Portraits of Time: Learning to Look Long at Paintings of Old Age

 

    In a modern society which emphasizes efficiency and idolizes the beauty, power, and potential of youth, it is difficult to make space to contemplate and respect old age. Often, the elderly are seen as a burden; stubbornly set in their old ways and slowing down the upward progression of society. Could this harsh judgement spring from a position of fear? Perhaps our productive, materialistic society attempts to reject old age because we are frightened of the ever steady, unstoppable progression of time and our inevitable end in death. Thus, we endeavor to ignore or hide the old while promoting the young. But, what if we took time to slow down and learn from the wisdom of the experienced- the ones who have lived much longer than us and in a different time and culture? Although it is countercultural, spending precious time to contemplate the dignity and wisdom of old age is an important practice which invites the viewer to embrace and celebrate the reality of a long lifetime.

    A way in which we can practice slowing down is through intentional study of art. Each of the pieces in this collection are painted portraits of elderly men or women. In all of the following paintings, a solitary figure is positioned in a quiet space of peaceful contemplation. Some figures meet the viewers’ eyes while others seem to be lost in their own thoughts, gazing steadily off of the canvas. Although separated by decades and made in varying cultures and contexts, the following works are united by the subject matter of old age and the peaceful and quiet atmosphere of the spaces the figures inhabit. As you observe the paintings in this collection do not be afraid to do so slowly. As you look closely at each piece, you also are inevitably maturing; physically, mentally, and spiritually. You are invited into the quiet, still space which each of these figures inhabit alone, but united, with each other and with us all under the common human experience of existing as a finite creature located in time and space. 

Hugo van der Goes, Portrait of an Old Man, ca. 1470–75

Oil on paper laid down on wood, 8 3/4 x 6 1/2 in

The Metropolitan Museum of Art, 2010.118

Hugo Van der Goes’ naturalistic painting of an old man focuses on the man’s face, his head and shoulders covered in a dark cloth. Thought to be a preliminary study for the figure of St. Thomas in Van der Goes’ famous Portinari altarpiece, this piece is rendered in meticulous detail as the artist carefully includes each fold and wrinkle in the man’s face. The subject’s thin upper lip and protruding lower lip indicates his loss of teeth and the physical aging and decay of his body. Van der Goes uses line and contrast to emphasize his subject’s age. The old man’s quiet and contemplative face gives him an air of wisdom and patient contentment.

El Greco (Domenikos Theotokopoulos),

Portrait of an Old Man, ca. 1595-1600

Oil on canvas, 20 ¾ x 18 ⅜ in

The Metropolitan Museum of Art 24.197.1

    Domenikos Theotokopoulos, known as El Greco, which means ‘the Greek,’ painted this piece in his typical style that features his naturalistic, but strangely elongated figures. Scholars debate whether this piece is a self portrait or not. El Greco painted the face of this man with such thin layers of paint that the gray of the background shows through. The man’s wrinkled brow, haggard face and deep sunken eyes tell of his age and long experience of facing the joys and sorrows of life. Unlike most of the paintings in this exhibit, El Greco’s old man looks directly at the viewer. Does his penetrating gaze accuse his audience? Does it invite them to pity him or respect his long endurance against time? Or, perhaps he looks past his viewers, reminiscing the memories of his youth or contemplating his ever approaching death.

Archibald J Motley Jr, Uncle Bob, 1928

Oil on canvas, 40 1/4 x 36 in.

The Metropolitan Museum of Art, 2022.162

The most modern piece in this show, American artist Archibald J Motley Jr’s Uncle Bob is a powerful and beautiful painting. The subject of this painting is the artists’ mothers’ half-brother, Robert White. Set in the context of the Harlem Renaissance in America, this piece is a racial and political statement. However, it is also a peaceful and domestic depiction of rest in old age. Motley portrays his uncle in a familiar domestic setting. The sitter’s large roughened and veined hands speak to the hard work which he has done in his youth; now, they are holding his pipe and resting on the arm of his chair. Sitting in a wooden chair outside a white house and smoking a pipe, the artist’s Uncle Bob is a picture of rest and retirement after the hard labor of a long life.

Edgar Degas, The Old Italian Woman,1857

Oil on canvas 29 1/2 x 24 in.

The Metropolitan Museum of Art 66.65.2

French painter Edgar Degas made this piece during his study in Italy. The subject’s hunched position, tired and wrinkled face, and her thin clasped hands indicate her great age. She looks as if she has endured many trials and suffering over the many years of her lifetime. However, despite her old age and look of poverty, Degas paints her with a quiet dignity that is reminiscent of paintings of biblical saints by the old masters. Through a strong triangular composition and the contrast of color and value that creates a halo around his subject’s head, Degas’ piece portrays a wizened and solitary figure who invites respect and honor. Like Motley’s Uncle Bob, Degas’ figure seems to be resting from difficult work and living conditions. However, unlike Motley’s painting, there does not seem to be any indication of contentment and a more permanent rest.

Thomas Eakins, Mrs. Mary Arthur, 1900

Oil on canvas, 20x24 in. 

The Metropolitan Museum of Art 65.83

This American painting depicts the Artist’s friend’s mother. 76 year old Mary Arthur quietly crochets against a muted brown ground. The soft and blended brush strokes as well as the very light almost transparent color of her skin indicate Mrs.Arthur’s frailty and weakness. However, her straight posture, elegant and proper attire, as well as her still active hands show her honor and respect. The subject’s dark clothing and the muted ground emphasize her glowing face and hands, giving her an ethereal and other-worldly look. Mrs. Arthur’s quiet smile and steady downcast gaze give her a look of contentment and peace as she happily works and waits in quiet contemplation.

Vincent Van Gogh, Sorrowing Old Man (At Eternity’s Gate), 1890

Oil on canvas, 81.8 x 65.5 cm

Kröller Müller Museum KM 111.041 

Famous Dutch Post-Impressionist painter, Vincent Van Gogh depicts the sorrow and difficulty of aging in this work. In his typical color palette with warm greens, blues, and yellows, Van Gogh paints a hunched over figure with his head in his hands. The title of this piece, Sorrowing Old Man (At Eternity’s Gate), tells us something about Van Gogh’s perspective on this piece. The reality that one day we too will physically decay and face death is a daunting one. Like the others in this exhibition, this piece includes a solitary aged figure in silent contemplation. However, instead of portraying the dignity, contentment, or hope of old age, Van Gogh gives us a window into the lonely sorrow that his subject ruminates on.

Matthias Storn, Old Woman Praying, late 1630s or early 1640s

Oil on canvas, 30 ⅝ x 25 ⅛

The Metropolitan Museum of Art 1981.25

Made by the Dutch painter Matthias Storn, this portrait pulls from Caravaggio's dramatic use of value and contrast. The light source in the bottom left corner of the composition gives the subject’s hands and face a leathery texture and emphasizes the wrinkles in her skin. This painting depicts the hope that comes with old age; promising not only the reminiscence of the past, but the contemplation of the future. The paintings in this exhibit portray many sides of the complex theme of old age. Some figures are dignified, others are haggard, tired, sorrowful, still others are contemplative and content. This painting is a final reminder that though this time we live in seems daunting and frantic, we have the hope of life after death. The older we get, the closer we are to freedom from the crippling restraints of time and the hope of the resurrection.

Kauppinen, Heta, and Patrick McKee. “Old Age, Painting, and Gerontology.” Journal of Aesthetic Education 22, no. 2 (1988): 87–100. https://doi.org/10.2307/3333125.

Klement, Vera. “An Artist’s Notes on Aging and Death.” Art Journal 53, no. 1 (1994): 73–75. https://doi.org/10.2307/777541.