SNAP! Exhibition of Modern Portraiture organised by the Welsh Arts Council and the Arts Council of Great Britain. 18 March – 18 April 1971
Press Releases
1. SNAP! sets out to explore the idea of portraiture – of “likeness” – and attempts to place the activity of making likenesses in a social and aesthetic context. It also explores the motivation of artists when engaged on a portrait.
From the point of content the show is divided into three parts:-
The central part takes three artists, the painter David Hockney, the cartoonist Gerald Scarfe, the photographer David Bailey, and explains how each of them approached the task of making a portrait.
The other two parts are complimentary to this. One consists of examples of portraits in a wide variety of media and of different periods chosen to show how the style and content of portraiture has always been related to changes in society, art and other means of communication.
The final section invites the spectator’s participation in the ‘game’ of likeness – the chance to make and manipulate faces and figures in the simplest ways. This will include life-size building blocks by Gerald Scarfe.
2. From 18 March to 18 April, the SNAP! exhibition, like a giant pack of cards, fills the National Portrait Gallery’s exhibition area with an unprecedented variety of objects. The show appears at the Gallery by the special invitation of Dr Roy Strong who has also acted as consultant for the exhibition. It is the first joint project by the Arts Council of Great Britain and the Welsh Arts Council, and is the result of a decision to offer something other than the conventional type of arts exhibition. The theme is by Ken Baynes, author and designer, and Peter Jones of the Welsh Arts Council.
The idea
The SNAP! exhibition sets out to explore the idea of portraiture – of likeness – and attempts to place this activity in a broader context than that traditionally supplied by Fine Art. It also makes some attempt to explain the motivation and working methods of artists when engaged on a portrait.
The spectator is also offered the opportunity to make his own portrait, or ‘do his own thing.’ He can discover for himself the importance of the relationship between the subject and the image, which has been developed throughout the exhibition. In the final section of SNAP! is found the participation and comedy of portraiture which is typical of the sea-side pier. This fairground atmosphere is the design-inspiration for the setting of SNAP! with the strings of gaily coloured lights, and the masks on the paper bags which greet the visitor in place of the usual dreary ticket.
Historical section
Exhibits range from the precious elegance of the Chinese ivory Liu Po-Wen through to the original children’s game of Snap, to photographs of Malcolm Muggeridge, the sculptor Giacommetti, and Roosevelt giving the victory sign. There are idiosyncratic portraits such as a Spirit photograph including Sir Arthur Conan Doyle, and portraits appealing to the taste of the moment as do the mid-19th century tinsel pictures. ‘Cult’ images range from the portrayal of Hitler in Charlie Chaplin’s film ‘The Great Dictator,’ to cigarette cards of famous stars and a mask representing Rudolph Valentino.
Public figures, through technical innovations such as photography and mass production have been used increasingly in a symbolic and moral role, particularly war leaders such as the Kaiser and Kitchener. Reigning monarchs in particular become a focal point for current sentiments and ideals; the present Queen is represented on biscuit boxes and in a family album playing ‘Soldiers of the Queen.’
The artists
The variety of means for capturing likeness in 1971 is illustrated in the work of three artists:- David Hockney, David Bailey and Gerald Scarfe, all working in different media and with differing motivations and aims.
The main work by David Hockney is the recently completed portrait of his friends Ossie and Celia Clark, included by special permission of the Tate Gallery. This huge painting, seven feet by ten feet is shown together with the artist’s preparatory photographs and drawings, and also photographs of Hockney at work. There are two main differences between Hockney’s approach to portraiture and that of Bailey and Scarfe. Hockney is interested in portraying friends rather than public figures, and his painting took six months to complete in contrast to the swifter work of the photographer and cartoonist.
David Bailey is best known for capturing the trend-setting faces of today. But SNAP! includes some of the Polaroid prints which are a preliminary to a formal photographic session, and show the importance of accident and selection in portrait photography, where the image captured is truly instant. Bailey’s most recent work uses photographs as a basis for silk screen prints of Francoise Dorleac, Penelope Tree and Mick Jagger, exhibited here for the first time. A projected slide sequence shows Bailey at work on the portrait of Dr Roy Strong, and a sound track includes snatches of their conversation and the sounds of the studio.
Gerald Scarfe’s contribution includes the original drawings of many of his most famous cartoons. He has created especially for SNAP! a number of three dimensional works illustrating his preoccupation with the possibilities of ‘distortion,’ i.e. how far the characteristics of a familiar face can be exaggerated and yet remain recognisable. Here the figures grow out of the frame towards the spectator.
Participation Section
The visitor is invited to participate in the game of ‘likeness,’ children can draw on the blackboard a ‘head and shoulders’ shape; and there is a game where parts of faces on different cards can be assembled together to form weird and wonderful faces. Distorting mirrors give the spectator a new angle on himself and last but not least there will be a polyfoto studio where the visitor can have his photo taken with or without false noses and ears. A supermarket also offers bits and pieces to buy and take home. For this the organisers bought up the entire British stock of extraordinary French-made noses and moustaches.
An original series of graphics by Design Systems of Cardiff will announce the exhibition. The Invitation Card includes a cut-out disguise and visitors to the Private View will be encouraged to put these on while the catalogue will be offered in a paper bag which can also be worn as a mask.
There are three different Posters which show heads with various features missing. This is a deliberate offer of participation and the organisers hope that spectators who want to fill in the missing eyes, noses and mouths will feel free to do so wherever they are found.
Tour
Following the National Portrait Gallery showing the exhibition will be shown in Wales at Newport (3rd-29th May), Swansea (9th June-3rd July) and Aberystwyth (28th August-18th September) and then in England at four more centres.
Handlist
- Drawing
David Bailey by Gerald Scarfe 1971 - Photograph
Gerald Scarfe by David Bailey 1969
3. Photograph
David Hockney by David Bailey 1965 (Box of Pinups, Weidenfeld & Nicholson).
4. Snap cards
The Old Original Game (Museum of Childhood, Edinburgh), Wild West Snap (Clifford Toys, lent by Ken and Kate Baynes) and Woodland Snap by Racey Helps (A Pepys Game, lent by Ken and Kate Baynes).
BACKGROUND PART 1
5. Design for an inn sign
The Lord Morrison of Lambeth by David Low (Whitbread & Co Ltd).
6. Photograph of a drawing
Dr J. Robert Oppenheimer by Ben Shahn 1954 (The Museum of Modern Art, New York).
7. Photograph of pottery figure
Lydia Dwight by John Dwight c1673 (Victoria and Albert Museum). Lydia Dwight was the
potter John Dwight’s daughter: she died when only a child.
8. Photograph of painting
The Painter’s Daughters by Thomas Gainsborough (The National Gallery).
9. Portrait Miniature of a Young Man by Nicolas Hilliard c1588 (The Victoria and Albert
Museum).
10. Photograph of Cartoon
Le Vrai Parisien (Lloyd George) by E.T.R. 1917 (Imperial War Museum).
11. Spirit photograph including Sir Arthur Conan Doyle, Sir Vincent and Lady Caillard,
1935 (Psychic News).
12. Photograph
Malcolm Muggeridge by David Bailey 1969 (Goodbye Baby and Amen, published by Condé
Nast Publications Ltd.
13. Photographs of memorials
Karl Marx’s Grave and the Albert Memorial by Chris Ridley 1970. Like many memorials
these two include portraits.
14. Photograph
Jane Birkin by David Bailey 1969 (Goodbye Baby and Amen, published by Condé Nast
Publications Ltd.
15. Photograph
Cuauhctemocztin Street, Mexico City by Henri Cartier-Bresson 1934 (John Hillelson
Agency).
16. Character from a comic
Charlie Chaplin from Funny Wonder, 1916 (IPC Ltd, Juvenile Group).
17. Photograph
Alberto Giacometti by Henri Cartier-Bresson, 1961 (John Hilleson Agency).
18. Photograph
Roosevelt giving the Victory Sign, 1937 (United States Information Services).
19. Shadow play instructions
Duke of Wellington, originally published in Ombromanie, 1860 and subsequently
reproduced in Play Orbit catalogue (ICA, Welsh Arts Council, Studio International).
20. Photograph of cartoon
The Three Horsemen of the Apocalypse (Kuropatkin, Kitchener and Roosevelt on
hobby horses), German, from Lustige Blatter, 1915 (Imperial War Museum).
21. Lithograph
Ian Fleming as James Bond by Gerald Scarfe, 1970.
DAVID HOCKNEY
22. PaintingMr & Mrs Clark & Percy by David Hockney, 1970 (The Tate Gallery)
The painting was begun in April 1970. Hockney painted Celia almost immediately, but
kept changing Ossie, painting his face fifteen times between August and November. The
view through the window was also painted twelve times. The light comes straight
towards you and polaroid photographs were used to help clarify this effect. Percy is the
cat.
23. Photographs made for the portrait of Mr & Mrs Clark & Percy
by David Hockney, 1970 (David Hockney).
24. Photographs
David Hockney working on the portrait of Mr & Mrs Clark & Percy by Peter
Schlesinger, 1970 (David Hockney).
25. Enlargements of polaroids made for the portrait of Mr & Mrs Clark & Percy
by David Hockney, 1970 (David Hockney).
26. PhotographsDrawings and photographs made for the portrait of Mr & Mrs Clark &
Percy by David Hockney, 1970 (David Hockney).
Celia Birtwellby David Hockney, 1969 (David Hockney).
28. Drawing
Celia, Paris by David Hockney 1969 (David Hockney).
29. Etching
Peter by David Hockney, 1969 (Petersburg Press).
30. Frontispiece, etching
Catherine Dorothea Viehmann from Six Fairy Tales from the Brothers Grimm by David
Hockney, 1965 (Petersburg Press).
31. Lithograph on aluminium
Picture of a Portrait in a Silver Frame from A Hollywood Collection by David Hockney,
1965 (Editions Alecto).
BACKGROUND PART 2
32. Facsimile poster
May Milton by Henri de Toulouse-Lautrec (published as a facsimile by Graphics Press,
Zürich: lent by Ken and Kate Baynes).
33. Waxwork head
Alfred Hitchcock by Jean Fraser, 1967 (Madame Tussaud’s Ltd London).
34. Tinsel Pictures
Early nineteenth century (The London Museum).
35. Film still
Man with a Gun with Maxim Strauch as Lenin, 1938 (National Film Archive).
36. Film still
The Great Dictator, produced, directed and written by Charlie Chaplin who also played
‘Hitler’ (Released through United Artists).
37. Postcards of Film Stars (Ken and Kate Baynes, and the Museum of Childhood,
Edinburgh).
38. Cigarette cards
Famous Stars (Ken and Kate Baynes, and the Mansell Collection).
39. Mask
Rudolph Valentino for a theatrical production, early 1930s (Blackpool Pleasure Beach
Co).
40. Coloured drawing
Constance and Norma Talmadge by Stanley Lench, 1956.
41. Typographic profile
Queen Victoria from the profile on the ‘Penny Black’ stamp and made up of material on
the history of the Royal College of Art by Jim Gibson. Used in an exhibition of RCA work in
New York. (Royal College of Art).
42. Cartonnage
Funnery Mask, Roman, from Faiyum (Bolton Museum and Art Gallery).
43. Sculpture
Liu Po-Wen, Chinese ivory, early nineteenth century (The Graves Art Gallery Sheffield).
44. Waxwork bust
Leslie Caron by Jane Jackson, 1959 (Madame Tussaud’s Ltd London).
45. Sculpture
Mussolini by RA Bertelli (Imperial war Museum).
46. Doll
Lord Kitchener, First World War period (Museum of Childhood, Edinburgh).
47. Lapel Badges, Postcards, Armbands and a Scrapbook with Military and Royal
Portraits (Imperial War Museum and the Museum of Childhood, Edinburgh).
48. Postcard portrait
The Kaiser built from Atrocity Scenes, French, First World War (Mr Woodrow).
49. Cartoons, All including the Kaiser by Bernard Partridge, First World War, from Punch.
50. Cigarette cards showing Allied Monarchs and Generals for Wills Cigarettes, First World
War (Imperial War Museum).
51. Drawing
The Jackdaw of Rheims by Edmund J Sullivan, 1915 (Imperial War Museum).
52. Illustration
Field Marshall Sir Douglas Haigh KT GCB GCVO KCIE ADC by Francis Dodd, 1917
(Imperial War Museum).
53. Model
Queen Alexandra, Lord Roberts, Memorial Workshops, 1917 (Imperial War Museum).
54. Toby jugs
Marshall Joffre, HM King George V, Mr Woodrow Wilson by Sir F Carruthers, 1915-18.
Made by Soane and Smith Ltd (Imperial War Museum).
55. Model
On the Warpath: Mr W Wilson, President of the United States by André Deruffe, 1917
(Imperial War Museum).
56. Postcard with cartouche for ‘Portrait’, Second World War (Museum of Childhood,
Edinburgh).
57. Photograph
Mata Hari (The Press Association Ltd).
58. Book pages
Apollo 11 Portraits from Man on The Moon (United States Information Service).
59. Lapel badge
Commemorating Space Flight, Russian (Museum of Childhood, Edinburgh).
60. Postage Stamps
British current issues with portraits of the Queen, 1971. Also included is the relief
head by Arnold Machin on which the stamps are based. (Post Office).
61. Coronation head
Queen Elizabeth II by D. Landi, 1953.
62. Photograph of print
Queen Victoria and her grandchildren (The Press Association Ltd).
63. Magazine produced by children
The Phoenix with a portrait of Queen Victoria, 1887 (Museum of Childhood, Edinburgh).
64. Cut out
King George VI in RAF uniform (Museum of Childhood, Edinburgh).
65. Lapel Badges (Museum of Childhood, Edinburgh).
66. Biscuit tin with sepia photograph
The Royal Family (Museum of Childhood, Edinburgh).
67. Photo-Album with Musical Box, late nineteenth century (Rodney & Jill Bennett).
68. Fletcher family photographs (Miss D E Fletcher).
69. Reproduction of stained glass
Sir James Berners, A patron of the Church from St Mary’s, West Horsely, Surrey.
Photograph by Alfred Lammer from English Stained Glass published by Thames and
Hudson (Alfred Lammer).
70. Photograph of wall painting
King Billy, Northern Ireland by Peter Jones.
71. Death Mask
Oliver Cromwell (The London Museum).
72. Engraving
The Great Conspiracy (Guy Fawkes and fellow conspirators), Dutch 1605/6 (The
Mansell Collection).
73. Thermogram showing a Man wearing spectacles taken on an evapograph made by
Baird-Atomic Inc. Photograph by Sol Mednick, 1967. (From Scientific American).
74. Painting
Sir Nicholas Bacon by unknown artist, c1560 (The National Portrait Gallery).
75. Photograph of sculpture
Giovanni Chellini by Antonio Rossellino (Victoria and Albert Museum).
76. Photograph of sculpture Henry VII and Elizabeth of York (Westminster Abbey
Museum).
77. Engraving
Doublûres of Characters – or – Striking resemblances in Phisiognomy by James
Gillray, 1798 (Mr & Mrs M Jaffé).
78. Painting
Portrait of Hugh Gaitskell as a famous monster of Filmland by Richard Hamilton, 1964
(Arts Council of Great Britain).
79. Photographs
Group of workers at Smith Stone & Knights Paper Mills Saltley by Benjamin Stone,
1895 (The Reference Library, Birmingham).
80. Photograph
Members of the Cerrig y Drudion Friendly Society (National Museum of Wales, Welsh
Folk Museum).
81. Photograph
Workers on a farm in Sennybridge, Brecknockshire c1910 (National Museum of Wales,
Welsh Folk Museum).
82. Illuminated address to Mr David Griffiths, 1921 (National Museum of Wales).
83. Painting
La Réproduction Interdite by Renee Magritte (Brighton Art Gallery: James Foundation).
84. Painting
Mrs Cecelia Bowen by E R Hughes, 1874 (Mrs J G Prothero-Beyon).
85. Painting
Portrait of a woman with a coral necklace by Gwen John (Welsh Arts Council).
86. Painting
Caroline by Lucian Freud (Arts Council of Great Britain).
87. Painting
A Summer Day in Hyde Park by John Ritchie 1858 (The London Museum).
88. Silkscreen
Marilyn Monroe by Andy Warhol, 1962 (Castelli Graphics).
89. Encaustic funerary painting
Portrait of a woman, Graeco-Roman (The National Gallery).
90. Multiple
Sitzbilder (of Beethoven) by Otto Dressler (Gallery Kummel).
91. Poster
Von Hindenberg by Louis Oppenheim c1914/15 (Imperial War Museum).
DAVID BAILEY
92. Photograph
Marisa Berenson by David Bailey, 1970.
93. Photograph
Marisa Berenson & Helmut Berger by David Bailey, 1970.
94. Photograph
Bill Brandt by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
95. Photograph
Sam Szafran by David Bailey, 1970.
96. Photograph
Cecil Beaton by David Bailey, 1970.
97. Photograph
Lartique by David Bailey, 1971.
98. Photograph
Man Ray by David Bailey, 1970.
99. Photograph
The Earl of Snowdon by David Bailey, 1969 (Goodbye Baby & Amen published by Condé
Nast Publications Ltd).
100. Photograph
The Earl of Lichfield by David Bailey, 1969 (Goodbye Baby & Amen published by Condé
Nast Publications Ltd).
101. Photograph
Penelope Tree by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
102. Photograph
Julie Driscoll by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
103. Photograph
Ingrid Boulting by David Bailey, by David Bailey, 1969 (Goodbye Baby & Amen published
by Condé Nast Publications Ltd).
104. Photograph
Candice Bergen by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
105. Photograph
Susan Murray by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
106. Photograph
John Lennon by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
107. Photograph
Christine Keeler by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
108. Photograph
Sharon Tate and Roman Polanski by David Bailey, 1969 (Goodbye Baby & Amen
published by Condé Nast Publications Ltd).
109. Photograph
Peter Ustinov by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
110. Photograph
Roger Vadim by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
111. Photograph
Raquel Welch by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
112. Photograph
Ravi Shankar by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
113. Photograph
Richard Attenborough by David Bailey, 1969 (Goodbye Baby & Amen published by Condé
Nast Publications Ltd).
114. Photograph
Justin de Villeneuve and Twiggy by David Bailey, 1969 (Goodbye Baby & Amen
published
by Condé Nast Publications Ltd).
115. Photograph
Alan Aldridge by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
116. Photograph
James Lloyd by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
117. Photograph
John Huston by David Bailey.
118. Photograph
Andy Warhol by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
119. Photograph
Jocelyn Stevens by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
120. Photograph
David Frost by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
121. Photograph
Bjorn Andresen by David Bailey, 1970 (Vogue Magazine, from Visconti film ‘Death in
Venice’).
122. Photograph
Vanessa Redgrave by David Bailey, 1969 (Goodbye Baby & Amen published by Condé
Nast Publications Ltd).
123. Photograph
Roman Polanski by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
124. Photograph
Jordan Kalfus by David Bailey, 1970.
125. Photograph
Marianne Faithfull by David Bailey, 1969 (Goodbye Baby & Amen published by Condé
Nast Publications Ltd).
126. Photograph
Joseph Losey by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
127. Photograph
P J Proby by David Bailey, 1965.
128. Photograph
Yul Brynner by David Bailey, 1970.
129. Photograph
Brian Jones and Penelope Tree by David Bailey, 1969.
130. Photograph
Dr Roy Strong by David Bailey, 1970.
A slide sequence shows David Bailey at work on this portrait and the sound track
records something of their conversation.
131. Photograph
Philip Johnson by David Bailey, 1970.
132. Photograph
Mick Jagger, Charlie Watts, David Bailey by David Bailey, 1970.
133. Polaroid Prints by David Bailey.
This selection of prints, taken from test shots, was made to show the importance of
accident and selection in making a portrait. It is these prints that are normally discarded
as being valueless, but David Bailey finds that they frequently have unexpected quality.
134. Silkscreen print
Françoise Dorleac by David Bailey, 1970.
135. Photograph
Penelope Tree by David Bailey, 1970.
136. Silkscreen prints
Penelope Tree by David Bailey, 1971.
137. Silkscreen prints.
Mick Jagger by David Bailey, 1970.
138. Photograph
Françoise Dorleac and Catherine Deneuve by David Bailey, 1969 (Goodbye Baby &
Amen
published by Condé Nast Publications Ltd).
139. Photograph
Penelope Tree by David Bailey, 1970.
140. Silkscreen prints
Penelope Tree by David Bailey, 1970.
141. Photograph
Pauline Boty by David Bailey, 1969 (Goodbye Baby & Amen published by Condé Nast
Publications Ltd).
GERALD SCARFE
142. LithographEnoch Powell by Gerald Scarfe, 1969.
143. Lithograph
Pregnant Pope by Gerald Scarfe, 1970.
144. Lithograph
The Queen by Gerald Scarfe, 1970.
145. Drawing
Churchill, Onassis, Beaverbrook and James Cameron at Dinner by Gerald Scarfe,
1967
(Published in the New Statesman).
146. Drawing
Aubrey Beardsley by Gerald Scarfe, 1967 (Published in the New Statesman).
147. Drawing
The Middle East – Nasser and Dayan by Gerald Scarfe, 1970 (Published in the New
Statesman).
148. Drawing
Enoch Powell – A Nasty Shock by Gerald Scarfe, 1970.
149. Drawings
Nixon 1,2,3,4 by Gerald Scarfe, 1970.
150. Sculpture
Nixon in Cloth by Gerald Scarfe, 1971.
151. Sculpture
Nixon in Wood by Gerald Scarfe, 1971.
152. Sculpture
Heath in Wood by Gerald Scarfe, 1971.
153. Models
Chairman Mao, Nixon, Edward Heath, Enoch Powell by Gerald Scarfe, 1971.
MIRRON MIRROR ON THE WALL
The final section of the exhibition invites the visitor to take part in a number of
“likeness” games and to record or change his or her own face. It also pays homage to
the comedy of appearance: to the seaside postcard; the carnival mask; and the false
moustache world of the joke shop.
154. Carriage pot with portrait of Gladstone (James Klugmann Collection).
155. Photographs
The famous Gue Tsang Six Chinese Wonders, 1932 (Blackpool Pleasure Beach Co.).
156. Half masks
Chinaman, Indian, Mongol
Purchased in Cardiff, 1970 (Peter Jones).
157. Seaside Postcards
(Sam Smith and Blackpool Pleasure Beach Co.)
158. ‘Crowd’ Masks for a Pantomime (The Museum of Childhood, Edinburgh).
159. Clown Mask c1960
(Blackpool Pleasure Beach Co.)
160. Mr Punch Mask c1940
(Blackpool Pleasure Beach Co.)
161. Beethoven with red nose and goggles
(Chris Ridley and Ken and Kate Baynes).
162. TV Graphics
Enoch Powell by Terry Gilliam (BBC TV).
163. Game
Identipops by Playvalue Ltd
164. Photograph of cartoon
The Joys of Photography by Geroge Du Maurier, 1886 from Society Pictures from Punch,
1891 (The British Museum).
165. Snap Face Game
Mouths, moustaches, noses and eyes by courtesy of Ugly Enterprises Ltd.
166. Photostudio at National Portrait Gallery by Polyphoto (England) Ltd.
167. Seaside backdrop
Wrestlers by Ronald Marlowe c1965 (Northwest Photo Services Ltd, Blackpool).
168. Model Agency Cards, 1971
(Ugly Enterprises Ltd).
169. Equipment for Portrait Photography (Aaron Scharf).
170. Photograph
Jeremy Thorpe, Press Association Photograph
171. Photograph
Edward Heath at Broadstairs, setting out for fishing, Press Association Photograph,
1967.
172. Photograph
R.A. Butler, Chancellor of the Exchequer on the steps of No 10, Press Association
photograph, 1955.
173. Photograph
Mr & Mrs Harold Wilson holidaying in the Scilly Isles, Press Association photograph,
1965.
Visitor responses and press reviews
The exhibition was open for a month and attracted 29,000 visitors.
One frequent visitor wrote to the director, Dr Roy Strong, to complain:
‘It is full of trash, amateurish floor-droppings of a poor art class populated by “sick” students who do not know where to go or do. [...] Draughtsmanship is lacking and the crude methods used, because they are flashy would be those of an ideas man employed by an advertising agency.’
‘The tomfoolery at the end of the show proves how stupid it all can be.’
Lawrence Bloom, 25 March 1971
‘It is, in a word, camp.’
‘You have to hand it to the organisers for having enough crust to put over this witty little stunt, squashed into poky corridors and given a fairground air, as a serious attempt to investigate the likeness, the contemporary portrait.’
‘Visitors are expected to emerge the wiser about the motivation and working methods of these artists when engaged on a portrait. The trouble is, they might just do that.’
David Taylor, ‘Snap, crackle, flop’ in Punch, 30 March 1971.
‘All preconceptions about portraiture are ruthlessly violated; David Hockney, David Bailey and Gerald Scarfe bring polaroids, film strips, taped interviews to assist in anatomising sitters; tear their clothes off, batter down their defences, carve them open, before finally perpetuating them in paint, in photograph or in caricature. It’s all savagely irreverent but ends in dishing up a more faithful image of men and women of the 1970s than we’ve seen before. And that, surely, is what a National Portrait Gallery’s job ought to be about.’
Lady, 15 April 1971
‘I started in a queue half way down the Charing Cross Road [...] and admired once again the devilish cunning with which Dr Roy Strong gets people involved [...] the organisers seemed to me to have made no mistakes.’
Clement Freud, ‘Snap’ in The Financial Times, 20 March 1971
‘See this show if you can. In my book it’s one of the best yet – largely for its no-nonsense de-bunking of portraiture mystique with, at the same time, much that is highly constructive.’
George Hughes, Amateur Photographer, 7 April 1971.
