I let those feelings out when I painted it.” Only I could paint the boy’s expression as someone who went through a similar experience that expression can only come out if you have it inside of you.
“It’s also very much what I went through when I moved from Russia to Israel. “The boy doesn’t have his own ground, which is like Akiva after the loss of his mother,” Tubis said. Tubis said that of all the paintings in the series, “The Boy with Fish” connects his core truth as an artist with his subject and ultimately the character of Akiva. Tubis then put his own stamp on the portrait when he fused Manet’s style with one of his favorite portraitists, Valentine Serov.
At Elon’s suggestion, Tubis studied Manet’s “The Fifer” to capture the effect Elon wanted. Tubis said another fan favorite on the show is “The Boy with Fish,” a portrait that hangs in Akiva’s studio in Season 2. I take no responsibility for it, but I made an exacting expression of a loving, sad smile.” “I wanted to enjoy painting that portrait, and to do that I moved the brushes in directions they asked to be moved. “I told the painting, ‘I’m not afraid of you,’” he said. “A smile can work in photography, but painting has a time of its own.”Īfter several false starts, he literally confronted the painting. “The first thing I tell my students when they paint a portrait is don’t paint the subject smiling,” he said. Having painted watercolor landscapes almost exclusively before he ghost-painted for Akiva, he noted that he was “rusty when it came to painting figures.” Elon wanted Libbi to smile in the portrait, but the directive contradicted a tenet of Tubis’s philosophy as an artist. For example, working on Libbi’s bridal portrait for Season 3 was a creative struggle for Tubis. Tubis’s method of working with Elon has not been without its glitches. “I feel secure as a painter to listen to Ori’s opinions.” “Ori summarizes the show for me, and I watch it when it airs,” he said. A crucial part of Tubis’s process is not to read the script before he paints for an episode. Elon regularly cited influences such as Édouard Manet or Rembrandt that he wanted Tubis to incorporate in a particular portrait. Tubis’s oil paintings debuted in Season 2 of “Shtisel,” during which he forged an artistic practice with the show’s creator and producer, Ori Elon. Tubis was 17 and the show was his introduction to old masters, specifically Diego Velázquez’s “Portrait of Prince Philip Prospero” and Paolo Veronese’s “Judith with the Head of Holofernes.” After his mandatory army service, Tubis was accepted to Israel’s prestigious Bezalel Academy of Arts and Design, where he studied painting and “found my people,” he said. For a time, Tubis aspired to be a filmmaker, but he shifted back to painting when he saw an exhibition that traveled to Israel from Vienna’s Kunsthistorisches Museum.
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