Notes

This lesser-known piece, created in the 1950s, reflects Alexis Preller’s fascination with portraiture as a symbolic art form. The subject’s head is encased in a mould, a technique wherein the mould separates into two or three pieces from an original clay figurative prototype, revealing the form in negative relief. Preller’s investigation into these moulds served as the foundation for his innovative intaglios of 1969, in which he painted their interiors with illusionistic techniques, aiming to convey the impression of three-dimensional positives.

Painted in 1950, South African Beauty presents a somewhat ambiguous interpretation. Viewers may find themselves uncertain whether the face depicted is that of a woman or a man. This androgynous quality echoes ancient Egyptian art, a subject Preller was familiar with from his time in Egypt during WWII, where he was repatriated in 1943. He was particularly captivated by the ancient Egyptian sarcophagi, which encased both the faces and bodies of nobles and pharaonic kings.

In South African Beauty the face appears to emerge from its encasing, leaving a relief impression of the profile and featuring an almond-shaped pharaonic eye. The concave surface is adorned with stylized depictions of Egyptian geese in flight. The piece is characterised by a cobalt blue sky, accompanied by a cluster of violet flag irises, with a white bloom in the foreground adding to the sense of engagement.

On a deeply personal level, this artwork reflects Preller’s exploration of beauty, transcending traditional gender stereotypes within the context of conservative social norms and intolerance.

Provenance

Goodman Gallery, Johannesburg, 4 October 1990.

Private Collection.