Elizabeth Peyton

Elizabeth Peyton

September (Ben), 2001
Oil on Panel 30.8 x 23.2 cm
The Royal Academy, London
September 2002


I first came across her work at the "Galleries Show" at the Royal Academy in September 2002 and was very taken with this portrait of a lost soul.

Peyton made her name with paintings of male celebrities, on the one hand rock stars whose flames had burned too bright, and on the other those from royalty and the annals of history. The smallness of the work and the delicacy of the brushwork, despite the apparent speed of its execution, gives the painting an appropriate intimacy that suggests a close friend or lover. Yet the likeness is tinged with sadness and the idealised features of the subject hark back to her idealistic representations of doomed dandies. In this respect all of her portraits carry this melancholic lineage that although contradicted by the lightness of her painterly touch, says as much about her as it does about the subjects.

Peyton Ben.jpg


It is from her own photograph and is one of several studies. Whilst it lacks the blurry "photographic" close-up crop of many of her icon portraits, it still has a photographic signature. It is almost as though it was taken with no thought to composition, a naive "Ben with sunset" snapshot - the off centre figure losing his knee in the process. This "snapshot" impression is further reinforced by the apparent speed of the painting, capturing the fleeting posture as he raises his hand to his shoulder. In an interview with the Hayward Gallery in 2007, she states her preference for working with ‘images that are incidental and anecdotal, rather than formal – they have more information to pick and choose from when it comes to making a composition’[1].

It is the unusual framing of the figure within the portrait that drew me to this image - seated well off centre he is crowded into the bottom right hand corner of the painting. The focus is almost on the lurid sunset on the horizon and our wavering attention is matched by his disinterested air as he gazes off to the right into the unseen distance.

As with all her works it is brightly coloured using a full palette of unmixed colours, the most striking of which is the streak of cadmium red across the horizon. There are two blues, yellows, browns, pinks and greens each isolated and pure. Some small elements are almost Matisse like in their separation. The larger areas have been wiped back to give a range of tones. The flesh almost white, with colour at edges. The lips are very red. The hair is painted with thick confident brown strokes. Thin washes and allowed to run in trousers. I have seen quite a few of her works now and this is typical with thin glazed colours applied individually, giving a very intense saturated surface, the almost smooth ground allowing maximum reflected light.

The panels for her paintings are about 2cm deep and are covered with very thick layers of acrylic primer. This has been applied with a scraper of some kind (I used to use a credit card) and the thick paint runs over the edges and the ridges in the surface become an integral element of the artwork. Paint is mainly transparent and the vertical ridges can clearly be seen in the reproduction above.

Names her favourite painters ranging from Velazquez and John Singer Sargeant to Andy Wharhol and David Hockmey. I see Karen Kilimnik and Florine Stettheimer (art deco influenced modernist d1944).


[1]Elizabeth Peyton in conversation with the Hayward Gallery ‘The Painting of Modern Life’ Hayward Publications 2007 p133



©blackdog 2020

Elizabeth Peyton

Jarvis, 1996
Oil on Panel 27.9 x 35.6 cm
Whitechapel Gallery 2009

This painting is typical of her work during her ‘rise to fame’. She dropped the small intimate works on paper of historical figures in 1995 and focused on painting. These portraits predate the images of her friends and take the form of tributes by an adoring fan. Despite the distancing effect of working from photographs, the intimate scale, delicate brushwork and directness of touch communicate a romantic love for her subjects and the accompanying anxiety.

Elizabeth Peyton jarvis.jpg

This portrait of the singer Jarvis Cocker is a rare composition in her work in that the subject is engaging in eye contact. Typically the skin is bleached to near white and the features are idealised with ‘Rossetti’ lips.

Her colours are clear and transparent and applied in thin loose strokes on primed board. The red-violet of the jacket is set off wonderfully by the touch of lemon yellow in the background. The New York Times critic Roberta Smith accurately describes her style as a strange blend of ‘part Abstract Expressionism, part Renaissance miniature, with a touch of Pre-Raphaelite romanticism thrown in for good measure’.

The panels for her paintings are masonite, which is only available in America (invented in 1929). It is made from wood chips steam blasted and pressed into boards without the use of glues and binders. The nearest we have is medium density fibre (mdf) board which uses formaldehyde resin as a binder. The panels are about 2cm deep and are covered with very thick layers of acrylic primer. This has been applied with a scraper of some kind (I used to use a credit card) and the thick paint runs over the edges and the ridges in the surface become an integral element of the artwork.

In conversation with Steve Lafreniere, Peyton has an interesting response to his comment that there is a great deal of melancholy in her work…

“It’s not so much sentimental. It’s just that time passes. I am constantly thinking about it, and kind of obsessing about it. How things change, how I change, how there’s no stopping it. But when I’m painting, I’m very unaware. I’m not thinking about any of these things. It’s this other place. I know that sounds like mumbo-jumbo” (2)

Yes it does, but I think that despite her denial it sounds like a sentimentality for the past and that her paintings both acknowledge, but also try and arrest the march of time. The fact that she separates herself from these feelings when she paints implies that her painterly expression is stylistic or synthetic rather than emotional. In other words she uses the tropes of expressionism to evoke a reaction from the viewer rather than it being felt, say in the working of Van Gogh or Munch.

(1)Smith, Roberta Blood and Punk Royalty to Grunge Royalty NY Times 24 March 1995

(2)Lafreniere, Steve A Conversation with the Artist, Elizabeth Peyton Rizzoli International Publications 2005 p252

 

©blackdog 2009