Chains of Power and Presidential Portraits

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A presidential portrait is a tradition which solidifies a president's position in history as a person but also a symbol of America and democracy. Because of the exceptional symbolic weight of a presidential portrait it is a good image to analyze when considering power, particularly the concept of the King's two bodies. In interpreting the above portrait I will use Reed's definition of interpretation, "...Understanding the relationship between means, ends, and projects possessed by actors and used to direct their actions is interpretation" (Reed 2017:92).

Unlike many other portraits which show a president staring into the distance, Obama's portrait shows him making direct eye-contact with the viewer. The portrait is life sized which adds to the feeling that the viewer is engaged in a conversation which Obama is listening to. Obama leaning forward slightly with his legs in an open stance suggests he is open to listening. By connecting with the viewer the portrait emphasizes that in this case the "king's" power comes from the people who entrust him with it.

By having an untraditional background, the portrait recognizes Obama's unique position in history as the first Black president. This untraditional background might seem unnatural, however this notion is directly contested by the use of nature. While some portraits of royalty suggest the "King" gets his power from god, this portrait suggests the power comes naturally to Obama.

The background also includes symbols of Obama's life and backstory, with Jasmine representing his home Hawaii, African Blue Lilies in honor of his father and chrysanthemums, the official flower of Chicago. As the flowers overlap with Obama, there is a sense that his story is a series of connections and lived experiences that dictate his approach to being president.

Despite the background, tradition is still maintained with the formal attire of Obama, and the formal chair he is seated in. It should be noted that while Obama is wearing a suit he is not wearing a tie, this might suggest that he is more approachable, or in the process of doing more hands-on work.

Reed discusses the idea that kingly power travels outward from the overlap of both of the King's bodies. In the case of this portrait this expansion of power can be seen in the movement of the plants which creep in and out, as well as through Obama's eye contact which entrust the viewer as a link in his chain of power.



Barack Obama's portrait: Barack Obama by Kehinde Wiley, oil on canvas, 2018. National Portrait Gallery, Smithsonian Institution; gift of Kate Capshaw and Steven Spielberg; Judith Kern and Kent Whealy; Tommie L. Pegues and Donald A. Capoccia; Clarence, DeLoise, and Brenda Gaines; The Stoneridge Fund of Amy and Marc Meadows; Robert E. Meyerhoff and Rheda Becker; Catherine and Michael Podell; Mark and Cindy Aron; Lyndon J. Barrois and Janine Sherman Barrois; The Honorable John and Louise Bryson; Paul and Rose Carter; Bob and Jane Clark; Lisa R. Davis; Shirley Ross Davis and Family; Alan and Lois Fern; Conrad and Constance Hipkins; Sharon and John Hoffman; Daniel and Kimberly Johnson; John Legend and Chrissy Teigen; Eileen Harris Norton; Helen Hilton Raiser; Philip and Elizabeth Ryan; Roselyne Chroman Swig; Josef Vascovitz and Lisa Goodman; Michele J. Hooper and Lemuel Seabrook III; The Skylark Foundation; Cleveland and Harriette Chambliss; Anna Chavez and Eugene Eidenberg; Carla Diggs & Stephen M. Smith; Danny First; Peggy Woodford Forbes and Harry Bremond; Stephen Friedman Gallery; Sean and Mary Kelly, Sean Kelly Gallery; Jamie Lunder; Joff Masukawa and Noëlle Kennedy Masukawa; Derek McGinty and Cheryl Cooper; Robert and Jan Newman; The Raymond L. Ocampo Jr. and Sandra O. Ocampo Family Trust; Julie and Bennett Roberts; Paul Sack; Gertrude Dixon Sherman; Michael and Mary Silver; V. Joy Simmons, MD; Andrea Lavin Solow and Alan P. Solow; John Sykes; Galerie Templon; Henry L. Thaggert III. © 2018 Kehinde Wiley For Educational Use Only


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