This year’s fair showcased a remarkable selection of portraits that break away from conventional portraiture colloquiums, writes Avantika Pathania.
From the elegance of illuminated 15th-century manuscripts to the abstract expressions of De Kooning, Frieze Masters 2024 offered a visual feast for art history enthusiasts, dealers, writers, casual viewers, and those seeking the perfect Instagram moment. What this year’s fair also showcased was a remarkable selection of portraits that break away from convention. Traditional portraiture has long served the purpose of showcasing the importance and status of the sitter, particularly among royals and the aristocracy, employing grandeur, elaborate settings, and symbols of power to communicate the sitter’s nobility and societal rank. However, some of the portraits featured this years Frieze Masters challenged this established norm by focusing on individuals outside the traditional elite: exploring new narratives, compositions and experiences.
Giovanni Boldini, Portrait of a Man Seated in a Church, c. 1900-1909. Watercolour, Stephen Ongpin Fine Art, London
Giovanni Boldini (1842- 1931) was a renowned Italian portrait artist, celebrated for his vibrant and elegant depictions of high society during the Belle Époque. Known for his signature “swish” style, Boldini’s fluid, lively brushstrokes brought his sitters to life, often emphasizing movement and sophistication. However, Boldini’s Portrait of a Man Seated in a Church is quite different from his usual portrait style. The man is seated in a church, but we do not see the altar or any religious imagery—just the stained-glass window in the background, subtly suggesting the setting. Moreover, the emphasis is placed on the man’s introspective state rather than his social status. The sense of exhaustion on the man’s face and his slouched posture emphasises this emotional narrative, making the portrait not only a visual capture of a moment but a depiction of the man’s inner turmoil.
Suzanne Fabry, Triple self-portrait, c. 1935. Oil on canvas, Elliott Fine Art, London
Belgian painter Suzanne Fabry (1904- 1985) is known for her intense and emotional portraits, particularly her exploration of identity through self-portraits. Fabry’s Triple Self-Portrait is notable for its eerie and assertive representation of herself, using sharp, elongated forms to convey a sense of strength and introspection. Suzanne Fabry’s Triple Self-Portrait is a haunting exploration of identity, utilizing an unconventional format to depict three versions of herself on a single canvas. The elongated necks and strong figures are reminiscent of traditional portrayals of femininity by Botticelli, as well as women painted by Amedeo Modigliani. Through this triple portrayal, Fabry suggests a fragmentation of identity, a dialogue between different aspects of the self. This bold use of repetition, combined with her precise handling of colour and form, results in a portrait that is both unsettling and deeply introspective. What stands out the most is the different gazes of Fabry, only the central one looking directly at the viewer, as though challenging them to understand her deeper emotions.
Ana Maria Gimenez Cerra, Study of a Fisherman, c. 1925 Charcoal and coloured chalk on paper, Charles Ede, London
Though less documented in mainstream art history, Ana Maria Gimenez Cerra (b. 1900) was a talented Spanish artist known for her sensitive studies of everyday figures. Her Study of a Fisherman is a key example of her ability to capture the quiet dignity of her subjects, often focusing on working-class individuals. Study of a Fisherman is a quiet yet poignant portrayal of an ordinary man. The study was done for the painting Trabajadores del Mar (c.1925). As a study for a larger painting, this work exudes rawness and vulnerability, emphasizing Cerra’s ability to find beauty and complexity in ordinary, everyday figures. His prepossessing eyes, deeply expressive, tell a story of hard labour and perhaps fatigue. It feels intimate, as though the viewer is witnessing a private moment between artist and subject. Through her subtle use of charcoal and coloured chalk, Cerra highlights the humanity in the ordinary, giving voice to those often overlooked in traditional portraiture.
Lorenzo Viani, Portrait of Alpinolo Porcella, c. 1913. Oil on canvas, cardboard, Lullo Pampoulides, London
Italian artist Lorenzo Viani’s (1882- 1936) portraits frequently carry an intense psychological weight, as seen in his Portrait of Alpinolo Porcella. This work, with its exaggerated features and unsettling expression, reflects the artist’s tendency to explore the darker side of human nature. Viani often depicted people from the fringes of society, using distorted forms and bold colours to evoke emotion and critique social norms. Portrait of Alpinolo Porcella immediately evokes a visceral reaction. Alpinolo Porcella (1874- 1962) was a writer, journalist, critic, and artist. With his sharp features and intense expression, Porcella seems almost villainous. If the Joker were an art critic, this is how he would appear: there is a sinister quality to the portrayal as if Porcella is already critiquing Viani’s work even before it is finished. The inclusion of the artist’s inscription on the top right side of the portrait further disrupts traditional expectations, as such details are usually found behind the canvas or engraved on the frame. Viani’s unconventional choices in both the portrayal of the subject and the composition push the boundaries of portraiture, making this work feel contemporary and almost theatrical, even though it was created over a century ago.
Henri Gaudier-Brzeska, A Study of the Plaster for Maria Carmi as Madonna, with self-portrait, c.1912 Oil on canvas, Philip Mould & Company, London
A French sculptor and painter, Henri Gaudier-Brzeska (1891- 1915) was a key figure in the Vorticist movement, known for his radical approaches to both sculpture and painting. His Study of the Plaster for Maria Carmi as Madonna with Self-Portrait reflects his interest in blending religious iconography with modernist techniques. What is most striking is that Gaudier-Brzeska does not place himself at the centre of the work. Instead, he places himself as a secondary figure in the corner and subverts traditional self-portraiture. Madonna is positioned as the focal point. Moreover, Brzeska’s face is blank, devoid of any features. The reverse side of the painting reveals the interior of a church, adding layers of meaning to the work. This blending of sculpture, religious iconography, and self-reflection makes Gaudier-Brzeska’s portrait a unique study of both artistic technique and spiritual exploration.
These unconventional portraits offer a powerful reminder of how diverse and innovative portraiture can be. Each of these works breaks away from tradition in its way, whether through composition, emotional expression, or the portrayal of identity. Collectively, they invite viewers to engage in a profound examination of how portraiture can go beyond simple representation, delving into the complexities of human experience and expression.
Avantika Pathania is a London-based writer and arts journalist.
