Avigdor Arikha 126 Avigdor Arikha

The composition presents a figure viewed from behind, positioned centrally within the frame. The individual is clad in a light-colored coat, secured with a prominent belt featuring a brass buckle. A dark hat obscures much of the head, though dense, curly hair spills out around its base and down the neck, partially concealed by a red scarf or collar. The most striking element is the hand raised to the face, holding a circular object – seemingly a mirror – which reflects an image back towards the viewer.
The palette is restrained, dominated by muted tones of cream, grey, and touches of red. This limited range contributes to a sense of quiet introspection rather than dramatic display. The brushwork appears loose and textured, particularly evident in the rendering of the coat’s fabric, suggesting a focus on capturing the essence of form over precise detail.
The subtexts within this work revolve around themes of self-perception and identity. The act of looking into a mirror is inherently an examination of oneself, both physically and perhaps psychologically. By presenting the figure from behind, the artist denies us direct access to their expression or emotional state, forcing the viewer to interpret through posture and gesture alone. The reflected image in the mirror becomes a surrogate for that which remains hidden – a glimpse into the subject’s inner world.
The choice of attire – the coat and hat – suggests a certain formality or perhaps a deliberate attempt at disguise or concealment. This, coupled with the introspective act of self-reflection, hints at complexities within the individuals identity. The mirror itself becomes a symbol of scrutiny, potentially representing societal expectations, personal anxieties, or the burden of memory.
Ultimately, the painting invites contemplation on the nature of selfhood and the ways in which we construct our identities through observation and reflection.