Self-portrait as a signature of the author and his epoch

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Self-portrait as a signature of the author and his epoch A portrait represents a painting, photography, sculpture, or every other artistic realisation of a concrete person. Here is the face and its expression predominant. The idea is to display the similarity, individuality, and if it possible, the mood. A self­-portrait is a representation of an artist, painted, sculptured or nowadays often photographed by him/herself.

It is a portrait in which an author sees himself or herself as a main subject of composition. In theory the self-portrait supposes use of a mirror; glass mirrors begin to be available in Europe from the 15th century. The first mirrors developed and utilized were convex. That provoked deformations, and later it even became the tradition and the rule of genre, named mannerism. Self-portrait of Parmigianino, drawn in 1524 (known also as Self-portrait in a mirror), demonstrates this interesting phenomenon.

A self-portrait may be an individual portrait of the artist, or a author`s image, included in a large composition, that represents a group portrait. Many painters of the past frequently included depictions of specific individuals, inclusive of themselves, in painting figures; religious or other kinds of compositions. They can be just faces, hidden in a crowd of people, somewhere at the corner of the picture. As a result, it developed in particular hybrid genre where historical sites were depicted utilizing a number of contemporary personages as a models.

Here are a few examples of such works of the great Italian painters of the Renaissance. Usually, they made comparatively few formal drawn self­-portraits, but liked to include themselves in larger compositions.

1. Masaccio (born: 1401 – died: ­1428) represented himself as one of the great apostoles, and we can see his face today indoor of the Brancacci Chapel.

2. Sandro Botticelli’s composition named Adoration of the Magi (was finished in 1475, tempera on canvas, today we can see it in Florence, Uffizi Gallery) also has an “inserted self-­portrait”. For such self-­portraits are typical position in the (right) corner, where the eyes of the painted person looks straight to the viewer. Spectator from the Adoration of the Magi, who allegedly turns from the scene to look at the viewer, demonstrates this example.

3. Piero della Francesca represented himself as a sleeping roman soldier in his work Resurrection (was finished in 1463, fresco).

Self-­portraits of the creators at the work represented the commonest form of self­-portrait in medieval age. These have persisted to be popular, with an expressly large number of a new artistic realisations beginning from 18th century.

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