Family Resemblances

I continue to struggle with Progress Thomas. Contemporary Thomas is filling in nicely. The facial structure and values are becoming solid. The flesh is taking on that egg tempera "glow" that I envy so much.

I fear, however, that young Thomas is taking on the look of a munchkin. The look of childhood that I achieved in the original drawing is slipping away from me. Just one line too many or a shadow ever so slightly too dark or a transition too harsh and the 7-year-old face is transformed into the countenance of a middle-aged manager.

Part of the problem is Thomas' stark resemblance to his father--the shape of his face, eyes, nose, mouth, and even brows are his. How to prevent myself from rendering that other face that I know instead of the one before me?

Over the years I've used many family members as models and have been able to truly grasp the family resemblances. This summer I painted a portrait of my father who had passed only a few weeks before. As I worked, the face of my youngest sister danced before me. In my source photo of my father as a young sailor, the weight of the years were removed, revealing a bone structure nearly identical to my sister's. It was a cathartic exercise.

Many years ago, when working on a posthumous portrait of my grandparents, I just couldn't get the likeness of my grandmother from the rather small snapshot that was my only reference. When it dawned on me that Nana May was Daddy with long hair, my problem was solved.

Or, as in the case of my present work, the resemblance can become a barrier. Thomas' father's image continues to intrude. My mantra must be: paint what you see, not what you know.

My works take months to complete. I draw my subject. Then I draw them again. Then I paint them. It is no wonder that their images are indelibly stamped on my brain. I know them in a new way. I can't seem to express it in words. How fortunate that I don't have to.