Portraits of Power

In 1976, Richard Avedon went to Washington to photograph Henry Kissinger. As Avedon was leading him to his mark, Kissinger said, “Be kind to me.”

Artists have been making portraits of the mighty for centuries—from Velázquez’s Philip IV to Lucian Freud’s Elizabeth II—and the act of portrait-making can leave the royal or the tyrant, the President or the diplomat with a sudden feeling of disequilibrium, of a transfer of power. Avedon knew that Kissinger was trying to manipulate him, but what, exactly, did he want? “Did Kissinger want to look wiser, warmer, more sincere than he suspected he was?” Avedon wrote later. “Isn’t it trivializing and demeaning to make someone look wise, noble (which is easy to do), or even conventionally beautiful when the thing itself is so much more complicated, contradictory, and, therefore, fascinating?”

This past September, when nearly all the world’s leaders were in New York for a meeting of the United Nations, Platon, a staff photographer for this magazine, set up a tiny studio off the floor of the General Assembly, and tried to hustle as many of them in front of his lens as possible. For months, members of the magazine’s staff had been writing letters to various governments and embassies, but the project was a five-day-long improvisation, with Platon doing his best to lure the likes of Mahmoud Ahmadinejad, Hugo Chávez, and Muammar Qaddafi to his camera.

And so what did the Israeli Prime Minister, Benjamin Netanyahu, ask the photographer before the shutter clicked? “Platon,” he said, “make me look good.”

History is full of leaders who cannot bear the result of their sittings. Winston Churchill publicly praised a portrait of him by Graham Sutherland, but soon decided that it made him look senile. His wife, Clementine, destroyed it. Usually, it seems, politicians seek out a portrait artist at the beginning of their career. On February 27, 1860, the day he delivered his career-defining speech at Cooper Union, Abraham Lincoln walked over to Mathew Brady’s studio and had his picture taken. The greatest of American political lives had begun.

But the anxiety persists. While political theatre went on inside the General Assembly, Netanyahu kept stopping by Platon’s makeshift studio and repeated his request: “Make me look good.”

Read more: http://www.newyorker.com/online/multimedia/2009/12/07/091207_audioslideshow_platon#ixzz0Z9WqCiMd

Click the image above to see the photos.

Thanks To Keith at BagOfNothing