Diirer), it expresses the increased social significance of the artist-his self-affirmation in the art of mannerism-reticence, the instability of the artist’s inner world engendered by the crisis in Renaissance ideals. In the art of the High Renaissance (Raphael, A. The self-portrait, as a variety of the portrait genre, took form in the 16th century. Painters of the early Italian Rennaissance (Masaccio, Domenico Ghirlandaio, Botticelli) often introduced their own protraits into narrative religious compositions. Self-portraits were already known among ancient (Phidias) and medieval artists (the 14th-century sculptors Avram of Novgorod and P. Often, however, the artist portrays himself only as the most available model for various artistic searches and experiments. In many self-portraits, the unity of individual and social principles-the artist’s sense of the involvement of his fate with that of generations and classes and with the rise and fall of art-is embodied with great acuity. In a self-portrait, the artist directly expresses his own self-knowledge and evaluation of his own personality, his creative principles. A portrait of an artist executed by himself (for the most part with the aid of one of several mirrors).
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