Kunsthistorisches Museum – Parmigianino -- Self-portrait in a convex mirror
1524. 24см
На эту операцию может потребоваться несколько секунд.
Информация появится в новом окне,
если открытие новых окон не запрещено в настройках вашего браузера.
Для работы с коллекциями – пожалуйста, войдите в аккаунт (open in new window).
Поделиться ссылкой в соцсетях:
You cannot comment Why?
The composition is complex due to the distortion inherent in convex mirrors. The figure’s body appears truncated and elongated as it recedes into the reflection. This visual trickery serves not merely as a technical demonstration but also introduces an element of self-reflexivity. The mirror itself becomes a crucial component, acknowledging the act of representation and prompting consideration of perception and reality.
Beyond the immediate portrayal of the individual, the surrounding space within the mirrored surface reveals other figures – two indistinct individuals positioned behind him. These secondary figures are rendered with less detail, suggesting their subordinate role in relation to the central subject. Their presence introduces a layer of social context; they might be patrons, colleagues, or simply witnesses to the artist’s work.
The subdued color palette, dominated by dark tones and punctuated by highlights on the face and collar, contributes to an atmosphere of quiet introspection. The lighting is carefully managed to draw attention to the subjects features while maintaining a sense of depth within the mirrored space.
Subtly, the painting explores themes of vanity, artistic skill, and self-assessment. The artist’s choice to portray himself in this manner – demonstrating mastery over a challenging technique while simultaneously presenting an idealized image – suggests a desire for recognition and a keen understanding of his own place within the art world. The inclusion of the other figures hints at the social dynamics that shape artistic creation, acknowledging both the individuals talent and the context in which it is produced.