For example the face of Plato is probably based on Leonardo‘s features. Raphael also included the faces of his contemporaries. In general, in paintings with a multitude of people when we see someone staring right at the viewer it is usually the artist himself. However, in the far right among Ptolemy and Zoroaster, there is Raphael staring right back at us, he is wearing a black hat. In the School of Athens a fresco in the Stanza della Signatura, today part of the Vatican museum, Plato and Aristotle debate their theories for eternity. In the Vatican, Raphael and Michelangelo keep company with the philosophers and saints. Renaissance artists in Italy tended to include themselves in larger compositions. Self-portraits to know: Raphael, The School of Athens (detail), 1509-11, Stanza della Signatura, Musei Vaticani, Vatican City. On the other hand, he professes his humanist principles, where symmetry and harmony are most important. On the one hand, Dürer wants to remind us that man was created in God’s image and that his talent is God-given. The frontal, symmetrical, pose reminds us of images of Christ. Moreover, since hands are fiendishly difficult to paint, he displays his superior skills as well. The most striking parts of this painting are the painter’s gaze and his hands, the tools of his trade.
During the Renaissance artists were publicly elevated from mere anonymous craftsmen to creators. The elaborate coat shows his high status. With this painting Dürer strives to display his artistic proficiency but also present his interest in humanist values. “Thus I, Albrecht Dürer from Nuremberg, portrayed myself with characteristic colors in my 28th year.’’ On the right there is an inscription that reads: On the left, we see his signature and the date of the piece. He engages the viewer directly while wearing an expensive fur trimmed coat. This famous painting is the second self-portrait Dürer made. Self-portraits to know: Albrecht Dürer, Self-portrait with Fur-trimmed Robe, 1500, Alte Pinakothek, Munich, Germany.
It is a highly subjective image since the artist reveals to the viewer only what he wants to reveal. Thanks to self-portraits we can experience how the artists saw themselves. Here are some of the most important self-portraits from art history, you should definitely get to know.Ī self-portrait is a mirror revealing an artist’s mind. This was one of the reasons why artists wanted to start painting their own likenesses. Although mirrors have existed since antiquity, during the renaissance cheaper and better mirrors made in Venice came onto the market. The final result on the HD monitor resembles a photograph, but on closer inspection reveals Wilson’s highly developed theatrical language in conjunction with the startling clarity and precision of HD video.Mirror mirror on the wall, who’s the fairest of them all? Self-portraits are closely tied with the existence of mirrors. As in the layering nature of Wilson’s creative process, the video portraits infuse references found in painting, sculpture, design, architecture, dance, theater, photography, television, film and contemporary culture. The canvas or High Definition (HD) screen is one thing, blending the environmental and spatial aspects of a stage with a new sensibility for Wilson’s direction. The medium is HD video but the form blurs time-based cinematography with the frozen moment of still photography. The process of creation transcends a single medium and instead finds outlet within the archetype of an opera, the architecture of a building, the stains in a watercolor drawing, the design of a chair, the choreography of a dance, the rhythm of a sonnet, or the multiple dynamics revealed in a Video Portrait.īy incorporating a multitude of creative elements lighting, costume, make up, choreography, gesture, text, voice, set design, and narrative – the video portraits act as a complete synthesis of all the media in the realm of Wilson’s art making. Robert Wilson is one of the rare artists who works across artistic media without being buoyed by one method of making.
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