Pencil Portrait by Antonio Bosano.
The quality of the prints are at a much higher level compared to the image shown on the left.
A3 Pencil Print-Price £45.00-Purchase
A4 Pencil Print-Price £30.00-Purchase
*Limited edition run of 250 prints only*
All Pencil Prints are printed on the finest Bockingford Somerset Velvet 255 gsm paper.
P&P is not included in the above prices.
Personal taste is a curious thing. We form initial impressions about screen stars which remain singularly difficult to displace, so I’ve got to hand it to Meryl Streep. Here’s an actress that I admired so greatly, that I singularly failed to miss any one of her big screen appearances up to and including “Out Of Africa” (1985).
Unfortunately, starting with that overblown epic – a movie redeemed only by composer John Barry’s sweeping score – and with the exception of “The Bridges of Madison County” (1995) and “The River Wild,” (1994), she’s singularly managed to alienate me ever since. We can start with those bloody foreign accents – “I haaad a faaarm in Aaaafreecar,” which somehow she has managed to convince herself she can do, such professional conceit culminating in her Oscar winning portrayal of Margaret Thatcher in “The Iron Lady.” Readers are advised to check out the 2009 BBC Tv drama “Margaret,” a fictionalisation of the life of Thatcher and her fall from the premiership in the 1990 Tory leadership contest. Starring the wonderful Lindsay Duncan – Christ, one can even conjure indecent thoughts over Lindsay in the role if only she’d put her handbag down for long enough – it’s a majestic performance, now sadly overlooked because the Academy of Motion Picture Arts decided dear Meryl had pulled it off again. For God’s sake, it’s like trying to imagine Edward Fox playing JFK and bagging an Oscar winning performance into the bargain.
Streep apparently demurred when initially offered the role, but was presumably convinced of the project’s merit and her ability to carry it off by her agent, or her well concealed ego, or perhaps by the whole of America. In any event. coming a mere three years after her widely praised vocals in the big screen adaptation of “Mamma Mia,” let’s now all bow down to the woman who renders all other actresses superfluous.
So here’s my portrait of Meryl from the period 1977-84 when she simply captivated me with her brilliance, those heady, long forgotten days before versatility became her buzzword, and she began irritating me beyond belief.