When I was 19 and around the same time a similar thing was happening to the Woody Allen character in the film Manhattan, my partner of the previous two years left me for another girl. No jokes; she really did, and more unsettling than that, she destroyed my two old teddy bears; and all because – according to her sister – I refused to marry her.
To this day I can’t quite get my head around how a denial of a heterosexual wedding led almost instantaneously to a life of lesbianism? The teddy thing on the other hand, I sort of get.
The reason I mention this is because in the process of resurrecting much of my old artwork with the aid of my new slide scanner I recently came across several portrait sketches in various media I made of that very individual. They were all done in the space of a few days a short while before she broke up with me, and looking at them now it’s not hard to see how she was feeling about me. But whether her glumness and anger was because of my refusal to wed, or because she had already discovered her true sexuality, or just due to some sort of resulting confusion, I will never know.
Whatever, the drawings make for an animated and highly expressive montage, and represent a vivid emotional snapshot of a dramatic moment in our then-young lives. And the good news is, although we are no longer in touch, I know from my sources that she has been living happily with that same “other girl” ever since. Hopefully there have been some smiles along the way and no further damage to innocent teddy bears.
I was only five years old when my first headmaster, Chaim Beckman, described me as “the complete illustrator and cartoonist”. However accurate he was in that appraisal there was no doubt that I was certainly able to capture a person’s likeness – in comic or serious form – from a precocious age. And, although I never made much money from portraits it was nevertheless a skill which served me well in some quite surprising ways.
Because I’d been living abroad for most of the previous year I missed being streamed in that first fateful year of English and Welsh comprehensive education in 1971 and so found myself “defaulted” into class “G” at my local ex-grammar school in Edgware (north London). Nearly all my friends from primary school had been streamed into classes “A” and “B”, with the few relatively “dumb” ones ending up in “C” – so you can only imagine how isolated and strange I felt finding myself cast five rungs further down the intellectual ladder. The fact that all of my new classmates were from the other side of the north London social and cultural tracks, and that I was the only Jewish kid in the group made for a potentially dangerous educational experiment – dangerous for me that was. But fortunately, my drawing (and my portrait skills in particular) was to prove to be my guardian angel.
On my very first day in class, the alpha male of stream”G”, a boy mountain called Kevin approached me menacingly. Towering over my desk – and in what was my first personal experience of antisemitism directed at me – he said, ‘Oi you – Jew boy!’ But before I had time to feel fear or shock, he continued; ‘I ‘ear you’re-a-bit-of-a-fucking artist’ (he used that expletive or worse in every utterance he made), to which I mumbled back something like; ‘er…yes…I guess so…”
‘Well fucking are-ya-or fucking arnt-ya?’ he demanded.
‘Yes’ I replied, perplexed and intimidated in equal measure, ‘I’m quite good at drawing’
‘Fucking draw me then!’
‘Are ya fucking deaf? I said draw me ya little Jew bastard!’
‘Er…draw you? When?’
It’s never ceased to amaze me, the things we can achieve whilst in a state of abject fear.
Somehow or other, I remained composed enough to invite Kevin to take a seat at the vacant desk next to my own, remove a new pad of lined paper from my brief case, take a felt tipped pen from my inside school blazer pocket and even to ask Kevin if he wanted me to do a caricature or something more serious.
‘A carick-what?’ he asked me.
‘Like a cartoon…like in the comics’
At this he smiled for the first time and said ‘Yeh! Make me into a cartoon, and put me in an Arsenal strip!’
Fortunately Kevin didn’t yet know that I was a Spurs fan. That heinous fact on top of everything else might have pushed him into doing something rash before I got a chance to win his favours with my drawing. But, to cut a short story even shorter, and spare you all from more of his expletives, my drawing of Kevin’s head on George Graham’s body, doing amazing things with a football impressed him so much that from that moment on, apart from having the honour of being “Kevin’s Jew” I was also designated by Kevin to be stream “G”s official artist. “Working for Kevin” (that was the way he termed it) was a bit like being the court artist to Henry VIII (they even looked a bit alike), with all the pressures and stresses that particular job must have entailed – only it was more the threat of having my head “beaten to a pulp” than having it removed which kept me on my toes.
As things turned out I only had to survive two terms at that school, but by the end of my time there, Kevin had – albeit somewhat inadvertently – helped me hone my drawing skills to a whole new level.
This selection of portraits (including sketches of one or two quite well-known people), covering about two decades and done in a variety of media, formal and rough, is dedicated to the late Chaim Beckman (one of the subjects presented here) for believing in me from such an early age, and also to Kevin, for teaching me to work well under pressure. Sadly, I don’t have any of the dozens of drawings I made of Kevin as he kept them all…