Jan Nelson
Born 1955, Melbourne
Walking in tall grass (Tom), 2009
oil on linen
78cm x 57.5cm
Winner 2009 Arthur Guy Memorial Painting Prize
Image credit: Image courtesy of the artist and Anna Schwartz Gallery.
Visual description:
This portrait is of a young person, standing facing forward, and shown to the waist. They have straight, dark hair below shoulder length, smooth brown skin, and a hint of facial hair. They are wearing a knitted beanie with ear flaps, with horizontal stripes in bright colours. Braided cords hang down from each side of the hat. The person is wearing round, reflective sunglasses with dark lenses. In each lens, a bright yellow flower is reflected, along with a glimpse of a room and a person holding a camera. The subject’s facial expression is neutral, with closed lips and relaxed features. They wear a long-sleeved button-up 70s style shirt with a bold floral pattern in shades of pink, orange, white, and brown. On their left wrist is a beaded bracelet. They are holding a bowl and forking at chest height, as though mid-meal. In keeping with the intensely coloured hyperreal effect of the portrait, the background is a smooth rainbow gradient transitioning from light blue to green and yellow tones.
Artist’s insights, by Alanah Ellen Brand:
I remember going to the gallery to view the Arthur Guy Painting Prize exhibition this work won, in 2009. I was 18 years old and had just started a Bachelor of Visual Arts at Latrobe University. I have always been interested in portraiture, so seeing a contemporary realist piece win a prestigious prize, like this one, filled me with hope that perhaps one day I could paint like this and have my work exhibited.
I was inspired by Nelson’s technical skill and storytelling. The gentle rendering of this image of youth was something I had to view up close. The tiny brushstrokes that make up the knitted beanie, the long, delicate strokes that form the hair, the subtle tonal variations in the hands, and the contrast and colour of the reflection in the sunglasses all drew me in.
As a portrait painter now, I recognise that painting fabric and painting skin are two distinct skills, each requiring different palettes and approaches. I understand that it is an honour to depict another person using paint, whether the work reflects them personally or offers a broader commentary on contemporary culture.
Nelson, whose practice extends beyond portraiture into photography and sculpture, exhibits internationally and has many works held in major collections. Her career is one that many female artists have not had the opportunity to achieve. Nelson’s practice reminds me that art remains vital, affirming my belief in the importance of painting and my aspiration to create a life within it.