In the reading for today, we perform an in-depth study of the self-portrait using Albrecht Durer’s self-portrait as an example. Durer’s self-portrait departs from the abstract, semi-realistic self-representations we explored during class, but contains details that distinguish it from just a realistic portrait.

Durer represents himself as someone who is more than just the craftsman he would’ve been. One interesting point I think is relevant here is the importance of examining symbols and icons through a historical lens. The author points out in the article that Durer’s fur-lined garb would’ve been standard for a nobleman or scholar – this detail is not apparent to anyone viewing this portraiture without this historical knowledge. For example, fur has come to no longer represent royalty in today’s culture – in fact, many people look down on the fur industry.

Durer’s representation of himself, realistic though it may seem, is actually still full of symbols and iconography including this fur lining and even just the composition of the portrait – likening himself to Christ. He seems committed to making a permanent mark on history by living through his paintings – his self-portrait makes note that he painted himself “with indelible colors…”, and he used silverpoint, which is an “unfixable” medium for an earlier self-portraiture. Durer’s self-portraits are larger-than-life and speak a lot about his personality and how he sees himself.