Lincoln Kirstein 1965

Curator: Here we have Jamie Wyeth's portrait of "Lincoln Kirstein" from 1965. Editor: It's so stark. The near-black background swallows most of the figure; the head in profile almost floats, disembodied. There’s real gravity here, an intense darkness of mood. Curator: Kirstein was, of course, a towering figure in the New York arts scene – co-founder of the New York City Ballet, a patron, writer, and intellectual. He really shaped American high culture in the 20th century, particularly classical ballet. One could even say his own sexuality and negotiation of dominant cultural forces influenced that project in subtle ways. Editor: And Wyeth captures that cultural weight. The paint application looks deliberate, almost frugal. What kind of oil paints did he use to achieve that specific texture against the black backdrop, which is by all appearances not matte but subtly reflective? I see nuances there… Curator: The intensity certainly translates. Look at the uncompromising sharpness of the profile, especially around the nose and brow. This is not a flattering portrait in a conventional sense; it's almost confrontational, challenging our assumptions about power and representation. He stares resolutely towards the future. Editor: I’m drawn to the darkness of the materials, its own character independent from Wyeth. Kirstein, so often at the front, pushing dance, being social—but captured in a moment where he appears self-absorbed, pondering in a reflective gloom. How many layers of paint make up that darkness, I wonder. And how does this somber portrayal fit into the commodification of portraiture in general? Curator: It’s a brilliant contradiction. Wyeth highlights the contradictions inherent in Kirstein’s public and private persona, but also engages in the act of elevating a patron—examining who holds cultural capital, really. Editor: I agree, it does challenge how artistic figures get represented and elevated. Makes me think of the economic realities faced by artists making commissioned work, the kind of labour going into this oil painting here... Curator: Considering Kirstein’s own impact as a figure who elevated ballet to new heights, there’s a great deal of layered commentary happening here. Editor: It certainly complicates conventional understandings of patronage, labor, and portraiture, yes. I’ll be chewing on that a while!