Paul Davis (b. 1938) is one of a handful of artists whose work creates the visual memory of our popular culture. Davis's posters often become the image by which well-known people are forever recalled. Davis renders faces seen countless times on TV and in photographs, yet he captures something that no film, photo or video could every articulate. A Davis portrait delivers more than just what is visible to the eye. By combining realistic technique with highly stylized imagery, he traps some essential aspect of his subject's character. Rather than simply showing what people look like, Davis coaxes their outer appearance to reflect their inner reality. Davis uses an intensely romantic style to achieve his effect. Perhaps his best known poster is the famous Che Guevara done in the 1960s. In real life, Guevara was never so handsome, so compelling. In Davis's portrait he becomes the idealized revolutionary: black halo of beard and berets, the moonstruck, soulful eyes, the defiant yet ironic, almost humorous twist to the surprisingly sensual mouth. More than any other, that poster epitomizes the romantic notion of "revolution" held by American youth in the '60s. Guevara was a soldier, a killer, a skilled guerilla operative. Yet the face is soft, lush and dreamy. Davis often infuses his portraits with this kind of paradox. Davis's faces are soft, yet powerful; sympathetic, yet menacing; inspiring, yet dangerous. That is, fully human. The plump-cheeked tousle-haired innocence of the young grape picker in the classic "Viva la Huelga" poster hints that this boy may have a will and spine of patient iron. Davis achieves similar effects with all those he has painted: Billy Graham, George Orwell, Joan Baez, Timothy Leary, Jack Nicholson, Jimmy Carter, and Meryl Streep. Paul Davis never fails to capture the essential humanity that hides beneath the oversized characters they project.
"synopsis" may belong to another edition of this title.