Jan Mikulka wins prize for self-portraiture

New £20,000 SELF prize coincides with Society of Portrait Painters' annual exhibition.

The Royal Society of Portrait Painters has launched SELF, a new £20,000 prize promoting the practice of self-portraiture. The winning work, announced at noon today, was a bleak, photorealistic piece by Jan Mikulka, a contemporary painter living and working in Prague.

Charlotte Mullins, editor of Art Quarterly and a judge on the prize, says:

This self-portrait draws you to it through its technical proficiency and expressive power. You feel you are standing in front of the artist, watching him concentrate on his likeness - his eyes hooded yet determined, his lips pressed together through concentration.

Founded in 1891, the Society devotes itself exclusively to the art and study of portrait painting: housing a permanent collection, staging an annual exhibition and offering bursary funds to new talent. The SELF grant of £20,000 is awarded with the aim of supporting an emerging artist. Mikulka previously won the Visitor’s Choice Award in the BP Portrait Award in 2011 for this similarly piercing image of his longtime friend, Jakob. 

The prize coincides with today’s opening of the Society’s annual show at the Mall Galleries in London.

Over 200 portraits by 100 artists will be hung, with a number of notable likenesses including Guy Kindler’s painting of writer Ian Rankin, Sam Dalby’s picturing of playwright Alan Bennett and Natalie Holland’s portrait of a reclining Oscar Pistorius. A special ‘self-portrait’ section will be devoted to promoting the art form as vanguard in pushing the boundaries of self-representation.

Self-portraiture, the exhibition notes, draws from a different set of aesthetic queues, loosed from the constraints of commissioned imagery (this constraint often being the need to flatter) and can be considered freer to explore character and authenticity. To a degree this appears true, though self-portraiture, like portraiture, has always been as much a barometer for the dominate aesthetics of a period as a way to freely explore “character”, “form” or “beauty”, stoke by stroke. The best practitioners – I think readily of van Gogh, Gustav Courbet and Frida Kahlo but there are, of course, many more – were veraciously brilliant in their use of self-portrait as a playground for articulating identity, but also equally intriguing in their capacity to grasp, mirror and manipulate the visual language of their time.

Painted portraiture is still a powerful tool for the exertion of personality and, in a photographic age, its popularity is a testament to the enduring appeal of the medium's style, subjectivity and technical fineness.

The Royal Society of Portrait Painters Annual Exhibition runs from 9– 24 May at The Mall Galleries, The Mall, Trafalgar Square, London

(Self-Portrait by Jan Mikulka)

 

(Alan Bennett, by Sam Dalby)

 

(Just Oscar by Natalie Holland. Image: Marte Lundby Rekaa) 

 

(Festus Mogae, by David Cobley RP NEAC)

 

(Dieu et Mon Droit, by David Cobley RP)

[All images courtesy of Mall Galleries] 

A detail from the winning work by Jan Mikulka. (Courtesy of Mall Galleries)

Charlotte Simmonds is a writer and blogger living in London. She was formerly an editorial assistant at the New Statesman. You can follow her on Twitter @thesmallgalleon.

Photo: Jonathan Cape
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Who’s the daddy? Two memoirs that examine the complexities of fatherhood

Both Fathers and Sons by Howard Cunnell and Fathers by Sam Miller chase what can never really be known.

About three-quarters of the way in to his striking memoir, Fathers and Sons, Howard Cunnell writes about a support group he attends at the Tavistock Centre in London with his son, Jay, who is trans.

He observes the other boys, their “look” – short hair, shaved at the back and sides, low-slung jeans, Converse trainers, caps. He observes their expressions and manner: “a lot of looking down, faces set to blank, whether out of fear and unhappiness, or an approximation of the hard mask boys often wear”.

Then he observes the other dads, “all of us trying hard to look like there’s nothing unusual about being here . . . recalibrating our speech and body language to masculine when we talk to our new sons”.

He calls Jay “mate”, ruffles his hair and pretends to punch him, that manly sock on the shoulder that signals a certain kind of defined gender identity. He asks himself, “What do the dads who don’t come think? The ones who think there’s something wrong with their child?”

He has no answer to those questions: only his understanding of what it feels like to be judged, or to imagine such a judgement. Fathers and Sons begins not with Jay but with Cunnell’s own early history, with the sense of permanent loss and recrimination he suffered when his father abandoned the family – he, his elder brother, Luke, and their mother. In his childhood in Sussex, his mother’s love is no cure for the wound he carries with him always: “I want other boys to like me because that might give the lie to what I know about myself. That I am worthless. That’s why my dad left.”

The reader understands, then, that from his earliest days Cunnell, a novelist and academic, has been haunted by the absence of masculine love, forced to ask himself why that particular lack should leave such a hole in his life. When his beautiful daughter becomes – with suffering and struggles – his beautiful son, he is again accosted by those issues, this time from the other side of the generational divide.

What does it mean, a father’s love? Does it signify something different to a daughter from what it does to a son? Perhaps so, but then every love has a different shape. Sam Miller’s memoir, Fathers, comes at paternity and the question of what it means to be a father from a no less arresting angle.

Miller is the middle child of Karl Miller, the founding editor of the London Review of Books and great British littérateur who died in 2014. Miller, Sr wrote two volumes of memoir of his own, Rebecca’s Vest (1993) and Dark Horses (1998). But as Sam discovered when he was a teenager, he is not, in fact, Karl Miller’s son, but the product of an on-again-off-again affair his mother, Jane, had with a family friend, Tony White – who died suddenly at the age of 45 as the result of a blood clot in his leg. Fathers is Miller’s heartfelt attempt to come to terms with his complicated family, to consider the meaning of fatherhood and to grasp at the ghost of Tony White.

Where Karl and Jane Miller lived a mostly settled life in Chelsea, Tony, a friend from their university days and widely loved by their circle of friends, was a wanderer. A talented actor and footballer, he worked as a translator, a lamplighter, a lobsterman in the west of Ireland.

From his own memoir, it seemed that Karl Miller loved his friend unequivocally, despite the affair between Tony and his wife. Sam quotes Karl’s description of Tony on the football field. “Tony was big and strong and eager, forever being cut and gashed,” Karl Miller recalled. “His rich dark eyes, boundless generosity and zest and his lavish brushstrokes on the field of play held us together.” It is clear to Sam that his father’s affection for Tony ran deep – and this book also explores the seeming mystery of masculine love.

Tony is a shining figure, always out of reach and, after his death, he seems even more unreachable because his biological son is his spitting image. When Sam finds a photograph taken at a Christmas party that his parents gave the year before he was born, it gives him a fright: it shows Karl, staring straight at the camera, with Tony standing, half hidden, behind him. “The head in profile appears to be me, as a grown-up – some 13 months before I was born . . . The upper parts of our faces are almost identical. And I just can’t understand how more of my parents’ friends did not guess I was Tony’s son.” They might have guessed without speaking, of course.

Both of these books, in very different ways, chase what can never be known. Cunnell’s is the more artfully written, a meditation as much as a memoir, the fragments of his life presented with a novelist’s eye for detail and language. The author uses pseudonyms for those close to him, but that does not make the book any less honest.

There is plenty of darkness here – as Cunnell grows to manhood, he seems to be heading for self-destruction, his restless life marked by violence and heavy drinking – and yet his account is suffused with light. The light of the Sussex Downs that washes his childhood; “tin-coloured clouds” racing across the moon when he finds himself in Mexico; light that gleams from page after page, “a floating frame of light” that shines over Jay’s bed when he was a small child. These images of brightness, of sun and shadow, make a prism of the book. Narrow ideas of what makes a father, what makes a son, are opened out into a rainbow of possibilities.

Miller, who worked for the BBC World Service for nearly two decades, takes a much more documentary approach, searching for evidence, photographs and letters, which nearly always fail to give him the answers he seeks. No wonder, for he seems to be alone in the world:

I came across no likeness, no one in literature or in life, who seemed similar to me, who was brought up as the middle child of a married couple, and then learned his father was not really his father, and that the two men were friends and remained friends. I have not yet met my double. And my situation, my story, seemed both unusual and, in the way it played out, surprisingly uncomplicated.

Or, as this book proves, as complicated as any life. His quest for a deeper understanding of his paternity is punctuated by his accounts of the months and weeks before his father’s death, a time to which he returns in his mind, painting a loving portrait of father and son. Something is missing, and yet nothing is missing.

Perhaps Sam Miller’s memoir offers more of a sense of completion than the author knows. Fathers is a book that circles around itself, asking questions that can have no answers, looking for truth where none can finally be found, and it is all the more moving for that. 

Erica Wagner’s latest book is “Chief Engineer: the Man Who Built the Brooklyn Bridge” (Bloomsbury)

Fathers and Sons
Howard Cunnell
Picador, 224pp, £14.99

Fathers
Sam Miller
Jonathan Cape, 250pp, £14.99

Erica Wagner is a New Statesman contributing writer and a judge of the 2014 Man Booker Prize. A former literary editor of the Times, her books include Ariel's Gift: Ted Hughes, Sylvia Plath and the Story of “Birthday Letters” and Seizure.

This article first appeared in the 22 June 2017 issue of the New Statesman, The zombie PM

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