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Pictured: Gerry Davis, ‘Sean’. Winner.
The Hennessy Portrait Prize, running at the National Gallery until the 26th of March, has become a familiar fixture. Now in its third year, the exhibition allows viewers an insight into contemporary Irish portraiture, as selected by a panel of four judges. This year sees the introduction of two new commendation awards in addition to the overall prize. The white walls and clear lighting of the small gallery space invite visitors to judge the paintings for themselves, though they are perhaps somewhat guided by the placards labelling certain pieces ‘winner’ or ‘highly commended’.
The prize is open to artists in all disciplines, though oil painting appears to be the most popular choice. Indeed, both winners of the previous years were completed in this medium, as well as eight of the fourteen shortlisted works. This year’s winning submission, Seán by Gerry Davis, continues the trend. The painting depicts Davis’ friend in close proximity and small scale, showing only the sitter’s head and uncovered shoulders against a plain blue background. This creates a sense of honesty, stripping the image back to the bare essentials of traditional portraiture. However, the lack of direct eye contact with the sitter allows a degree of distance, reminding us that we are viewing a constructed image and not the real person.
The highlight of the exhibition was the visually striking Má under Light by John Lee. Although an oil painting, this image has more in common with a piece of sculpture through its emphatic use of light and shade. Skilful rendering of deep shadows contrasted with unexpected slashes of vibrant colour give the piece a certain physicality and character. I could not shake the feeling of unease which often accompanies that of being surveyed while viewing this image – in large part due to the artist’s treatment of the sitter’s gaze. It is suggested by two small flecks of white within the dark expanse of greys and blacks which conceal the sitter’s eyes, producing an altogether unsettling effect which is only further reinforced by the jarring, angular strokes of colour bordering the image. Even after stepping away from this painting to view the rest of the exhibition, I was acutely aware of its presence, permanently staring down from the wall and viewing us as much as we view it.
The Hennessy Portrait Prize will likely be something to anticipate for many years to come. In a gallery which is more frequently used to house portraits of historic figures, it is refreshing to see some faces from our own time. However, the exhibition could perhaps benefit from greater transparency when it comes to the judges’ selection process. Visitors aren’t given much explanation as to why one painting “wins” over another, merely the assurance that a team of the informed have decided that it should be commended. Competitions of this nature are all too often tainted by a subtle elitism, a sense of ‘your betters knowing better’. Perhaps in the coming years, the Hennessy Prize could break this mould by allowing greater public participation in the selection process and in doing so, achieve its supposed goal of encouraging interest in and engagement with contemporary Irish portraiture.
