August Cook’s 1955 Self-Portrait is a physical document of the artist  turning his notoriously stern, critical, and impartial eye on himself.  This can be said of all Cook’s self-portraits. But this particular work  is more than just a record of this process, and thus surpasses the  others. 1955 Self-Portrait certainly captures the imposing presence  which, over the years, caused more than one of Cook’s students to leave  his classroom or private studio in tears; but it also has an air of  closeness and intimacy, implied by the pieces relatively small size and  tight cropping.  

In 1955 Self-Portrait, the intimidating part of Cook’s personality is  evident in the artist’s tightly set jaw and in the rigidity of his brow,  both accented by the works’ sharp background gradient – which is itself  more like a continuation of Cook’s stern browline than a painted  effect. But at the same time, the slightly hunched set of the artist’s  shoulders and delicate rendering of his eyes have a softening effect on  the piece, making it more quiet and meditative. In addition, the  artist’s face takes up much of the painted surface of his head –  creating a sense of openness and frankness.  

The total effect is a complex, even contradictory one, not unlike the  presence of Cook himself, as recollected by one of his granddaughters in  2000, “I won’t pretend to tell you that my grandfather was always a  pleasant man. He was not….[but] growly bears are often very soft and  sweet inside.”