The face - an obsession

Museum and art shows sometimes make a lasting impression. For different reasons obviously. Some years ago I had an unusual museum experience that often comes back to me; an exhibition at the museum "Kunsthaus Zurich", Switzerland. I love this museum; for it's collections, the atmosphere and the shows it hosts.

This was a grey February morning. The fact that is was cold and rainy outside, didn't lessen my anticipation as I entered the bright, warm, hushed museum atmosphere. Impatiently I read the exhibition poster; "THE FACE - AN OBSESSION".
THE FACE!  This was meant for me! Studying the face is what I do when making portraits. Exhibitions don't often deal with the face - I felt so lucky.

- Now, it is not my intention to turn these posts into lectures, but in order to share what took an unexpected, but interesting turn, I have to back it up with some facts and history. The exhibition  presented the life and work of Johann Caspar Lavater (1741 - 1801). Born in Zurich; a clergyman by profession and a renaissance man by nature.

I didn't discover Lavaters background right away, as I have the bad habit of skimming through at first. However, what instantly did capture my attention was a large collection of detailed studies of the human features - beautifully presented. (See the eye below. Pastel on blue paper with painted mock framing).

This part of the exhibit was labeled "Physiognomische Fragmente". 'Physiognomy'  - not really a word I use much. A dictionary cites "a persons face or facial expression". Sounds innocent enough - it describes exactly what I study when working on a portrait. I was thrilled to come by these studies, as I scrutinize eyes and noses too!

Slowly it dawned upon me that Lavater was not a fellow portraitist. I hadn't found a painter, but a priest. He was merely writing about features and faces. How disappointing!
I set out from the beginning again; paying attention this time. It turned out to be quite interesting after all. Historically, yes, but also because I find it fascinating to learn about a person's motivation. Above all, it made me reflect upon how I see a face. What I notice, and what I certainly don't look for, in a face.

Anyhow, these are the facts that I learned: The exhibition showed selected pieces from Lavater's original collection - containing about 30.000 works, carefully mounted according to his instructions. The drawings and prints founded the base of his principal four-volume work; "Physiognomischen Fragmente" with the subtitle; "Zur Befoerderung der Menschenkenntnis und Menschenliebe". ("To promote knowledge and love for mankind").

The material was collected or commissioned by Lavater himself. But for another purpose than portrait painting. He studied physiognomy in order to "reveal secretes of the human character". Just like a few other contemporary thinkers and educators, Lavater sincerely thought that classifying and deciphering the human features would promote "love ('Menschenliebe') and understanding" of the human nature!?
I guess psychology is what covers this field today. Even if Lavater got a bit carried away (my opinion) - measuring angles and distances between eyes and mouth and dividing and subtracting and whatnot - his research was clearly done in the spirit of "Menschenliebe". According to many sources he was a highly intelligent and religious man, genuinely caring and thoughtful.
(Below: Lavater at his desk)

The exhibition showed samples from Lavater's widespread correspondence; a collection of more than 20.000 letters. He stayed in contact with several of the big thinkers of his time; amongst them, Goethe and Herder. In fact, Lavater was an active contributor in a vast network of correspondence between influential Europeans. It was common understanding that these letters were not solely for the eyes of the recipient; on the contrary, the letters would be openly discussed and referred to. Whenever he found it relevant, Lavater made not only his own letters publicly available, but the incoming letters as well! He clearly took 'linking' seriously!

In addition to his correspondence, his studies, writings on physiognomy and his priesthood, he also travelled extensively. No wonder Lavater was, and still is, regarded as a communication genius. He was indeed a multitasking guy. I can see him as a blogging psychologist if he had lived today!
Still, even with this capacity for networking, Lavater could easily have been forgotten, if not for his ambition to turn his theories into a science.
(Below: Goethe, rendered by Georg Friedrich Schmoll).

The more I learned, the more I was impressed by Lavater's persistence. For years, he collected these prints and drawings. - The famous, farmers, geniuses or "idiots" - they all interested him. He also commissioned drawings by artists and art-students. He had a whole 'staff' of well known artists; Daniel Nikolaus Chodowiecki, Johann Heinrich Fussli, a childhood friend, the illustrator Johann Rudolf Schellenberg, the portrait painters Heinrich Pfenninger and Georg Friedrich Schmoll. They did studies of details like eyes, noses, mouths - the "fragments of physiognomy" - Lavater classified and wrote comments. He was simply obsessed with collecting evidence to promote and support his theory on physiognomy.

 

Just when I began to appreciate and admire the extent of the work and the attention to detail, I discovered a new dimension; I started to read the accompanying texts. Being so far from how we think today the texts had me completely confused; a person described as wise, noble and honest looked just plain silly to me? Based on the most bizarre interpretations of human features Lavater's comments revealed pretty preconceived judgements. Quite disturbing - but also an interesting peek into European culture two hundred years ago. I was hoping the texts reflected Lavater's time more than his personal attitudes. I mean, he connected dishonesty or greed to a certain type of lips! It made me wonder how he chose his friends - I'm guessing; not by his own criteria?
For my part, I hardly notice the details of a friends face. That is, until I draw or paint it..... and I most certainly don't choose friends by the angle of their nose.

According to Lavater, there were even specific national features that accounted for a more or less heroic character. See for instance how he describes a "typical Russian":

"Fig. 5.-This head is visibly Russian. At least there will be no hesitation in answering the question - Is it English, French, Italian, or Russian?  The retreating of the upper parts, the high eyebrows, shallow eyes, short, somewhat turned up nose, and the large under part of the countenance, show the Russian. Worthy, faithful, good, brave; one to whom all wish well."     

When I saw this Russian I knew he reminded me of someone. A Russian of today. Now, I'm sure Putin won't have a problem with Lavater's flattering words, as he certainly resembles this heroic figure to the left, illustrating Lavater's description. His last sentence makes me wonder though. How much is political correctness? (Middel and right:two photos of Putin).

Even if I find noses intensely fascinating I like to consider myself lacking the prejudice of Lavater's century. Still, I wonder if other discriminating attitudes could lie dormant in my subconsciousness? Can i really trust myself never to judge someone by their mouth or nose? I don't know. After all, our features are part of our body language. Consciously or not, we still read that language. A distinct and expressive language when used on the stage. Take wrinkling of the nose for instance - the interpretation of that expression is bound to be universal. 

But let's get into the 'Lavater mode' again - he doesn't deal with expressions. He's interpreting the actual features, as shown in the selection and comments below.      

 

Have a look at these nose-studies, and see if you find one that matches the nose of Putin or his predecessor.
I'm not quite sure which one to pick. But it seems to be either nose number two, three or six. Possibly number two? Now, let's have a look at Lavater's interpretations of these three:
- Number two says 'verstandig und roh' - that means 'wise and raw, or brutal'.
- Number three: 'merklich schwach' - means 'oddly weak'.
- Number six is a funny one too; 'schwachgut' - this means 'good, in a weak way'.
Pretty intriguing number three. - Why is it odd that a nose has a weak form? - Or does he really mean that a person with this nose is weak? That's nonsense! Or is it? Nice nose on a girl or a small child. Bit of a baby-nose, really.
Again I check myself; Do I assume that someone with a baby-nose is aggressive and dominant or rather pleasant and good humored? (I know. I shouldn't go there!).
Then, number six, 'good in a weak way', what does that imply? I find it more 'merklich' that this should be a weak nose at all - looks pretty common to me. But then again, maybe Lavater thought it pretty common to be weak?

If I had lived in Zurich during the last part of the 18 th century maybe I would have been making portrait drawings for Lavater and writing notes like this one: "Kunstler aug, nur sollte der Winkel spitzer sein", or "Artists eye, but the angle should be sharper".

For my portraits Lavater's field is worthless, besides it's a minefield today. Even if I have noticed odd links between particularly well curled eye lashes and a specific form of the nose tip and upper lip, I couldn't possibly reveal any secretes from lips and eye lashes. Lavater thought he could; that's why he's still not forgotten.

I'm glad I 'met with' Lavater, but why did I not forget him? 
I have this thing about enjoying learning even more than achieving so apart from learning about him and his mission in life, did I learn something useful? The answer is Yes - if I count being reminded about this; whenever I'm provoked and have strong reactions and emotions like disappointment, indignation - or excitement, for that matter, it's really because I'm confronted with traits of my own character. I need to be reminded that provocation is about meeting myself; my prejudiced sentiments, my negative sides - the 'me' I'm not always proud of.

 

PS Originally, I meant to mention Lavater briefly; merely in the context of drawing and painting the human face. Discussing and showing how the tiniest changes of a line alters the mood or expression of the model altogether. However, Lavater, a strong personality, took over completely. This will have to be a theme for another post.

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