Expressive Portraits by Jean Pederson Book Review by Kate Bedell

American Artist Jean Pederson opens her book “Expressive Portraits” with quotations about watercolour’s reputation as a very ‘difficult’ medium. It is believed to be burdened with rules such as ‘You can’t make a mistake’ ‘Save your whites’ ‘build your subject with as few layers as possible’ ‘don’t add white’… The list goes on.  These rules can so inhibit people that they never really get to enjoy its possibilities.  Not so for Jean Pederson.  She cracks the myth of the ‘pure watercolour’ by pointing out that artists such as Durer, Sargent and Homer frequently integrated gouache, wax and graphite into their work.   Pederson introduces the reader to unconventional techniques with watercolour, combining it with mixed media.  Although this may seem like a recipe for disaster, Pederson remains true to the medium of watercolour, while at the same time giving it a multi-layered collage-like effect. 

 The book reveals a huge amount of information both on traditional and contemporary techniques.  It outlines the basics of portraiture, composition and lighting.  Pederson stresses the importance of traditional drawing, colour theory, and a thorough knowledge of materials. Among these she includes watercolour, gouache, gesso, ink and acrylic. This firm foundation of knowledge will, Pederson believes, allow watercolourists to embark, with confidence, on their journey into what she calls the “what-if” zone.  She encourages the artist to take risks and experiment.  Pederson is convinced that to paint creatively is to paint without fear.

After mastering the basics Pederson goes on to push the limits of each medium. She takes the student through many detailed exercises for using watercolour, gouache, ink and acrylic together or in layers.  There are  methods for combining printing with various implements, sponging, stenciling and using alcohol to achieve unexpected results.  The descriptions for these recipes are clear and detailed with photos to illustrate.   However, she repeats the colours red, yellow, orange and white in each experiment. Visually this looks a little uninteresting.  I’d love to have seen more variety as colour is the principle factor in creating mood and atmosphere.  Also, each pigment has its own particular properties. The failure to explore these - and the ‘happy accidents’ produced by their interaction – is a little disappointing.

There are five fully illustrated demonstrations at the back of the book with at least 8 to 10 photos. In these Pederson documents her palette and clearly outlines each stage of the work.  However, it would take an experienced artist to faithfully recreate these pieces.  It takes time to acquire such skill. At the end of the day there is no replacement for practice and observation - no matter how much an artist ‘gives away her secrets’.

Overall I loved this book.  Her portraits of her African-American model, Mercy, are superb.  They hit all the main requirements of technical excellence, originality, and emotional response.  However, a couple of the other portraits in the book, such as “Self Assured” on page 118 seem, by comparison, a little stiff and awkward.  It is true that Pederson communicates on many levels through these portraits and captures not only the character of her sitter but allows the model’s attitude to make a statement also.  It is possibly this complexity that gives the portraits a slightly uneven quality.  I wonder how others would respond?