 photographs.

I am of course in awe of this painting. But what strikes me most about it is just how little flesh is actually involved. I would guess that a very small percent of his efforts went into what we call the portrait stuff (likeness, skin tones, hair and teeth).

What we do see in this portrait of a great man (I'm not Catholic) is a tremendous amount of planning of the composition. This is what Nelson Shanks was paid to do. My guess is that if he had handed this painting over, sans face and hands, to any number of artists that we all know and said finish it, it would have been done very satisfactorily. But the totality of the painting, well that's another story.

The Pope's Portrait
 

I agree wholeheartedly with you Mike. This is a great portrait, befitting a great man and I am Catholic. The gesture of the Pope is comforting, and heartlifting...The Shepherd gesturing to his flock. Great composition, warm glowing background.

Not too shabby a commission I might add.

I agree that this is a completely gorgeous painting. But I disagree on this: if you handed me the finished piece, without the flesh, no one would ever confuse my strokes with Nelson Shanks'.

I have to add a comment on how masterfully the vantage point was considered. This is the only possible view that would show the Pope in an unstooped position. In fact it's quite a grand encompassing gesture.

About the copyright issue ... I thought about it and decided to do it anyway. As I've said before, if they sue me I'm taking all you mothers, sons and daughters down with me.

About the painting, I am curious about the bright light on our right in the distance. This may be the brightest spot on the canvas. Does anyone have a theory on its purpose?

I certainly can't speak to its purpose, but it functions very effectively, both in color and value, to complete a visual circle that prevents the eye from leaving the canvas.

I think what I find overwhelming about this portrait is how Shanks handled not only the huge "person" subject matter but, literally the hugeness of San Pietro itself. This cathedral is massive.

If my memory serves me, the light in question to the right of the Pope is one that "back lights" the statutes along the wall. If you continued to walk in the direction the Pope is faced now, you would come across Michelangelo

Some members may be unaware that the ASOPA article giving rise to this thread, as well as many other articles from past issues of the Society's "Portrait Signature" publication, can be found at http://www.asopa.com/publications.htm

Let There Be Light
 

I believe I can suggest a solution to the mystery light on the right. In the ASOPA article, Nelson Shanks is quoted as having "made of" the basilica space what he needed for the picture, which perhaps explains why the "light" wasn't quite where I expected it to be.

In fact, it is one of the few stained glass windows in this area. After seeing the thousands of square feet of stained glass in other cathedrals and churches such as Yorkminster, I was surprised to encounter so little here, so I snapped a couple of photos of this window during a visit last summer. My shots are from a pretty close vantage but in a fairly dark space, and the window is at some distance in the painting, but I'm pretty sure we're looking at the same thing.

Here's the image that convinces me, followed by a close-up of the window itself.

The close-up -- it's quite a stunning feature in the church architecture:

My favorite portrait
 

May I say that Mr. Shanks' portrait of the Pope is now my favorite!