I watched Portrait of Wally at this year's Tribeca Film Festival, where I was also witness to an insightful panel discussion as part of their "Tribeca Talks: After the Movie" program.
The watch-portrait is Rembrandt rubbed out and then rubbed out again, faded and re-faded.
With its grey brushwork and hazy surface, the watch-portrait feels like a picture torn from a newspaper or magazine.
Referring to that performance, he wrote: "Watch a portrait in miniature of Johnson the politician: underprepared, jolly, sly, dishonest and unapologetic but (and this is the worrying part) horrifyingly vulnerable.
The biggest problem with The Iron Lady (2011, Fox, 12) is how little the movie does to dispel the distracting notion that you're watching a portrait of the most controversial postwar British political figure as seen through the eyes of the director of Mamma Mia!
Is there anyone who doesn't immediately remember that they cried while they watched this portrait of love and mortality?
Historians or political supporters have writhed in agony watching oversimplifed portraits of Franklin D. Roosevelt, Dwight D. Eisenhower, the Kennedys, Richard M. Nixon and Lyndon B. Johnson, to name but a few.
As the children watched their portraits develop, their father, who was nearby, asked if he could keep some of the photographs.
As anyone knows who saw "Black Watch," a collage portrait of a Scottish Army regiment in Iraq, Mr. Tiffany and Mr. Hoggett are masters of surprising stagecraft.
If he's still confused, he should watch this Paul McGann-narrated portrait of Syria's largest city, currently divided between opposition-controlled east and government-controlled west.
Yet the touring production of "Black Watch," a group portrait of Scottish soldiers in Iraq that was first seen here in 2007, still feels as fresh and raw as the recruits portrayed by its young, open-faced new cast members.
