Head of Dylan Thomas 1960

Eileen Agar made this painting, Head of Dylan Thomas, at some point in her career, though the exact date is unknown, using layers of opaque oil paint to create an abstracted portrait. The paint is applied in thick, bold strokes, especially in the white outlines that define the poet’s profile. Look at how the texture of the paint creates a kind of topographical map on the canvas, a record of the artist’s physical engagement with the work. See the way Agar uses color and form to suggest a likeness, the white swirls for his hair, the geometric shapes hinting at his facial structure. It's less about capturing a perfect likeness and more about conveying a sense of his persona, his essence. This piece reminds me a bit of Francis Picabia’s portraits, where representation dissolves into abstraction, and the subject becomes a vehicle for exploring the possibilities of paint. Art is like a game of telephone, each artist borrowing and transforming ideas in an ongoing dialogue.