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UNTITLED II, AUGUST 19 by Don Bachardy, 1985, acrylic on paper 29 7/8 x 22 3/8. Courtesy Cheim & Read, New York, New York. |
I recently watched the 2007 documentary Chris & Don: A Love Story and was quite moved by the fact that artist Donald Bachardy made hundreds of drawings and paintings of his partner, writer Christopher Isherwood, during their decades of living together, most especially during the months leading up to Isherwood death in January 1986. During one of the most poignant moments in the film, Barchardy carefully leafs through a portfolio of these late drawings and mentions that he sometimes did four or five drawings a day while Isherwood was struggling to remain upright and awake in his chair. The artist even says he created several drawings after Isherwood died, explaining that his partner would have understood his need to respond to death in that manner and would likely have said, “That’s what an artist does.”
I interviewed Bachardy in his studio in the spring of 1985 and wrote an article for the September 1985 issue of American Artist in which I explained that the artist drew with ink and diluted acrylic paint with such bold and athletic gestures that the paint wound up caking the telephone, floors, furniture, and walls. Although there were portraits of Isherwood displayed around Bachardy’s Santa Monica, California, studio, I had no idea that the two men were focused on creating such a large body of portraits to commemorate their relationship. It was only after watching the documentary that I realized my visit coincided with Barchardy preparing for Isherwood’s imminent death by getting as close to him as an artist could. He documented every last minute of Isherwood’s life in a way that would make it possible for him to vividly recall those moments 20 years later.
Many other artists have made drawings of loved ones facing a health crisis for the very same reasons Bachardy was motivated to do “what an artist does.” My friend Sigmund Abeles created a poignant series of drawings of his son, Max, while the premature infant was struggling to survive; and he pushed himself to make portrait drawings of his mother when she was close to death. “It’s the only thing an artist can do when he feels helpless and afraid of losing someone he loves,” Sigmund told me.
As we all know, making drawings is a way of locking images and experiences in our memory. That’s a useful process when we just want to compose a painting or print, but it can also be a valuable means of remembering the special moments in our lives. When we look at a drawing we made years ago of our children, our parents, or a posed model, we can recall everything that was happening at the time. What better way could there be to hold on to the experiences that matter most to us?
I’d be interested in knowing whether you think about drawing and painting as a way of securely locking memories.
M. Stephen Doherty
Editor-in-Chief