Portrait of Pope John Paul II

[Chris Saper]

I love Nelson Shanks' work. And I really love this painting, which has absolutely nothing whatsoever to do with any emotional response, spiritual orientation or any other extraneous thing. I've never been to the Vatican. I just respond to this as a painting of a person who is the Pope.

First, as I alluded to earlier, I am struck by the imagination to have presumed this viewpoint - precisely because the "photo-ops" of the Pope explicitly show a normal viewpoint, stooped, round-shouldered, and from above. There is no other way than this "looking up" vantage that could have worked as well IMO.

Regarding the placement of the cane, I would seriously doubt that this was without purpose. Almost, but not quite a tangent. Many of you may remember Shanks' cover on the American Artist magazine, a red-headed woman with a Victorian chair finial sticking out of her head. In the only conversation I ever had with Nelson Shanks I asked him about this, as I couldn't think of anyone who would do such a thing. His reply was along the lines of, "I know. Isn't it great!"

If he only talked the talk, I'd have a much different impression ... but if anyone walks the walk, he certainly does. That is not to say that he isn't a very intense man - he is. He happens to possess quite an intellect.

With regard to the placement of the light, it is right, visually, where it is. I am sure that he he had a clear understanding up front of what parameters were necessary.

[Jim Riley]

Shanks' painting will be displayed at the Philadelphia Museum of Art thru Feb 2 and then tours nationally. I had trouble relocating the exhibition schedule which ends with the painting going to the Vatican.

The following is the Dec 28 press release. I noted, and was not surprised to learn, that he was not able to have a sitting and had to rely on photos.

Nelson Shanks Paints Portrait of Pope John Paul Based on Public Appearances

ANDALUSIA, Pa. (AP) - When he painted Princess Diana in London in 1994, Nelson Shanks spent more than 40 hours huddled in a private studio with the troubled beauty, as paparazzi buzzed on the street below.

Shanks became a close friend of tenor Luciano Pavarotti, whom he will soon paint for the third time, and has a photo of his young daughter chatting up the imposing Margaret Thatcher during a studio break.

But the Bucks County portrait painter, who lives and works in a formal 19th century estate on the Delaware River, never got to meet his latest subject.

"That wasn't possible," said Shanks, beside his radiant portrait of a vibrant Pope John Paul, which he based on public audiences and photos of the aging pontiff from about a decade ago.

"I got to know him as best I could through every bit of material there was."

After touring the United States with other Vatican treasures, the Pope's official portrait will take its place beside works by Michelangelo and Raphael at the Vatican Museum in September 2004.

"It's a direct competition with some of the greatest artists of the past," said the 65-year-old Shanks. He's not Catholic, but as a passionate collector of 16th to 18th century Italian art, he relishes the chance to take on his idols.

The 54-by-50-inch oil painting goes on public view next month, from Jan. 7-9 at the Cathedral Basilica of Saints Peter and Paul in Philadelphia, then moves to the Philadelphia Museum of Art for about a month.

[Elizabeth Schott]

Jim, I hope you don't feel I was slamming you for your "technical" critique of this painting.

What I was trying to say, in addition to what Chris and Jeanine have both said so well is that this is the Catholic Church...

I would have liked to see a portrait of the Pontiff that revealed something of the man behind the robes and symbolism. Instead the painting feels more like a photo op.

There is nothing more important than symbolism! I searched so hard to find the painting of what my music director friend has so respectfully dubbed the "later baby" Pope portrait. Wow, this one would make your blood curdle! It is truly an Elvis placemat.

I personally love the image of a stooped over John Paul II. His humility really shines.

[Jim Riley]

Beth, I didn't feel "slammed" in any way but did intend to redirect my focus from the bits and pieces of the painting to larger concerns. I will disagree with the importance of symbolism however. It is the ideas and beliefs represented by symbols that are more important. They provide an immediate connection and often-decorative devices for recall and give reminders but do not give full explanation. I was trying to suggest that an opportunity to know the Pope in a way that most of us want to believe cannot be better accomplished than through portraiture might have been missed.

It is quite common when doing critiques to find something not correct about the eyes, nose, or mouth and overlook the equally and usually more important things dealing with concept and composition. In the case of this painting it would be helpful to know what other approaches he considered before arriving at the final. Perhaps its eventual home among masters of old in a time honored place was enough to make him favor something less certain, reserved, and not as typical of his work as I know it. This is the same guy who could pull off "a Victorian finial coming out of her head"? He ties subjects and backgrounds together with boldness, strength, and daring not shown in this painting.

Now I must find time before the display in Philly ends this Sunday to see the painting up close and real and get a better chance to judge its effectiveness.

[Elizabeth Schott]

You are right Jim, and I am sure you can tell I am not a cradle Catholic! I see the symbolism and have a hard time seeing the meaning behind all the "stuff".

Do make time to see this painting for all of us, it will be nice to hear a "been there" review!

[Jim Riley]

Beth, I'll be on the train before 8AM on Saturday.
Report to follow.

I should tell you that my parish as a youngster featured an old Romanesque church with side altars each with large frescos, vaulted ceilings, and stained glass windows. I spent more time than the good nuns wished studying gold leafed pattern and scroll and this early and rich experience sparked my interest in design, color and pattern which I put to good use later in illustration and pattern design.

I recently found some of my old working drawings for a church mural. Do we have a critique category for ceramic tile mural portraits?

[Minh Thong]

As a serious student of portraiture, I appreciate that the discussion of this work is articulate, well-reasoned, and polite. You'd be surprised how much we beginners can learn from critiques of the work of other, more advanced artists. And since I love Mr. Shanks' work, I am very interested in what professional portraitists have to say about it. For me, it's another learning opportunity.

I first saw this painting on another forum, and the subsequent posts ranged from admiration to crass, ill-informed, rude commentary about everything from the composition to the technical skill. In my opinion, there was absolutely nothing to be learned from discussions about this painting on the other forum, just a blatant display of childishly jealous insults.

I have, in the past, made remarks about the SOG forum that were childish, at best. Lately however, I have come to understand that SOG is one of the best resources for students of portraiture on the Internet. And further, the flavor of discussion here, rather than stifling, is much more conducive to constructive learning and the sharing of ideas.

I salute you.

Minh Thong
(Humbled and Contrite)

[Jim Riley]

The Pope (and Jim) in Philly

I got to see Nelson Shanks' portrait of the Pope just before it left the Philadelphia Museum of Art for a national tour. There was not much about seeing the painting in the real to change any of my earlier comments. I was pleased that the face looked better than any of the reproductions that I had seen previously and was surprised that much of it was in shadow. Tricky to pull off but well done. I attached a picture that shows the painting in a frame that has Latin text in relief and was beyond my understanding of Latin save a reference to the Pope's predecessor, St Peter. Excuse the picture quality. The Museum does not allow tripods or flash. The hat was every bit as strong in intense yellow as my earlier post showed and, without continuing to nit pick, his hand holding the staff looks a bit large. I have seen other Shanks paintings that look like he avoids the common mistake of making hands too small by making them large. But then, again, maybe the Pope has large hands.

The overall effect is very spiritual and given its eventual home, will be very effective.

[Michele Rushworth]

Thanks for posting this, Jim. I'm surprised how small the painting is. I thought it would be life size.

[Jim Riley]

Michele,

The museum had little information available but an earlier press release (see my 1/29 post) said the painting was 54"x50".