'Francisco Lezcano Dancing on the Black Dog’s Back', 1998, mixed media on paper on canvas, 183 x 152cm; 194x163cm (framed).Margaret Woodward
Francisco Lezcano Dancing on the Black Dog’s Back
(1998)
Margaret has “framed” the work by placing the figures inside a drawn frame, the dog’s paw protruding onto the frame - a surrealist strategy and one often adopted by Margaret. Francisco and the dog bend to fit into the work, Francisco’s head side-on in his typically inquisitive look that Margaret adopted throughout many of her paintings of him. Often, he stares out of the picture plane questioning our existence as much as his. This work shows Margaret’s skill at manipulating charcoal and pastel; scrawled words smudged within the shaded depths. The dog is one of her trusty bull mastiffs who feature in many of her works during this period.
The subject is taken from Diego Velazquez’ portrait painting of Francisco Lezcano who was a member of the court of Philip IV of Spain, the painting held in the Prado Museum in Spain. Margaret adopts a similar pose as chosen by Velazquez, her figure is also seated, yet she plays with the subject by placing her dog at his feet. This strategy specifically references Velazquez’ Las Meninas, the figure to the right of the picture, known to be Nicolasito Pertusato, has a dog at his feet. Just as Margaret paints Francisco with his feet resting on her dog, Velazquez paints Nicolasito treading on the dog to show it to be tame and gentle, and apparently typical of the dog’s ability to pose no matter the intrusions.
The subject is taken from Diego Velazquez’ portrait painting of Francisco Lezcano who was a member of the court of Philip IV of Spain, the painting held in the Prado Museum in Spain.
Margaret adopted the themes present in Velazquez’ work several times, Francisco present in single studies and part of dual portraits, the work, Francisco Lezcano Riding the Unicycle (2001) held in the collection of the Art Gallery of NSW an example of her skill in the use of pastel and charcoal. The work also references another of the underlying themes in Margaret’s work. Francisco lived with dwarfism, Margaret making use of the unicycle to exhibit a freedom offered by the mechanical structure, Francisco’s arms outstretched, his skill at riding the unicycle also on show. Margaret often employed mechanical structures, the Polish cart another device, to explore themes of the journey and the challenge that disabilities create, whether that be physical or psychological. Gavin Fry noted that: “The inclusion of individuals with disabilities, often depicted with a Goyaesque darkness, are studies in difference and power, not pity.”
Australian artists from the 1880s had begun to seriously look at the work of Velazquez, his full-length portraits influencing Tom Roberts in composition and technique. The freedom of his brushstroke, considered to have also influenced the French Impressionists, continued to influence several Australian artists from the 19th century onwards, Margaret one of many who garnered his influence yet notably does not appear to have travelled to Spain. Relying on reproductions, she produced several drawings that paid homage to his influence, Remembering Velazquez Again one such drawing. It is of interest that she chose Francisco as her focus and drew him many times, allowing her imagination to place him as musician, colleague or companion.
Exhibition History:
Margaret Woodward - Major Figurative Drawings, Wagner Art Gallery, Paddington, 26th May - 18th June 1998.
Margaret Woodward, Gomboc Gallery, Perth, October 1999.
Margaret Woodward: Inside Looking Out, Parramatta Heritage Centre, 11 April-8 June 2003.
Margaret Woodward: From the Studio, Grace Cossington Smith Gallery, 14 November - 12 December 2020.
References:
Gavin Fry, “A studied elegance: Margaret Woodward at the Grace Cossington Smith Gallery”, Art Monthly Australasia, 2 November, 2020.
Gavin Fry, Margaret Woodward, Sydney, Beagle Press, 2003, p.123.
Suzanne L. Stratton-Pruitt, Velazquez’ Las Meninas, Cambridge, Cambridge University Press, 2003, p.2.