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Speranza
L'artista sceglie se stesso come modello.
E ritraendosi accetta il gioco analitico che ognuno, con diversi gradi di competenza, praticherà sulla sua carne viva.
La postura del corpo, lo scatto del volto, i lampi degli occhi, l'attitudine affettiva, il corredo d'oggetti. Tutto sarà della sua effigie passato al vaglio.
E l'esercizio d'una lettura introspettiva godrà di mille varianti, venendosi in esso a sommare le peculiarità psicologiche dell'artista e quelle dell'esegeta.
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A self-portrait is a representation of an artist, drawn, painted, photographed, or sculpted by the artist. Although self-portraits have been made by artists since the earliest times, it is not until the Early Renaissance in the mid 15th century that artists can be frequently identified depicting themselves as either the main subject, or as important characters in their work.
With better and cheaper mirrors, and the advent of the panel portrait, many painters, sculptors and printmakers tried some form of self-portraiture. The genre of self-portraiture is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, did it become truly popular. A self-portrait may be a portrait of the artist, or a portrait included in a larger work, including a group portrait. Many painters are said to have included depictions of specific individuals, including themselves, in painting figures in religious or other types of composition.
Such paintings were not intended publicly to depict the actual persons as themselves, but the facts would have been known at the time to artist and patron, creating a talking point as well as a public test of the artist's skill. In the earliest surviving examples of medieval and renaissance self-portraiture, historical or mythical scenes (from the Bible or classical literature) were depicted using a number of actual persons as models, often including the artist, giving the work a multiple function as portraiture, self-portraiture and history/myth painting. In these works, the artist usually appears as a face in the crowd or group, often towards the edges or corner of the work and behind the main participants. This culminated in the 17th century. Many artistic media have been used.
Apart from paintings, drawings and prints have been especially important.
Leonardo da Vinci may have drawn a picture of himself at the age of 60, in around 1512. The picture is often straightforwardly reproduced as Da Vinci's appearance, although this is not certain. Inserted self-portraits Sandro Botticelli's painting of the Adoration of the Magi has an "inserted self-portrait".
The position in the right corner, and the gaze out to the viewer, are very typical of such self-portraits. Masaccio inserted a self-portrait from the Brancacci Chapel frescoes (as is the Filippino Lippi), 1424-6. Piero della Francesca as a sleeping soldier in his Resurrection (1463) fresco, Sansepolcro. Filippino Lippi as a figure in his Martyrdom of Saint Peter, fresco, 1481-82, Brancacci Chapel, Florence. He is at the extreme right of a crowded composition. Sofonisba Anguissola (c. 1532 - 1625) of Cremona served as court painter to the Queen of Spain, and painted several self-portraits and many images of her family. c.1555. Lavinia Fontana, Self-portrait at the Clavichord with a Servant, 1577. She was born in Bologna, the daughter of Prospero Fontana, who was a painter of the School of Bologna. Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, circa 1630, Royal collection Windsor. Note the pulled-up sleeve on the arm holding the brush.
Images of artists at work are encountered on Ancient Greek vases. Plutarch mentions that the Ancient Greek sculptor Phidias had included a likeness of himself in a number of characters in "The Battle of the Amazons" on the Parthenon, and there are classical references to painted self-portraits, none of which have survived. Orcagna is believed to have painted himself as a figure in a fresco of 1359, which became, at least according to art historians - Vasari records a number of such traditions- a common practice of artists. However for earlier artists, with no other portrait to compare to, these descriptions are necessarily rather speculative. Giotto di Bondone (1267—1337) included himself in the cycle of "eminent men" in the Castle of Naples. Masaccio (1401—1428) depicted himself as one of the apostles in the painting of the Brancacci Chapel. Benozzo Gozzoli includes himself, with other portraits, in the Palazzo Medici Procession of the Magi (1459), with his name written on his hat. BOTTICELLI This is imitated a few years later by Sandro Botticelli, as a spectator of the Adoration of the Magi, who turns from the scene to look at us. (1475). 14th century sculpted portrait busts of and by the Parler family in Prague Cathedral include self-portraits, and are among the earliest such busts of non-royal figues. Lorenzo Ghiberti included a small head of himself in his most famous work, the Gates of Paradise, Baptisterio, Florence self portrait, early 15th century. Andrea Mantegna, c. 1474, includes himself (as himself) in his appropriate place in this fresco of the Gonzaga court. The great Italian painters of the Renaissance made comparatively few formal painted self-portraits, but often included themselves in larger works.
Most individual self-portraits they have left were straight-forward depictions; Dürer's showmanship was rarely followed, although a controversially attributed Self-portrait as David by Giorgione would have something of the same spirit, if it is a self-portrait. There is a portrait by Pietro Perugino of about 1500 (Collegio del Cambio of Perugia), and one by the young Parmigianino showing the view in a convex mirror. There is also a drawing by Leonardo da Vinci (1512). There are self-portraits in larger works by Michelangelo, who gave his face to the skin of St. Bartholomew in the Last Judgement of the Sistine Chapel (1536–1541). Raphael [Raffaello] who is seen in the characters of School of Athens 1510, or with a friend who holds his shoulder (1518).Also notable are two portraits of Titian [Tiziano] as an old man in the 1560s. Paolo Veronese appears as a violinist clothed in white in his Marriage at Cana, accompanied by Titian on the bass viol (1562). Titian's Allegory of Prudence (c. 1565-70) is thought to depict Titian, his son Orazio, and a young cousin, Marco Vecellio.[15] Titian also painted a late self-portrait in 1567; apparently his first. Caravaggio painted himself in Bacchus at the beginning of his career, then appears in the staffage of some of his larger paintings. Finally, the head of Goliath held by David (1605–10, Galleria Borghese) is Caravaggio's own. Then there's also the self-portrait of Gentile Bellini, black chalk, 1496 or earlier, Berlin There's the probable self-portrait by Leonardo da Vinci, c. 1512-1515 An interesting one is by Francesco Solimena, c. 1715. François Boucher, self-portrait in the studio, 1720 A good 'modern' one is Umberto Boccioni, Self-portrait, 1906 Parmigianino, Self-portrait in a mirror is itself painted on a convex surface, like that of the mirrors of the period. Art critic Galina Vasilyeva-Shlyapina separates two basic forms of the self-portrait: ---- (a) "professional" portraits, in which the artist is depicted at work, and ---- (b) "personal" portraits, which reveal moral and psychological features. She also proposes a more detailed taxonomy: (1) the "insertable" self-portrait, where the artist inserts his or her own portrait into, for example, a group of characters related to some subject; (2) the "prestigious, or symbolic" self-portrait, where an artist depicts him- or herself in the guise of a historical person or religious hero; (3) the "group portrait" where artist is depicted with members of family or other real persons; (4) the "separate or natural" self-portrait, where the artist is depicted alone. However it might be thought these classes are rather rigid; many portraits manage to combine several of them.[24] With new media came a chance to create different kinds of self-portraits besides simply static painting or photographs. Many people, especially teens, use social networking sites to form their own personal identity on the internet.[25]
Still others use blogs or create personal web pages to create a space for self-expression and self-portraiture. The self-portrait supposes in theory the use of a mirror; glass mirrors became available in Europe in the 15th century. The first mirrors used were convex, introducing deformations that the artist sometimes preserved. A painting by Parmigianino in 1524 Self-portrait in a mirror, demonstrates the phenomenon. Mirrors permit surprising compositions like the Triple self-portrait by Johannes Gumpp (1646), or more recently that of Salvador Dalí shown from the back painting his wife, Gala (1972–73). This use of the mirror often results in right-handed painters representing themselves as left-handed (and vice versa). Usually the face painted is therefore a mirror image of that the rest of the world saw, unless two mirrors were used. Most of Rembrandt's self-portraits before 1660 show only one hand - the painting hand is left unpainted.[27] He appears to have bought a larger mirror in about 1652, after which his self-portraits become larger. In 1658 a large mirror in a wood frame broke whilst being transported to his house; nonetheless, in this year he completed his Frick self-portrait, his largest. The size of single-sheet mirrors was restricted until technical advances made in France in 1688 by Bernard Perrot. They also remained very fragile, and large ones were much more expensive pro-rata than small ones - the breakages were recut into small pieces. About 80 cms, or two and a half feet, seems to have been the maximum size until then - roughly the size of the palace mirror in Las Meninas (the convex mirror in the Arnolfini Portrait is considered by historians impractically large, one of Van Eyck's many cunning distortions of scale).[28] Largely for this reason, most early self-portraits show painters at no more than half-length. Self-portraits of the artist at work were, as mentioned above, the commonest form of medieval self-portrait, and these have continued to be popular, with a specially large number from the 18th century on. One particular type in the medieval and Renaissance periods was the artist shown as Saint Luke (patron saint of artists) painting the Virgin Mary. Many of these were presented to the local Guild of Saint Luke, to be placed in their chapel. A famous large view of the artist in his studio is The Artist's Studio by Gustave Courbet (1855), an immense "Allegory" of objects and characters amid which the painter sits. Michelangelo Buonarroti, circa 1535-1541, Sistine Chapel: The Last Judgment, Michelangelo as a limp skin hanging from the hand of St. Bartholomew. Allegory of Prudence, Titian, his son and the cousin he had virtually adopted, as Past, Present and Future. National Gallery, London, late 1560s. Sofonisba Anguissola, Self-portrait, 1610, aged 78, the last of her many self-portraits, though she was painted later by Van Dyck. Goliath in this late Caravaggio David with the head of Goliath is a self-portrait. 1605-10, Galleria Borghese, Rome.
The self-portraits of many Contemporary artists and Modernists often are characterized by a strong sense of narrative, often but not strictly limited to vignettes from the artists life-story. Sometimes the narrative resembles fantasy, roleplaying and fiction. Besides Diego Velázquez, (in his painting Las Meninas), Rembrandt Van Rijn, Jan de Bray, Gustave Courbet, Vincent van Gogh, and Paul Gauguin other artists whose self-portraits reveal complex narratives include Pierre Bonnard, Marc Chagall, Lucian Freud, Arshile Gorky, Alice Neel, Pablo Picasso, Lucas Samaras, Jenny Saville, Cindy Sherman, Andy Warhol and Gilbert and George. Cristofano Allori, Judith with the Head of Holofernes, 1613. According to his biographer, the heads were those of the painter, his ex-lover, and her mother. Compare Caravaggio above.[29] The self-portrait can be a very effective form of advertising for an artist, especially of course for a portrait painter. Some artists who suffered neurological or physical diseases have left self-portraits of themselves that have allowed later physicians to attempt to analyze disruptions of mental processes; and many of these analyses have entered into the textbooks of neurology.[2] The self-portraits of artists who suffered mental illnesses, give a unique possibility to physicians for investigating self-perception in people with psychological, psychiatric or neurologic disturbances.Russian sexologist Igor Kon in his article about masturbation notes that a habit of masturbating may be depicted in works of art, particularly paintings. So Austrian artist Egon Schiele depicted himself so occupied in one of his self-portraits. Kon observes that this painting does not portray pleasure from the masturbation, but a feeling of solitude. Creations of Schiele are analyzed by other researchers in terms of sexuality, and particularly pedophilia. One of the most distinguished, and oldest, collections of self-portraits is in THE VASARI CORRIDOR of the Uffizi Gallery in Florence.
It was originally the collection by the Cardinal Leopoldo de' Medici in the second part of the 17th century and has been maintained and expanded until the present time. It is mostly not on view for general visitors, although some paintings are shown in the main galleries. Many famous artists have not been able to resist an invitation to donate a self-portrait to the collection. It comprises more than 200 portraits, in particular those of Pietro da Cortona, Charles Le Brun, Jean-Baptiste Camille Corot, and Marc Chagall. Other important collections are housed at the National Portrait Gallery (United Kingdom) in London (with various satellite outstations elsewhere), and the National Portrait Gallery in Washington, D.C.. Pietro Perugino (c. 1500) Raphael (c. 1517-1518) Titian seems to have painted no self-portraits until he was in old age, 1567 Salvator Rosa, 1640. "Of Silence and Speech, Silence is better" says the inscription. Two methods of obtaining photographic self-portraits are widespread. One is photographing a reflection in the mirror, and the other photographing one's self with the camera in an outstretched hand. Eleazar Langman photographed his reflection on the surface of a nickel-plated teapot. Another method involves setting the camera or capture device upon a tripod, or surface. One might then set the camera's timer, or use a remote controlled shutter release.Finally, setting up the camera, entering the scene and having an assistant release the shutter (i.e., if the presence of a cable release is unwanted in the photo) can arguably be regarded as a photographic self-portrait, as well. Leonardo Da Vinci, Self-portrait, c. 1512 to 1515. Giuseppe Arcimboldo, self portrait, c. 1577 Dante Gabriel Rossetti, poet and artist, self portrait, 1847 Leonardo's drawing in red chalk is widely (though not universally) accepted as an original self-portrait.The main reason for hesitation in accepting it as a portrait of Leonardo is that the subject is apparently of a greater age than Leonardo ever achieved.But it is possible that he drew this picture of himself deliberately aged, specifically for Raphael's portrait of him in the School of Athens.A case has also been made, originally by novelist Dmitry Merezhkovsky, that Leonardo based his famous picture Mona Lisa on his own self-portrait.Erwin Panofsky (and originally Fritz Saxl), Titian's "Allegory of Prudence", A Postscript, in Meaning in the Visual Arts, Doubleday/Penguin, 1955Aislinn Loconte in, Lucy Whitaker, Martin Clayton, The Art of Italy in the Royal Collection; Renaissance and Baroque, p.270, Royal Collection Publications, 2007, ISBN 978 1 902163 291. The biographer was Baldinucci.
This is the version in the Royal Collection, there are others in the Pitti Palace etc.Focus: Liguria.La "personalizzazione" (Maria Flora Giubilei, Musei di Nervi, con l'allestimento progettato dagli architetti Giulio Sommariva e Danilo Cafferata). Accanto agli autoritratti di Filippo De Pisis, Felice Carena, Guido Marussig, Arturo Tosi, Ferruccio Ferrazzi ed Aligi Sassu -- documentati nella collezione Rezzonico, compariranno le opere della Galleria d'Arte Moderna, frutto di un'accurata politica d'acquisti attuata alle Biennali di Venezia e alle piu' importanti mostre nazionali nel periodo tra le due guerre. Si potranno "rileggere" contestualmente anche gli autoritratti di artisti prevalentemente liguri - Giovanni, Antonio Orazio e Tullio Salvatore Quinzio, Alberto Helios Gagliardo, Antonio Giuseppe Santagata, Giulio Monteverde, Federico Maragliano, Donato Altamura -- per ricordarne alcuni - già esposti in permanenza nel museo genovese, cui si deve un'attenzione particolare nell'acquisizione di tutto ciò che documenta l'artista, la sua carriera e il suo fare all'interno dello studio (dagli archivi cartacei agli arredi, ai cavalletti, alle tavolozze, ai pennelli, colori, strumenti e cosi via). Sarà inoltre l'occasione per segnalare al pubblico due nuove donazioni alla Galleria d'Arte Moderna di Genova. Gli autoritratti di Egidio Oliveri (1911-1998) e di Severino Tremator (1895-1940). L'acquisizione della Collezione Rezzonico da parte della Soprintendenza Speciale per il Polo Museale Fiorentino, con i suoi 297 autoritratti è quella numericamente più cospicua dai tempi in cui il Cardinal Leopoldo de' Medici (1617-75) dette vita alla collezione dei ritratti d'artista. Una collezione che, per volere di Cosimo III (1642-1723) e con l'impegno di Filippo Baldinucci (1625-96), ricevette nel 1681 un rinnovato impulso grazie a una sistematica catalogazione, in vista della collocazione agli Uffizi nell'anno successivo. Altro importante contributo arrivo' nel 1981. In occasione delle celebrazioni per i quattrocento anni della Galleria, l'allora direttore Luciano Berti invitò i maggiori artisti del secolo, o i loro eredi, a donare un proprio autoritratto. Nello stesso anno arrivarono nelle stanze del museo centoquindici autoritratti e altrettanti nel biennio che segui. E' del settembre 2005 la delibera che ha permesso l'acquisizione di questo corpus di 297 opere di maestri del Novecento che compongono la collezione di autoritratti di Raimondo Rezzonico, interessante anche per la varietà delle tecniche e dei supporti rappresentate (oli, disegni, stampe e qualche fotografia; tele, tavole, coppi, pvc e carte) a testimonianza delle sperimentazioni esercitate dagli artisti durante il secolo scorso. La mostra - già curata nella prima edizione dalla Soprintendenza Speciale per il Polo Museale fiorentino con il sostegno dell' Associazione Amici degli Uffizi e della Provincia di Firenze nell'ambito delle manifestazioni de "Il Genio Fiorentino" - e' oggi organizzata a Genova dall' Assessorato alla Cultura - Settore Musei del Comune e dalla Direzione della Galleria d'Arte Moderna con la collaborazione del partner istituzionale Bagliani Immobiliare di Genova e una sponsorizzazione tecnica di Rai Teche, Istituto Luce, Tecnomare e Progress Fineart. Uno stereotipo diffuso vuole lo Stato totalmente assente dal mercato dell'arte, per nulla interessato ad accrescere con acquisti mirati il suo patrimonio. Questo non è vero o almeno non e' vero se riferito ai musei del Polo fiorentino. Negli ultimi dieci anni le collezioni statali della città si sono arricchite di opere d'arte per un valore complessivo di 37.208.881 euro.References:Edward Lucie-Smith with Sean Kelly, The Self Portrait.Joseph Leo Koerner, The Moment of Self-Portraiture.Jonathan Miller, On Reflection, 1998, National Gallery.Belle, Julian (Ed.): Five Hundred Self-Portraits. Phaidon Press, London/New York, 2000.Joëlle Moulin, L'autoportrait au XXe siècle, éd. Adam Biro, Paris, 1999Pascal Bonafoux, Les peintres et l'autoportrait, 1984Bernard Auriol, L'image préalable, l'expression impressive et l'autoportrait, Psychologie Médicale, 19, 9, 1543–1547, 1987Bonafoux, Pascal / Rosenberg, David: Moi! Autoportraits du XXe siècle. Musée du Luxembourg (Paris) / Skira Editore (Milano), Exhibition catalogue. 2004, Text French, Paris 2004. 155 artist (fine art) of the 20th century by showing their self-portraits added by informative texts.Borzello, Frances: Wie Frauen sich sehen – Selbstbildnisse aus fünf Jahrhunderten. Karl Blessing Verlag, München 1998.Calabrese, Omar: Die Geschichte des Selbstporträts. Deutscher Kunstverlag, München 2006.Pfisterer, Ulrich / Rosen, Valeska von ~ (Hrsg.): Der Künstler als Kunstwerk. Selbstporträts vom Mittelalter bis zur Gegenwart. Reclam, Stuttgart 2005.Self-portrait in neurologyTielsch AH, Allen PJ (2005) Listen to them draw: screening children in primary care through the use of human figure drawings. Pediatr Nurs 31(4): 320—327. Morin C, Pradat-Diehl P, Robain G, Bensalah Y, Perrigot M (2003) Stroke hemiplegia and specular image: lessons from self-portraits. Int J Aging Hum Dev 56(1): 1-41.
Patients with hemiplegia have diverse problems of self-perception, which are caused by neurological defeats of the idea of body, or by psychological problems with the perception their own self.Wegner DM (2003) The mind's self-portrait. Ann N Y Acad Sci 1001: 212—225. Psychology and neuroscience approach understanding of reason and consciousness. Meanwhile each human reason contains the self-portrait, which contains the self-appraisal of cognitive processes. This self-portrait assumes that the actions of man are governed by thoughts and, thus, the body is governed by consciousness. Self-portrait leads to the persuasion, that we consciously desire to make something. Studies show that self-portraiture is a caricature on the function of the brain, but at the same time it is the basis of the sensation of authorship and responsibility of one's own actions.Wikimedia Commons has media related to: self-portraits National Portrait Gallery - Official web site"The Exploration of Self: What Artists Find When They Search in the Mirror" by Jeanne Ivy."Creating Self-Portraits" - a method of self-examination.UMBC, research related to The Self Portrait: A Modern View. (1987), Edward Lucie-Smith with Sean Kelly.Vide: "autoportrait" in the search engine of the Joconde database, which describes the works of 84 French museums, including the Louvre.52 self-portraits from the National Galleries of Scotland.Catalogue of self portraits by the Royal Society of Portrait Painters 2007."I modelli di Narciso".
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