Witkin, Jerome Paul (1980). Jeff Davies [oil on canvas]. Palmer Museum of Art, Pennsylvania State University.

This is a work I appreciate because the subject matter is not typical or obvious. At first glance, it is created with strong realism, but further inspection shows that forms are highly abstract throughout. Even so, the rendering works well. A particularly strong choice is the encroachment of the subject on the picture frame and the tension caused on the lateral edges. |

The subject is a specific, identifiable person, however he and the subordinate planes (foreground, background) are built through a considered network of shapes, more so than most illusionistically realistic works. This painting is a living example of how someone's character can be better communicated through visual rather than verbal language. Oil on canvas.

I would identify minor shapes pieced together to make recognizable items as the primary visual vehicle of this work. Yes, small shapes creating larger shapes, but there's more to it than that. Witkin creates, not a hyper-realistic, but believable work with a specific, somewhat rough style. There are rough, smooth, natural and artificial textures as well that define the character of what is seen.

The primary space-establishing element to this work are two light sources to either side of the central figure. This unusual strategy is effective because of a combination of stark light/dark contrasts and other areas of more smooth, shape-defining shading. This is one of the most stable non-abstract works I've ever seen; approximate symmetry is used.

Dominance characterizes this work, first and foremost. Beyond the obvious, the double-complement (green-red, blue-orange) color scheme is controlled by the cool colors. Balance can be found in the work's textures (rough versus smooth, artificial versus flesh) and value range. Psychologists have proven that our minds actually try to search out and recognize faces, and this applies in this (and all) works. The contrasting, fleshy rendering of the figure's face is formally reflected in the oranges and reds that can be found cropped by the lower edge of the picture plane.

This work's incorporation of the picture frame is one of the primary strengths of it. Along with the figure's detail and volume, the canvas edges support the almost forceful nature of the subject. Formally, this work is masterful. Shape, color, texture and value melt and tie together in a manner that silently explains very clearly very much of the figure's character and disposition. The layering of darker elements around the central high-key area gives the impression that he will break through the edges of the canvas.