This extraordinary double portrait portrays Margaret with her six year old daughter, Britt. Centrally situated, the two figures balance and interact through the play of hands and the swirling acqua paint set against the darker background. Britt stands on an oversized chair, arms outstretched in an act of play while Margaret is next to her, her right hand resting on her stomach while her left hand reaches in a protective gesture towards Britt. The flesh colour of the faces is striking against the darker colours, cinematic in its effect.

During Margaret’s 1967 overseas trip with Britt to London, she also visited Holland, this portrait reflecting the double portrait composition of Dutch painting as well as the Tudor tradition of portraiture whereby the child is often presented next to the mother, the hands used to signify association. Margaret’s choice of composition suggests her desire to acknowledge an art historical legacy that is European. She stares out from the picture, her face stern in comparison to Britt bouncing around beside her. Margaret’s hair is tied into a voluminous bun typical of her appearance at this time, and she expresses the responsibilities of parenthood, her ache perhaps at the recent illness endured by Britt. She may also be alluding to her marriage breakdown by presenting herself with Britt, they are two together in this world. 

In a personal interview Britt recalled that her first memories are of the quarantine she was required to endure and being sick in London. Her mother had been desperate to go overseas, to visit the places about which she had studied. Britt understands her illness was German measles, a debilitating illness and comments that it derailed her mother’s plans to absorb herself in the European art world.

This portrait, achieved so early in Margaret’s career, was shortlisted as one of only 15 favoured works for the 1970 Archibald Prize. Significantly, she was one of only two women artists to be included in the group. The other woman was Judy Cassab who would become a lifelong friend and drawing partner, the two working  alongside Nora Heysen for many years. The winner that year was Eric Smith with a lifelike portrait of architect Neville Gruzman. Margaret’s Self-Portrait with Britt challenges through its composition and colour and is a dramatic contrast to the winning portrait.

Exhibitions and competitions: 

Archibald Prize, Art Gallery of NSW, Sydney, 1970.

References

Gavin Fry, Margaret Woodward: Paintings 1950-2002, Sydney, Beagle Press, 2002, plate 19.