Profile 1952

Tsuguharu Foujita made this drawing, Profile, with ink on paper. The process of mark-making seems so delicate, and it’s all about capturing light, isn’t it? Look at how the artist uses these tiny, feathery strokes to build up the form. See how the neck and jawline are rendered with such precision, yet the hair is a swirl of tonal variations? It’s not just about what is seen, but how it’s felt. There is a real economy of line, you feel that the artist is only using the bare minimum number of marks required to create the image. Focus on the bow in her hair. It’s such a dark, solid form, almost like a counterpoint to the fragility of the rest of the drawing. That’s the point where the artist is anchoring the whole thing. This work reminds me of Modigliani. Both artists were working in Paris at the same time. They were both interested in the form, and had similar approaches to portraiture. Art is an ongoing dialogue, and there’s no one ‘right’ way to interpret these conversations.