Like Self-Portrait by Caterina van
Hamessen (or rather, the other way around), this work accomplishes what a
studio portrait photograph would centuries later. While formal
choices are to be analyzed in any work from any time, works such as these are a
welcome break because they are not weighed down with a tangled mass of symbols,
metaphors, allegories and hidden meanings. Dürer building a self-portrait is
completely appropriate; he was and is an undeniably important and masterful
figure in western visual artistic tradition.
Clearly value does most to bind the canvas and establish depth. This self-portrait is modeled and interest is built on its use. Depth is compressed yet developed, due to a blend of monochromatic color, consistent textural and detail development and variations in contrast of both color and value.
Clearly value does most to bind the canvas and establish depth. This self-portrait is modeled and interest is built on its use. Depth is compressed yet developed, due to a blend of monochromatic color, consistent textural and detail development and variations in contrast of both color and value.
A number compositional choices harmonize this work, including illusionistic texturing, blended and realistic edge treatment, monochromatic color and masculine tone. When these qualities are compared with their complements, their proportional dominance is revealed, which makes Durer’s interest-generating choice one of uncommon effectiveness. Density characterizes this work, however Dürer has restricted the entire upper value range to develop this portrait’s primary subject matter, which is his face and right hand.
The “block” of his figure establishes a balanced triangle, which is revealed when considering the unnatural arrangement of his locks. This shape is repeated within his frame, and seems to organize the composition. He clearly communicates the clarity and confidence of his thought and the surpassing skill he believes he possesses in his hands and mind.
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