By James Hall
Sheds new gentle at the lengthy heritage of self-portraiture with clean interpretations of well-known examples and new works, principles, and anecdotes
This huge cultural historical past of self-portraiture brilliantly maps the heritage of the style, from the earliest myths of Narcissus and the Christian culture of “bearing witness” to the prolific self-image-making of today’s modern artists.
concentrating on a perennially renowned topic, the publication tells the shiny heritage of works that provide insights into artists’ own, mental, and inventive worlds. themes contain the significance of the medieval reflect craze in early self-portraiture; the confessional self-portraits of Titian and Michelangelo; the mystique of the artist’s studio, from Vermeer to Velázquez; the function of biography and geography for serial self-portraitists resembling Courbet and Van Gogh; the a number of selves of contemporary and modern artists akin to Cahun and Sherman; and up to date advancements within the period of globalization.
accomplished and wonderfully illustrated, the ebook beneficial properties the paintings of a variety of artists together with Beckmann, Caravaggio, Dürer, Gentileschi, Ghiberti, Giotto, Goya, Kahlo, Kauffman, Magritte, Mantegna, Picasso, Poussin, Raphael, Rembrandt and Van Eyck. the whole variety of the topic is explored, together with comedian and cartoon self-portraits, “invented” or imaginary self-portraits, and significant collections of self-portraiture akin to that of the Medici. a hundred and twenty illustrations in colour and black and white
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Additional resources for The Self-Portrait: A Cultural History
However the slashed doublet additionally expresses anything approximately his method of art-making. ‘Slashing’ is exactly what the painter is doing to the entire mise-en-scène, insofar as he has ruthlessly lower his small fragment of an image out of a bigger visible complete. within the paintings of portray, Vermeer exhibits himself to be artists – the macrocosmic painter of Clio and declamatory trumpets, and the whispering microcosmic painter of Laura. within the Clio camp we will be able to situate 3 photos from this time – The Geographer and The Astronomer (both from round 1668), and The Allegory of religion (early 1670s); within the Laura camp, many of the remainder of his paintings. to some extent, he's recreating the stress that exists in work of St Luke, the place there's an implied competition with, and critique of, the 1st Christian painter: while Luke bargains a close-up of the Virgin and baby, the ‘modern’ painter deals a wide ranging view of the complete inside. Vermeer was once head of the Delft Guild of St Luke in 1662–3 and back in 1670–1, so the topic might were in his brain whilst embarking in this photo. Clio seems to be on the publication she is conserving with an identical rapture that would be proven through the Virgin in the direction of the Christ baby. Vermeer doesn't are looking to resign his Laura part, yet as in Poussin’s moment self-portrait, he desires to convey that his household paintings of modest scale can provide ‘an notion of a grander thing’. numerous Dutch seventeenth-century work of the artist’s studio convey the artist being visited by means of capability buyers, yet those normally mediocre and modest photos are thoroughly upstaged through Diego Velázquez’s Las Meninas (1656), the main bold assertion concerning the prestige of easel portray that were made. prior painters to the Spanish courtroom, similar to Titian and Anthonis Mor, had made self-portraits that have been exhibited along their pictures of the royal relatives. 35 the following the Spanish royal relatives occupy the centre of this massive canvas (318 cm excessive and 276 cm vast; c. 10½ by way of nine ft), whereas Velázquez stands to the part and in partial shadow. however the photo is so ruled and decided by means of the canvas at which he works, and by means of perspectival and illusionistic trickery, that it used to be rightly defined through a close to modern as ‘the theology of portray’ – with Velázquez because the Christ and St Luke of portray. Our major resource of data approximately Las Meninas is an outline through Antonio Palomino in his El museo pictórico y escala óptica (The pictorial museum and optical scale, 1724). Palomino had talked to 4 of the 9 humans depicted within the paintings, and to others who had recognized and labored with Velázquez. for this reason we all know the names of 8 of the protagonists. We additionally be aware of that the scene is found in a pretty exact depiction of Velázquez’s studio within the former residences of the deceased Crown Prince Baltasar Carlos within the royal palace, the Alcázar. the finished photograph was once displayed within the King’s deepest workplace. At centre degree stands the most important dynastic pawn, the five-year-old Infanta Margarita María, daughter of Philip IV of Spain and his moment spouse Mariana of Austria, whose photographs are vaporously mirrored within the replicate in the back of (van Eyck’s Arnolfini Portrait used to be within the Royal Collection).