Vladimir Tretchikoff, best known for his glamorous and iconic portraits of Oriental women like "Chinese Girl" and "Miss Wong," was far more than just a creator of exotic beauty. After making South Africa his home, Tretchikoff produced a significant body of work featuring ethnic portraits of South African Indian dancers, coloured cooks and fishermen, black warriors, chiefs, and mothers. Though these works never achieved the mass appeal of his Oriental portraits, this was perhaps a calculated decision by Tretchikoff, who possessed a keen entrepreneurial spirit and a deep understanding of his audience, particularly the overseas market.
These works exhibit a simplicity that some might interpret as a lack of deep engagement with his subjects. However, this straightforwardness was likely intentional. By avoiding over-complication, Tretchikoff created images that were immediately accessible and appealing to a broad audience. He focused on capturing the aesthetic beauty of his subjects—whether it was the intricate folds of a woman's turban or the dignified composure of a market seller—without delving into the complex realities of their daily lives. This approach allowed viewers to appreciate the visual appeal of the subjects without being burdened by the socio-political context of their existence.
In his portrayal of his models, Tretchikoff often dressed his sitters in traditional garments, even though such attire was no longer common in urban settings. This choice was not about authenticity but about crafting an image that would resonate with Western ideals and expectations. By doing so, Tretchikoff tapped into a market that craved romanticised and sanitised versions of African life—an Africa that was visually stunning but emotionally distant. This strategy proved successful, particularly during his North American tour, where his studies of indigenous people became some of his most popular works.
Tretchikoff’s work can be seen as part of a broader trend among white South African artists of the time, who often portrayed black people in a way that was detached from the complexities of their lives. However, unlike some of his contemporaries who sought to penetrate the soul of their subjects, Tretchikoff made a deliberate choice to keep his depictions more surface-level. This was not due to a lack of interest or empathy but rather a strategic decision to appeal to a mass market. His audience—often middle-class Westerners—were more likely to be drawn to images that fit their preconceived notions of Africa rather than those that challenged them.
He often did not adhere strictly to cultural accuracy - this blending of visual elements from different African cultures created a pastiche that was undeniably appealing to his target audience, even if it was not entirely authentic.
Tretchikoff’s success can be attributed to his ability to understand and cater to the tastes of his audience. He recognised that his buyers were not necessarily looking for an accurate representation of African life but rather for art that fit into their idealised vision of the world. By creating works that were beautiful, accessible, and exotic without being too challenging, Tretchikoff positioned himself as a master of marketable art.
These portraits were not the result of ignorance or lack of depth but rather a calculated and strategic choice. Tretchikoff's work reminds us that art is not only about expression but also about understanding and engaging with the market—a balance he struck with remarkable success.