Self Portrait 1953

Editor: Here we have John Bratby's "Self Portrait," created in 1953 using oil paint. I’m struck by the impasto technique; you can practically see every stroke of the brush, the physical act of applying paint. What story does the materiality tell in this particular self-portrait? Curator: For me, it speaks volumes about Bratby's position within the Kitchen Sink School. It's not just a representation, but an almost aggressive application of material. This thick impasto elevates the everyday; it’s the grubby reality of post-war Britain rendered in pure matter. Do you see how the physicality of the paint becomes synonymous with the subject matter - an ordinary man, himself, portrayed without refinement? Editor: I see that. So, is it fair to say the almost crude application of paint is Bratby rejecting traditional portraiture that idealizes the sitter? Curator: Precisely! Think about the social context; it’s the early fifties, a time of austerity, but also emerging social mobility. Bratby's technique challenges the established art world, bypassing notions of skill and academic perfection. It becomes about the labor involved, making art from everyday, readily accessible material, oil paint, to represent everyday subject. Consider what making this work meant materially for the artist; were materials expensive, were they hard to come by? Editor: So the emphasis shifts from what is depicted to how it’s depicted and the material conditions under which it was created. That gives the piece a whole new layer of meaning. Curator: Indeed. By drawing our attention to process and material, Bratby encourages us to question the values and hierarchies within art production itself. Editor: I never considered a self-portrait being so involved in the process and materiality of its creation. It highlights how everyday materials elevate an ordinary, grubby life!