The vanity in portraiture lies in the conceit of being selected in the first place, swiftly followed by dismay at the outcome.
This is an uncomfortable and unexpected admission; Gina Rinehart and I share a few things. We’re both embroiled in very public legal battles and we’re both trying to figure out what to do about portraits of us that make us look fugly., I found myself strangely empathising with the mining magnate and drawing on her experience for guidance to manage my own conundrum.
That’s great. Very arty. But all I can see is a witch embroiled in an exorcism. What demon evicting vibes unknowingly emanated from me on the day I sat for the portrait?“I hope you don’t hate it,” Brown messaged me ahead of the unveiling. I imagine all portrait painters feel the same way when showing their subject the finished product. I resisted the urge to suggest he put Instagram’s “Paris” filter to soften the lines on my face.
Being the subject of a portrait is not easy, particularly when it’s a confronting portrayal. History is riddled with examples of prominent people having beefs with their paintings and those holding the paintbrush. In the 19th century, Claude Monet painted his brother Leon,thought a portrait of him looked so much like trash, he burned it and threw it in the trash. American novelistcomplained to Pablo Picasso about her portrait: “I do not look like that” she insisted.
“My self-criticism is no match for your craft” I reassured him. “I’m grateful for the energy and creativity you invested in me.”
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In defence of Gina Rinehart: I hate my Archibald portrait tooThe vanity in portraiture lies in the conceit of being selected in the first place, swiftly followed by dismay at the outcome.
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By resisting exposure, Gina Rinehart painted a portrait of the ‘Streisand effect’Supporters of Australia’s richest woman wanted the National Gallery of Australia to remove portraits of her. Now both have received much more exposure than Gina Rinehart bargained for.
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By resisting exposure, Gina Rinehart painted a portrait of the ‘Streisand effect’Supporters of Australia’s richest woman wanted the National Gallery of Australia to remove portraits of her. Now both have received much more exposure than Gina Rinehart bargained for.
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By resisting exposure, Gina Rinehart painted a portrait of the ‘Streisand effect’Supporters of Australia’s richest woman wanted the National Gallery of Australia to remove portraits of her. Now both have received much more exposure than Gina Rinehart bargained for.
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The other portrait Gina Rinehart wants removed from the National GallerySupporters of the mining magnate want a second portrait pulled from the walls of the National Gallery of Australia.
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The other portrait Gina Rinehart wants removed from the National GallerySupporters of the mining magnate want a second portrait pulled from the walls of the National Gallery of Australia.
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