Self-Portraits. Journal. The Renaissance artists Titian, Rembrandt, Essay - 2

Self-Portraits. Journal. The Renaissance artists Titian, Rembrandt, and Durer have each painted - Essay Example Today a dear friend asked me to explain to them why I would want to paint a self-portrait? It struck me dumb. For how could I reveal my selfish motivations behind the brush? True, my talent exceeds those I was educated with, but it hasn’t brought me the burgher status I so deserve (Westermann, 2004, 89). However, the portraits I have been working on lately are being commissioned by more prominent citizens than before (Westermann, 2004, 156) and this certainly reflects kindly upon my public image (Cole, 1983, 27-28). In the end, I only explained to my friend that portraiture interested me as a way to record the likeness and expression of those who hired me to do so (Smith, 2004, 85) and that sketching over 85 self-portraits (Westermann,2004, 4) is merely practice. But truth be told, I am tired of this middle-class morality! I have finished a great tribute to Raphael and Titian! After long studying their compositions I have created Self-Portrait (1640) as way of expressing the desire to emulate my Italian predecessors (Westermann, 2004, 12). It has the muted tonality and modest costume arrangement that is found in Raphael’s work. Also, I have copied the introspective gaze, the luscious folds of fabric and a gentle turn of head, all in alignment with the great Titian (Westermann, 2004, 152). I applied small touches of red to the cheeks and nose to produce a sense of life beneath the off white skin. Highlights of white on the cheekbone, nose and forehead give strength to the three dimensionality of the face. I have portrayed myself with a quiet expression and a simple pose in order to emphasize my facial features. My aim is Cartesian in nature—to produce a direct relationship between the viewer and the portrait (Woods, 2007, 73). My self-portraits have begun to truly represent the outer manifestation of my growing self-awareness