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If you could leave one image of yourself for the rest of the world to judge you by, what would it be? | 0:00:04 | 0:00:09 | |
Is there one picture that would sum you up? | 0:00:09 | 0:00:12 | |
In the 21st century we make images of ourselves all the time. | 0:00:15 | 0:00:19 | |
We're all self-portraitists now. | 0:00:19 | 0:00:21 | |
We can snap away, trying out various poses, clothes, and characters, | 0:00:21 | 0:00:26 | |
different versions of ourselves to show the world. | 0:00:26 | 0:00:28 | |
It's so common that we don't even think about it. | 0:00:30 | 0:00:34 | |
But for centuries, the only people able to do this were artists. | 0:00:34 | 0:00:38 | |
They could make anything they liked of themselves...and they did. | 0:00:38 | 0:00:42 | |
In their self-portraits, | 0:00:43 | 0:00:45 | |
artists have shown themselves as many things - wounded, | 0:00:45 | 0:00:50 | |
decapitated, pierced with arrows, | 0:00:50 | 0:00:53 | |
as a Turkish prince, even as a flayed skin dangling like a wet overcoat. | 0:00:53 | 0:00:58 | |
But no matter how outlandish the fiction, a self-portrait will always reveal a deep truth, | 0:00:58 | 0:01:04 | |
the truth of how the artist wanted to be seen and known to the world. | 0:01:04 | 0:01:11 | |
Self-portraits show how art and artists have changed over the last 500 years. | 0:01:13 | 0:01:19 | |
They show their creators as they moved from the outside into the spotlight, | 0:01:19 | 0:01:23 | |
from the courts of Europe to the garrets of bohemia and the modern avant garde. | 0:01:23 | 0:01:29 | |
But can they also tell us how we have changed, as we've become more modern, more complex? | 0:01:29 | 0:01:37 | |
The more you look at self-potraits, the more you realise they're actually | 0:01:37 | 0:01:40 | |
a unique form of art with an intimate connection to us all. | 0:01:40 | 0:01:44 | |
They show the artist doing what we all have to do, to some extent, every day, | 0:01:44 | 0:01:49 | |
which is to present a version of ourselves to the world. | 0:01:49 | 0:01:53 | |
My name is Laura Cumming. I'm the art critic of The Observer. | 0:02:14 | 0:02:17 | |
Though I write about all kinds of art, I keep coming back to | 0:02:17 | 0:02:21 | |
self-portraits, which is, I think, just what they want. | 0:02:21 | 0:02:25 | |
It's quite deliberate. Self-portraits catch your eye across a crowded room | 0:02:25 | 0:02:30 | |
as if they wanted to stand out, | 0:02:30 | 0:02:32 | |
and I'm going to argue that they do... | 0:02:32 | 0:02:34 | |
..that art history is wrong to treat them as a remote twig on the greater tree of portraiture. | 0:02:36 | 0:02:43 | |
In fact, I think self-portraits are unlike any other form of art, | 0:02:43 | 0:02:47 | |
offering the most intimate truths. | 0:02:47 | 0:02:50 | |
It was self-portraits that first opened my eyes to the power of art. | 0:02:54 | 0:02:58 | |
I was ill in bed, I think I was about eight, | 0:02:58 | 0:03:01 | |
and a kind adult gave me this shoebox. | 0:03:01 | 0:03:04 | |
It was full of postcards of portraits. | 0:03:04 | 0:03:07 | |
People, faces. | 0:03:07 | 0:03:10 | |
Who wouldn't be interested? | 0:03:10 | 0:03:13 | |
But one of them stood right out. | 0:03:13 | 0:03:15 | |
It had that intensity about the eyes that even a child recognises as the sign of a self-portrait. | 0:03:15 | 0:03:20 | |
It mesmerised me, even frightened me a little. | 0:03:20 | 0:03:25 | |
It made me aware for the first time | 0:03:25 | 0:03:28 | |
that people in paintings could be as exciting as people in real life. | 0:03:28 | 0:03:32 | |
This is the one, the 1500 self-portrait of Albrecht Durer. | 0:03:32 | 0:03:39 | |
The 1500 self-portrait is at the end of a long corridor | 0:03:47 | 0:03:51 | |
in the Alte Pinakothek Museum in Munich. | 0:03:51 | 0:03:54 | |
Going there, I have this mounting sense, very common among visitors, | 0:03:56 | 0:03:59 | |
that Durer is just waiting, ready to transfix you. | 0:03:59 | 0:04:02 | |
Just absolute charisma. | 0:04:11 | 0:04:13 | |
You feel it drawing you across the gallery. | 0:04:14 | 0:04:18 | |
With some paintings there's a sense they're winking at you | 0:04:20 | 0:04:23 | |
or waving at you or they're completely indifferent to you. | 0:04:23 | 0:04:26 | |
But this one is luring you. | 0:04:26 | 0:04:29 | |
When I was a child, I was mesmerised by this painting. | 0:04:35 | 0:04:39 | |
Children are mesmerised by the direct eye to eye look, | 0:04:39 | 0:04:45 | |
the idea that the eyes are following you around the room. | 0:04:45 | 0:04:49 | |
But in fact looking at it now, I still feel quite unnerved by it. | 0:04:49 | 0:04:55 | |
Durer appears in close up, yet he's so remote. | 0:04:59 | 0:05:03 | |
Look at that coldly glowing stare. | 0:05:03 | 0:05:07 | |
The hair is like golden twine, | 0:05:08 | 0:05:11 | |
spreading in a radiant triangle that echoes Durer's famous AD logo. | 0:05:11 | 0:05:16 | |
Geometry, symmetry, order. Not a hair out of place. | 0:05:16 | 0:05:22 | |
With all portraits there's this illusion, sometimes only lasts for half a second, | 0:05:22 | 0:05:26 | |
that what you're looking at is a real person, | 0:05:26 | 0:05:29 | |
before that person reverts to an image. | 0:05:29 | 0:05:32 | |
With self-portraits the claim goes further, | 0:05:32 | 0:05:35 | |
because the two are one and the same. The artist is the picture. | 0:05:35 | 0:05:38 | |
I think you have that sense, | 0:05:38 | 0:05:40 | |
more powerfully with this painting than any other. | 0:05:40 | 0:05:44 | |
Durer IS his picture. | 0:05:46 | 0:05:48 | |
I believe all self-portraits, | 0:05:57 | 0:05:59 | |
no matter how closed, give up innermost truths about their maker. | 0:05:59 | 0:06:05 | |
Evidence of who they were, | 0:06:06 | 0:06:08 | |
what they hoped to achieve, is right there in the picture. | 0:06:08 | 0:06:12 | |
The strangeness of this masterpiece is what strikes first and last. | 0:06:12 | 0:06:16 | |
So what does that reveal about Durer? | 0:06:16 | 0:06:19 | |
Durer was a compulsive note-taker, | 0:06:29 | 0:06:31 | |
recording everything he saw in word and image. | 0:06:31 | 0:06:35 | |
And one of the things he observed, | 0:06:35 | 0:06:37 | |
was his own self changing over the years. | 0:06:37 | 0:06:40 | |
Here he is as a boy. He's only just 13 years old. | 0:06:42 | 0:06:44 | |
Can you imagine any other 13-year-old doing this? | 0:06:44 | 0:06:47 | |
And even right here at the start of his career, | 0:06:47 | 0:06:49 | |
he isn't doing anything ordinary at all. | 0:06:49 | 0:06:51 | |
He's in a three-quarter pose - incredibly difficult to pull off. | 0:06:51 | 0:06:54 | |
He probably needed two mirrors to do that, | 0:06:54 | 0:06:57 | |
and he looks so young, | 0:06:57 | 0:07:00 | |
too young to be doing this, too young to have a sense of his own | 0:07:00 | 0:07:04 | |
posterity, which is what you feel when you see this image. | 0:07:04 | 0:07:07 | |
There's an inscription at the top. | 0:07:09 | 0:07:11 | |
Durer's put this in later, in which he says, | 0:07:11 | 0:07:13 | |
very powerfully, I think, that "I made this when I was just a child". | 0:07:13 | 0:07:18 | |
He's dated it, he's signed it. | 0:07:18 | 0:07:20 | |
He dated and signed absolutely everything he made, | 0:07:20 | 0:07:23 | |
so that nothing should ever be lost to time. | 0:07:23 | 0:07:26 | |
I think that this drawing shows him | 0:07:26 | 0:07:29 | |
even then with a sense of his own self, a strong sense of his own self. | 0:07:29 | 0:07:34 | |
"Here I am, 13 years old, this is what I look like, I, Albrecht Durer." | 0:07:34 | 0:07:41 | |
Durer was the first committed self-portraitist | 0:07:44 | 0:07:48 | |
and even at this early age, he seems to be pointing to the future. | 0:07:48 | 0:07:52 | |
Incisiveness, detachment, a mania for observation, | 0:07:52 | 0:07:56 | |
it's all there to be applied to the world and himself. | 0:07:56 | 0:08:00 | |
In his first painted self-portrait, | 0:08:04 | 0:08:06 | |
aged 22, he painstakingly captures his own androgynous beauty. | 0:08:06 | 0:08:11 | |
But the look is glacial. | 0:08:11 | 0:08:13 | |
He gives nothing away. | 0:08:13 | 0:08:14 | |
Older, naked, he perhaps gives too much away. | 0:08:17 | 0:08:21 | |
Leaning towards the mirror, | 0:08:21 | 0:08:23 | |
he notes the way the scrotum echoes the eyeballs. | 0:08:23 | 0:08:26 | |
He's a strange creature even to himself. | 0:08:29 | 0:08:33 | |
Durer's the first great traveller in art. | 0:08:40 | 0:08:44 | |
He journeyed to Italy, where he was revered, | 0:08:44 | 0:08:46 | |
bringing Renaissance art and ideas back home to Germany. | 0:08:46 | 0:08:50 | |
Here he is as a Venetian gentleman, showing just how far he's come. | 0:08:50 | 0:08:54 | |
In the background you can see the Alps he crossed, back and forth, | 0:08:54 | 0:08:59 | |
as if through the window of a train. | 0:08:59 | 0:09:01 | |
Durer seems to have felt as no other artist before him, | 0:09:07 | 0:09:10 | |
the value of putting a face to one's name. | 0:09:10 | 0:09:12 | |
His self-portraits were mass produced as prints and medals, making his looks famous across Europe. | 0:09:12 | 0:09:20 | |
The 1500 self-portrait was displayed in his native Nuremberg | 0:09:20 | 0:09:23 | |
during his lifetime, and carried through the streets when he died. | 0:09:23 | 0:09:29 | |
But there is another more tangible piece of evidence, | 0:09:35 | 0:09:39 | |
that shows just how much Durer was worshipped. | 0:09:39 | 0:09:42 | |
To see it, I've come to the Academy of Fine Arts in Vienna. | 0:09:42 | 0:09:47 | |
When Durer's grave was opened in the 19th century by disciples | 0:09:47 | 0:09:51 | |
hoping to measure his skull, for the divine proportions of genius, the body was gone. | 0:09:51 | 0:09:58 | |
But there is a relic, | 0:09:58 | 0:09:59 | |
handed down from artist to artist for almost 500 years. | 0:09:59 | 0:10:03 | |
And it's here in this library. | 0:10:03 | 0:10:06 | |
Traditionally it was saints whose relics were preserved. | 0:10:10 | 0:10:13 | |
After Durer, it could be artists. | 0:10:13 | 0:10:16 | |
Can't believe I'm looking at this. | 0:10:45 | 0:10:47 | |
I certainly can't believe I'm holding it. | 0:10:47 | 0:10:49 | |
It's so long and wavy and blonde. | 0:10:49 | 0:10:53 | |
It was snipped from Durer's head | 0:10:53 | 0:10:56 | |
a couple of days after he died in 1528 | 0:10:56 | 0:10:59 | |
and given to his assistant Hans Baldung as a memento mori. | 0:10:59 | 0:11:03 | |
I can see why he was famous for it. | 0:11:05 | 0:11:07 | |
He had this long, long hair, right down over his shoulders, | 0:11:07 | 0:11:11 | |
in an age when everybody had collar-length cuts. | 0:11:11 | 0:11:14 | |
Even he teased himself about it. | 0:11:14 | 0:11:17 | |
There's a letter in which he refers to himself as the hairy painter. | 0:11:17 | 0:11:21 | |
He'd touched it, combed it, washed it... | 0:11:23 | 0:11:27 | |
and painted it, of course. | 0:11:27 | 0:11:29 | |
He turned it to pure gold in the 1500 self-portrait. | 0:11:29 | 0:11:33 | |
The hair is crucial to this painting. | 0:11:44 | 0:11:47 | |
Even fellow artists thought the brilliant strand by strand depiction supernatural. | 0:11:47 | 0:11:53 | |
And what does it look like, this radiant hair? | 0:11:53 | 0:11:56 | |
A golden veil? | 0:11:56 | 0:11:58 | |
Perhaps even a halo? | 0:11:58 | 0:12:01 | |
People have fallen in love with this picture, but they've also been appalled. | 0:12:02 | 0:12:07 | |
And there is a shock here, a moment where you think your eyes are deceiving you. | 0:12:07 | 0:12:13 | |
It looks like Albrecht Durer, but it also looks like someone else too. | 0:12:13 | 0:12:18 | |
It's a double take. | 0:12:18 | 0:12:21 | |
It looks like Jesus Christ. | 0:12:21 | 0:12:23 | |
We'll never know why Durer deliberately portrayed himself as Christ. | 0:12:31 | 0:12:36 | |
Perhaps he was trying to live up to Christ, | 0:12:36 | 0:12:39 | |
or taking literally the idea that we're all made in God's image. | 0:12:39 | 0:12:43 | |
All we know for sure is that he chose | 0:12:43 | 0:12:46 | |
to show himself as both man and Christian icon. | 0:12:46 | 0:12:50 | |
German artists then and since couldn't get this image out of their heads. | 0:12:50 | 0:12:55 | |
A century later, when Georg Vischer came to paint Jesus, | 0:12:57 | 0:13:01 | |
he gave him Durer's face. | 0:13:01 | 0:13:03 | |
There he is, the Messiah of German painting. | 0:13:05 | 0:13:08 | |
The self-portrait's supernatural power endures. | 0:13:11 | 0:13:14 | |
In 1905 a museum guard noticed that Durer's stare suddenly looked different. | 0:13:14 | 0:13:18 | |
Close inspection revealed something terrible... | 0:13:18 | 0:13:21 | |
Deep scratches across the eyes. | 0:13:23 | 0:13:26 | |
The curators reported that someone had attempted to blind Durer with a hatpin. | 0:13:28 | 0:13:33 | |
Only the thick varnish saved him. | 0:13:33 | 0:13:37 | |
And Durer is what we say, not Durer's self-portrait, as if the painting was the man himself. | 0:13:37 | 0:13:43 | |
This is a public appearance in person. | 0:13:43 | 0:13:48 | |
Standing in front of the painting, | 0:13:48 | 0:13:50 | |
I still feel... | 0:13:51 | 0:13:53 | |
an absolute catch in the throat. | 0:13:55 | 0:13:58 | |
My heart's actually beating faster to stand in front of it. | 0:13:58 | 0:14:01 | |
I'm not sure I can stand looking at it anymore! | 0:14:04 | 0:14:07 | |
It's really drilling into me. | 0:14:07 | 0:14:09 | |
Nobody had ever seen anything like this before. It's the first great self-portrait of western art, | 0:14:19 | 0:14:25 | |
and it played its part in a revolution that was occurring in the status of artists. | 0:14:25 | 0:14:30 | |
In the Middle Ages artists had been mostly anonymous, painters | 0:14:30 | 0:14:33 | |
and sculptors no more important than the apothecary or scribe. | 0:14:33 | 0:14:37 | |
Skilled workers, but hardly in the same league as poets or musicians. | 0:14:37 | 0:14:42 | |
In Florence, fresco artists were even forced to join the same guilds as those who whitewashed the city walls. | 0:14:45 | 0:14:51 | |
But by the 15th century, artists were making cameo | 0:14:54 | 0:14:57 | |
appearances in their own works to let the world know of their achievements. | 0:14:57 | 0:15:02 | |
Their faces look out of some of Florence's greatest paintings and sculptures. | 0:15:04 | 0:15:08 | |
And you can see this quite literally on the doors of the baptistery, where the sculptor Lorenzo Ghiberti | 0:15:13 | 0:15:18 | |
has posted a self-portrait right out on the street. | 0:15:18 | 0:15:22 | |
Ghiberti spent more than two decades working on the baptistry doors known | 0:15:24 | 0:15:28 | |
as "the gates of paradise", a miracle of gilded-bronze craftsmanship, as he himself pointed out. | 0:15:28 | 0:15:35 | |
In his autobiography, one of the first by an artist, Ghiberti boasts | 0:15:35 | 0:15:39 | |
about HIS doors as if it hadn't taken a huge team to make them. | 0:15:39 | 0:15:44 | |
The doors may glorify God, but Ghiberti wasn't going to leave himself out of posterity. | 0:15:44 | 0:15:50 | |
Ghiberti is among the first European artists to promote himself with such flagrant brass neck. | 0:15:53 | 0:15:57 | |
Here he is, shrewd smile, a certain superiority among the saints | 0:15:57 | 0:16:02 | |
and looking down forever on the people of Florence. | 0:16:02 | 0:16:07 | |
Walking around this place, what's striking is the way self-portraits behave like real people. | 0:16:20 | 0:16:26 | |
You're looking around and suddenly your eyes catches somebody else's. | 0:16:26 | 0:16:30 | |
Straightaway there's a frisson that connects you. | 0:16:30 | 0:16:34 | |
This isn't a common look in 15th century Italian art. | 0:16:34 | 0:16:38 | |
In those days it was usual to show wealthy patrons and sitters in worshipful profile, formal and aloof. | 0:16:38 | 0:16:45 | |
But in Florence's Santa Trinita Church, hidden within a fresco | 0:16:51 | 0:16:56 | |
is one of the first examples of an artist shooting one of those glances that hook you. | 0:16:56 | 0:17:02 | |
The giveaway is that special look of looking that distinguishes the self-portrait. | 0:17:11 | 0:17:17 | |
Two-eyed portraits were rare enough - most were in profile - so imagine what it | 0:17:17 | 0:17:22 | |
must have felt like to be in church looking at a fresco | 0:17:22 | 0:17:27 | |
and find one of the faces staring right back at you. | 0:17:27 | 0:17:30 | |
That's the painter, Domenico Ghirlandaio, there on the outskirts of the scene. | 0:17:40 | 0:17:45 | |
Although he's not exactly hiding away. In fact he really stands out | 0:17:45 | 0:17:49 | |
with that swaggering pose, and the eyes are locking directly with yours. | 0:17:49 | 0:17:53 | |
The look that Ghirlandaio gives you, with one eye painted slightly out of | 0:17:53 | 0:17:58 | |
focus using the primitive mirror of those times, will appear in self-portraits down the centuries. | 0:17:58 | 0:18:03 | |
But back in 1485 it must have seemed quite outstanding. Why is he here? | 0:18:03 | 0:18:10 | |
Well, the faces in the crowd are real people, members of the banking family who paid for the fresco. | 0:18:10 | 0:18:17 | |
Ghirlandaio was a successful man too, and churches, as the priests | 0:18:17 | 0:18:21 | |
complained, were turning into portrait galleries. | 0:18:21 | 0:18:25 | |
The patrons themselves were getting in on the act, so why not the man | 0:18:26 | 0:18:30 | |
who created the whole scene, the artist himself? | 0:18:30 | 0:18:33 | |
As the Renaissance progressed and patrons began to sit for independent | 0:18:39 | 0:18:43 | |
portraits, artists stepped free of the crowded fresco as well. | 0:18:43 | 0:18:47 | |
Here's Raphael, painting himself around 1506, | 0:18:51 | 0:18:55 | |
not as part of a bigger picture but deserving one all of his own. | 0:18:55 | 0:18:59 | |
He's an individual, ready for his close up, | 0:18:59 | 0:19:03 | |
eager to be seen and known as something other than a craftsman. | 0:19:03 | 0:19:07 | |
You notice he has no brush for hire. | 0:19:07 | 0:19:10 | |
A few decades later a young Venetian looked in a mirror and painted his | 0:19:12 | 0:19:16 | |
eyes staring back with a look that holds you too in its sights. | 0:19:16 | 0:19:21 | |
This is the face of Tintoretto. | 0:19:21 | 0:19:24 | |
Look at those red rims. Tintoretto was an insomniac, painting all night. | 0:19:28 | 0:19:34 | |
These are eyes that make you stare hard in return. | 0:19:34 | 0:19:37 | |
It's a startling switch. The picture puts you in the artist's position. | 0:19:37 | 0:19:42 | |
You are where he once was, contemplating himself. | 0:19:42 | 0:19:46 | |
You're seeing him through his own eyes. | 0:19:46 | 0:19:49 | |
Centuries before anyone discovered that the eye is an extruded part of | 0:19:51 | 0:19:54 | |
the brain, Tintoretto senses a connection between mind and eye. | 0:19:54 | 0:19:59 | |
To see is to know. | 0:19:59 | 0:20:02 | |
He makes you feel you've entered into his self-awareness. | 0:20:02 | 0:20:06 | |
It's a unique gift of self-portraits. | 0:20:06 | 0:20:08 | |
Self-portraits had become a popular genre, | 0:20:13 | 0:20:16 | |
explored by artists right up to the present day. | 0:20:16 | 0:20:19 | |
But how do you turn yourself into a picture? | 0:20:22 | 0:20:25 | |
What do artists go through when they create a self-portrait? | 0:20:25 | 0:20:29 | |
I've always been interested in the art of self-portraits and taking them as an inspiration. | 0:20:29 | 0:20:34 | |
The latest one I'm wanting to do is this one by Tintoretto. | 0:20:34 | 0:20:37 | |
It's quite an interesting experience | 0:20:37 | 0:20:39 | |
because I am not only painting myself, I'm trying to paint that. | 0:20:39 | 0:20:43 | |
You need to get the midnight hour in Venice into this painting. | 0:20:43 | 0:20:48 | |
It's an absolute gimlet stare, isn't it? | 0:20:48 | 0:20:52 | |
It is an analysing look. | 0:20:52 | 0:20:54 | |
It'd be remiss to say it is looking into your soul, but he's looking at you in a different way. | 0:20:54 | 0:21:00 | |
I'm coming up the nose, I'm going to do the bridge of the nose | 0:21:00 | 0:21:04 | |
and I'm coming over to the far eye, | 0:21:04 | 0:21:06 | |
the eyebrow in, | 0:21:06 | 0:21:07 | |
first the eyebrow, just the shadow, and then the eye approximately. | 0:21:07 | 0:21:14 | |
This side, I've got a very big shadow in the eye socket, | 0:21:15 | 0:21:20 | |
my eyebrow coming in, and then the googly eye here, this is there. | 0:21:20 | 0:21:26 | |
Of course, now I've drawn everything wrong. | 0:21:28 | 0:21:32 | |
Does he look suitably sinister? | 0:21:35 | 0:21:37 | |
I often think that painting self-portraits, | 0:21:40 | 0:21:45 | |
it's not a conscious effort to find out something. | 0:21:45 | 0:21:50 | |
It's a feeling around in the dark and later on things occur to one when one looks back on it. | 0:21:50 | 0:21:56 | |
It's like a | 0:21:56 | 0:21:58 | |
bloody Picasso, not like a Tintoretto. Do excuse me. | 0:21:58 | 0:22:02 | |
I'm going to pop a highlight in here to liven it up. | 0:22:06 | 0:22:11 | |
And you've only got one there, haven't you? Look at your face. | 0:22:11 | 0:22:14 | |
This one has none. | 0:22:14 | 0:22:16 | |
And this is quite a bright one. You haven't got any. | 0:22:16 | 0:22:20 | |
Does Tintoretto have any? | 0:22:20 | 0:22:22 | |
None at all, no, look, he's made the lid do all the work, hasn't he? | 0:22:24 | 0:22:29 | |
In fact he has just made the pupils much darker, to give that sense... | 0:22:29 | 0:22:33 | |
The whole iris peering out at you. | 0:22:33 | 0:22:38 | |
No highlights at all. | 0:22:38 | 0:22:39 | |
-All the highlights are on the nose and the cheek. -Very mysterious. | 0:22:39 | 0:22:44 | |
So you could go that way at this point. | 0:22:44 | 0:22:46 | |
I could, but I'm going to try anyway. | 0:22:46 | 0:22:48 | |
I want to see what a highlight looks like. | 0:22:48 | 0:22:50 | |
Because I'm cheesy. | 0:22:50 | 0:22:52 | |
OK, so I'm going to just put it in here. | 0:22:52 | 0:22:57 | |
That's good. | 0:22:59 | 0:23:01 | |
Self-portrait of a man thinking about Tintoretto. | 0:23:13 | 0:23:16 | |
Yes, exactly. | 0:23:16 | 0:23:18 | |
We are all trained to subliminally read micro expressions. A lot of | 0:23:23 | 0:23:29 | |
interaction happens on this kind of instinctive level, | 0:23:29 | 0:23:33 | |
and I wonder whether those tiny adjustments I'm making, | 0:23:33 | 0:23:37 | |
while I'm trying to make the eye more real or the nose come out or the mouth work properly, | 0:23:37 | 0:23:43 | |
they then suggest all these different emotions. | 0:23:43 | 0:23:47 | |
So for you, where other painters might choose to try to transmit | 0:23:47 | 0:23:51 | |
something of their character, for you it's coming through the paint? | 0:23:51 | 0:23:54 | |
Yes, absolutely. It's coming through the paint and it's unconscious. | 0:23:54 | 0:23:59 | |
In a sense, I suppose this is in between | 0:24:00 | 0:24:03 | |
the way I feel and the way I see myself. It's somewhere in between. | 0:24:03 | 0:24:07 | |
Within and without, self-portraits bring the two together. | 0:24:09 | 0:24:13 | |
Artists may not be able to paint their outer appearance any better | 0:24:13 | 0:24:17 | |
than a portrait painter, but they have complete access | 0:24:17 | 0:24:20 | |
to their inner selves, and this shapes the painting. | 0:24:20 | 0:24:22 | |
Perhaps that's why self-portraits have been so prized by collectors down the centuries. | 0:24:22 | 0:24:29 | |
The oldest and most monumental collection of all can be found in Florence. | 0:24:33 | 0:24:37 | |
That's the Uffizi Gallery behind me, and if you can see where tiled roof starts, with all | 0:24:40 | 0:24:44 | |
the windows underneath, that's the Vasari Corridor of self-portraits. | 0:24:44 | 0:24:49 | |
It's the largest collection in the world. | 0:24:49 | 0:24:51 | |
The corridor is over half a mile long. | 0:24:55 | 0:24:58 | |
It was designed by the Renaissance artist, architect and pioneering art historian Giorgio Vasari. | 0:24:58 | 0:25:05 | |
It was Vasari, through his Lives Of The Artists, who made the world see | 0:25:05 | 0:25:09 | |
artists differently - as creative, temperamental, even as geniuses. | 0:25:09 | 0:25:15 | |
People worthy of biography | 0:25:15 | 0:25:17 | |
whose self-portraits were wondrous things to collect. | 0:25:17 | 0:25:20 | |
The corridor is almost never open. | 0:25:20 | 0:25:24 | |
The self-portraits are usually locked behind this door. | 0:25:24 | 0:25:27 | |
This is Cardinal Leopoldo de Medici, who started this collection. | 0:25:36 | 0:25:40 | |
He was really obsessed, collecting them like football cards. | 0:25:40 | 0:25:43 | |
Began with one, soon over 100, and now there are over 1,000. | 0:25:43 | 0:25:47 | |
And I think you can understand his passion. | 0:25:47 | 0:25:49 | |
You love the artist's work, you wonder what the artists looked like. | 0:25:49 | 0:25:53 | |
The self-portrait embodies them both. | 0:25:53 | 0:25:56 | |
Oh, you really feel you are stepping into the past. | 0:26:02 | 0:26:07 | |
And all these eyes staring at you. | 0:26:09 | 0:26:12 | |
There's a real feeling of pressure here, | 0:26:12 | 0:26:15 | |
a force of personality. | 0:26:15 | 0:26:17 | |
There's plenty of famous names - Titian, Rembrandt, Carracci - | 0:26:20 | 0:26:24 | |
but more interesting are some that are now forgotten, like Giovanni da San Giovanni. | 0:26:24 | 0:26:30 | |
Oh, look at that. He's really casting a cold, clear eye on you, and of course on himself. | 0:26:30 | 0:26:37 | |
The wart - every single hair has been spelled out. | 0:26:37 | 0:26:41 | |
He could have painted it from the opposite view, | 0:26:41 | 0:26:43 | |
but he wasn't going to flatter himself. | 0:26:43 | 0:26:46 | |
It's all about the truth, that one. And up here is one I really love. | 0:26:46 | 0:26:51 | |
It's the one comedy self-portrait. | 0:26:51 | 0:26:54 | |
It's Lorenzo Lippi, from Florence, 17th century, and he's making a real | 0:26:54 | 0:27:00 | |
parody of the eyeballing business of self-portraits. | 0:27:00 | 0:27:03 | |
One eye is in shadow, | 0:27:03 | 0:27:05 | |
the other one peeping out as if | 0:27:05 | 0:27:07 | |
he was looking around the corner, terrified somebody might jump out. | 0:27:07 | 0:27:12 | |
He's brave enough to paint himself, but he's too frightened to look. | 0:27:12 | 0:27:15 | |
Beautiful painting. Self-portrait by candlelight, very delicate. | 0:27:26 | 0:27:30 | |
Van Dyke, looking very grand. | 0:27:30 | 0:27:32 | |
Lovely gold chain of office over his shoulder. | 0:27:32 | 0:27:35 | |
And this is by the Austrian artist, Johannes Gumpp, | 0:27:35 | 0:27:38 | |
about whom nothing is known except for this picture. | 0:27:38 | 0:27:41 | |
Here he is, three times over, | 0:27:41 | 0:27:42 | |
the mirror on that side, the picture he's painting on that side, | 0:27:42 | 0:27:48 | |
and he's in the middle. Which is the best of the Gumpps? | 0:27:48 | 0:27:51 | |
Which is the true Gumpp? Is it nature, the mirror? Is is art, the painting? | 0:27:51 | 0:27:54 | |
It's obviously meant to be art because the painting on the easel's got much more animation. | 0:27:54 | 0:27:59 | |
But truly Gumpp is this man in the middle with his back to us. | 0:27:59 | 0:28:03 | |
We'll never really know what he looks like. | 0:28:03 | 0:28:05 | |
He's never going to turn round. | 0:28:05 | 0:28:08 | |
By the start of the 18th century, there were nearly 200 self-portraits. | 0:28:12 | 0:28:15 | |
An engraving shows them lined up like pictures on a boardroom wall. | 0:28:18 | 0:28:21 | |
Eventually, unsolicited donations had to be banned. | 0:28:21 | 0:28:25 | |
This was a select club of the great and good, | 0:28:27 | 0:28:30 | |
hence perhaps a certain pomp and formality. | 0:28:30 | 0:28:34 | |
There's a lovely sequence here of the self-portrait with wig. | 0:28:34 | 0:28:37 | |
You couldn't be on the walls by now, | 0:28:37 | 0:28:39 | |
without being quite grand and receiving an invitation, | 0:28:39 | 0:28:43 | |
and I think the honour of the invitation is really beginning to stifle creativity. | 0:28:43 | 0:28:49 | |
As in life, so in art. Having to make an official public appearance | 0:28:51 | 0:28:55 | |
can suppress one's character. | 0:28:55 | 0:28:56 | |
In the Vasari Corridor, many artists come over as rigid, | 0:29:00 | 0:29:04 | |
remote, even reluctant, as a certain uniformity sets in. | 0:29:04 | 0:29:09 | |
Some of these self-portraits have all the personality of passport photos, | 0:29:09 | 0:29:13 | |
and others, well, they're so buttoned up, | 0:29:13 | 0:29:16 | |
they might as well be portraits. | 0:29:16 | 0:29:18 | |
Such conformity is a disappointment to modern eyes. | 0:29:28 | 0:29:32 | |
We don't want our artists to look the same. We're not the same. | 0:29:32 | 0:29:35 | |
In fact we change all the time. | 0:29:35 | 0:29:38 | |
And it's this sense of inner mutability that defines the work of Rembrandt. | 0:29:38 | 0:29:43 | |
self-portraiture's leading light. | 0:29:43 | 0:29:45 | |
About appearances, Rembrandt is notoriously unreliable. | 0:29:47 | 0:29:52 | |
In over 80 self-portraits his eyes and hair colour change, | 0:29:52 | 0:29:57 | |
his nose waxes and wanes. | 0:29:57 | 0:30:00 | |
But as for his inner self - | 0:30:00 | 0:30:02 | |
never fixed, altered daily by experience - | 0:30:02 | 0:30:05 | |
these pictures are revelations. | 0:30:05 | 0:30:08 | |
Or so it seems to me. | 0:30:09 | 0:30:10 | |
Others insist that this cannot be true, | 0:30:10 | 0:30:13 | |
centuries before the Romantics and Sigmund Freud. | 0:30:13 | 0:30:16 | |
It's a debate that hung over a tremendous exhibition | 0:30:18 | 0:30:21 | |
in 1999, at the National Gallery, when, for the first time in history, | 0:30:21 | 0:30:26 | |
the self-portraits were all brought together. | 0:30:26 | 0:30:29 | |
I remember that show so well. | 0:30:34 | 0:30:36 | |
This powerful presence of Rembrandt all around you | 0:30:36 | 0:30:40 | |
and this extraordinary sense of not just a life, | 0:30:40 | 0:30:43 | |
but a man's whole inner being, unfolding before your very eyes. | 0:30:43 | 0:30:47 | |
It began with the young Rembrandt hiding in the shadows. | 0:30:51 | 0:30:54 | |
He's not so easily pinned down, this guarded soul, | 0:30:54 | 0:30:58 | |
though the painting is pure performance - | 0:30:58 | 0:31:00 | |
a dazzling play of dark against light. | 0:31:00 | 0:31:03 | |
Moving through that show, you'd have encountered him here, at the age of 34. | 0:31:06 | 0:31:11 | |
Rich, busy studio, a huge and international reputation, | 0:31:11 | 0:31:15 | |
and he's wearing the opulent clothes of the previous century. | 0:31:15 | 0:31:19 | |
And the pose is also from the past. | 0:31:19 | 0:31:21 | |
He's declaring himself to be one of the old masters. | 0:31:21 | 0:31:24 | |
A decade later, he is on the verge of bankruptcy. | 0:31:27 | 0:31:32 | |
His wife has died, | 0:31:32 | 0:31:33 | |
his kind of painting is beginning to go out of fashion. | 0:31:33 | 0:31:36 | |
He's full of pain. But look at him. | 0:31:36 | 0:31:40 | |
"I'm still here in the darkness, I'm still standing." | 0:31:40 | 0:31:45 | |
This is one of Rembrandt's last paintings. | 0:31:48 | 0:31:50 | |
He's 63 and in a few months | 0:31:50 | 0:31:53 | |
he will be dead and buried in an unmarked grave. | 0:31:53 | 0:31:58 | |
It's the seventh age of man, really. | 0:31:58 | 0:32:01 | |
He's returned to childhood, | 0:32:01 | 0:32:03 | |
though not, of course, as an artist. | 0:32:03 | 0:32:06 | |
But how perfectly he sees and describes what it might be like | 0:32:06 | 0:32:12 | |
to be at the end of your life. | 0:32:12 | 0:32:14 | |
Every self-portrait in the show convinced you that this | 0:32:18 | 0:32:22 | |
was the truth about Rembrandt, the faithful expression of himself, | 0:32:22 | 0:32:26 | |
but the curators completely disagreed. | 0:32:26 | 0:32:29 | |
They insisted that a sense of self did not exist in Rembrandt's day, | 0:32:29 | 0:32:33 | |
that artists didn't explore their inner selves, because they didn't have them. | 0:32:33 | 0:32:37 | |
Rembrandt's self-portraits were just product for the market, his personal stock in trade. | 0:32:40 | 0:32:45 | |
When Rembrandt stepped to the mirror, he saw money. | 0:32:45 | 0:32:49 | |
But I believe that paintings are their own form of evidence. | 0:32:51 | 0:32:55 | |
Surely here, in his last days, Rembrandt is showing what it is like to be facing your end. | 0:32:55 | 0:33:02 | |
Look again at this one. | 0:33:05 | 0:33:07 | |
It really teaches you what it's like to be old, to be puffy and worn, | 0:33:07 | 0:33:13 | |
tired, your eyes sunken, maybe you're a little bit absurd to yourself. | 0:33:13 | 0:33:18 | |
And all those lessons are there in the art, in the brushwork itself. | 0:33:18 | 0:33:22 | |
It's veined and knotty, a bit haphazard, a bit gnarled, in some places it's fading. | 0:33:22 | 0:33:28 | |
It's as if the painting itself were on its way out. | 0:33:28 | 0:33:31 | |
Rembrandt's depth is not an illusion. | 0:33:32 | 0:33:36 | |
JAZZ SWING MUSIC | 0:33:38 | 0:33:42 | |
But here's where things get complicated. | 0:33:47 | 0:33:50 | |
In the way Rembrandt puts across the inner man, he 's something of an actor - | 0:33:50 | 0:33:55 | |
playing himself, as if he were on the stage. | 0:33:55 | 0:33:58 | |
I've come to ask the actor Simon Callow | 0:33:58 | 0:34:01 | |
if he is can shed any light on Rembrandt the performer. | 0:34:01 | 0:34:05 | |
-It's often said that great actors have almost - or can have - anonymous faces. -Mmm. | 0:34:07 | 0:34:14 | |
They have, as an attribute changeability, | 0:34:14 | 0:34:17 | |
unrecognisability, almost. Do you see that with Rembrandt? | 0:34:17 | 0:34:21 | |
Very much so. He's got a wonderful actor's face, | 0:34:21 | 0:34:26 | |
actually, because it's not distinguished, | 0:34:26 | 0:34:28 | |
it's not a handsome face, particularly - | 0:34:28 | 0:34:31 | |
small eyes, rather bulbous nose, | 0:34:31 | 0:34:35 | |
thick lips, a tendency, as he got older, to be rather jowly. | 0:34:35 | 0:34:40 | |
It's almost a face made up of Plasticine or dough or something. | 0:34:40 | 0:34:45 | |
And, because of that, he's able, somehow, to be possessed | 0:34:45 | 0:34:51 | |
by an idea or a person | 0:34:51 | 0:34:54 | |
or an image or some sort of organic sense of something other. | 0:34:54 | 0:34:58 | |
Self-portraiture is sometimes described as an inturned art, the artist alone with the mirror. | 0:35:00 | 0:35:06 | |
But Rembrandt is magnificent proof of the opposite, putting on a one-man show for our benefit. | 0:35:06 | 0:35:11 | |
It's a real character performance, there's no doubt about it. | 0:35:14 | 0:35:17 | |
Even up to the upturned moustache, with wax at the ends. | 0:35:17 | 0:35:24 | |
And there's a question over whether he is slightly Orientalised his own features. What do you think? | 0:35:24 | 0:35:29 | |
I would think he has just done that by thinking about it. He's thinking Turkish. | 0:35:29 | 0:35:33 | |
What about this dog? | 0:35:33 | 0:35:35 | |
The dog's not thinking Turkish, at all. | 0:35:35 | 0:35:37 | |
The dog's thinking, "When can I have my supper?", quite clearly! | 0:35:37 | 0:35:42 | |
What expression is that? | 0:35:44 | 0:35:46 | |
He is doing a low-life expression, is what it is - "Eurrargh!" - | 0:35:46 | 0:35:51 | |
rather like a member of the chorus of Les Miserables. | 0:35:51 | 0:35:55 | |
It's a, sort of, a rather drunken dirty laugh, actually, is what that is. "Hur-hur-hur!" | 0:35:55 | 0:36:02 | |
"You old tosser!" | 0:36:02 | 0:36:04 | |
THEY LAUGH | 0:36:04 | 0:36:05 | |
Oh, God, we know that looks so well. | 0:36:05 | 0:36:09 | |
That's just... Terrible things have happened to our faces, these nobbles | 0:36:09 | 0:36:14 | |
and the bagging of the eyes and when the upper part of the eyes starts to hang over the eye. | 0:36:14 | 0:36:20 | |
All these things unsparingly caught. | 0:36:20 | 0:36:25 | |
Yes, there's no mercy, is there? | 0:36:26 | 0:36:28 | |
No mercy at all. And his expression completely reflects that. | 0:36:28 | 0:36:33 | |
But it is this | 0:36:33 | 0:36:36 | |
incomprehensible capacity of Rembrandt | 0:36:36 | 0:36:40 | |
to penetrate into | 0:36:40 | 0:36:43 | |
what it is to be human. | 0:36:43 | 0:36:45 | |
We live life forwards, it's been said, but we understand it backwards. | 0:36:50 | 0:36:55 | |
Rembrandt was one of the first people in history who could, | 0:36:55 | 0:36:58 | |
literally, see his life passing - the self-portraits were stacking up around him in the studio. | 0:36:58 | 0:37:05 | |
Nowadays, we all have the bittersweet experience of looking at old photographs, | 0:37:05 | 0:37:09 | |
of seeing our past and unrecoverable selves. | 0:37:09 | 0:37:13 | |
Rembrandt must have had the same very modern self-knowledge, | 0:37:18 | 0:37:22 | |
these time-lapse images deepening his understanding of life. | 0:37:22 | 0:37:28 | |
Rembrandt's self-portraits were known and seen far and wide during his lifetime. | 0:37:42 | 0:37:48 | |
They set a standard, which is perhaps why his century, the 17th, | 0:37:48 | 0:37:52 | |
sees some of the most inventive and original self-portraits in art. | 0:37:52 | 0:37:57 | |
Gerard ter Borch has one foot on the edge of the stage, like a dancer about to begin. | 0:37:59 | 0:38:05 | |
And that foot's like a fuse that sends the eye up the black-cloaked body to the artist's face. | 0:38:05 | 0:38:11 | |
It's a public performance, but he's a riddle. | 0:38:11 | 0:38:14 | |
The Italian painter Sassoferrato appears against | 0:38:14 | 0:38:18 | |
a pure blue background, his signature colour, known as Sassoferrato blue. | 0:38:18 | 0:38:22 | |
Leaning forward deferentially, as if listening to your views, a camera-age pose three centuries in advance. | 0:38:22 | 0:38:29 | |
Salvator Rosa comes on like a rock star, a lone crag of a man against a shelterless sky. | 0:38:32 | 0:38:38 | |
He's got something to say, but since this is a picture, he's given the lines to a stone. | 0:38:38 | 0:38:43 | |
Those words roughly translate as, "If you've got nothing worth saying, then shut up." | 0:38:43 | 0:38:49 | |
Which is exactly what he's not doing in this cunning picture, of course. | 0:38:49 | 0:38:53 | |
And Rosa was famously garrulous. As always with self-portraits, the truth will out. | 0:38:53 | 0:38:58 | |
What pose to strike, what expression to show, what to do in a self-portrait? | 0:39:04 | 0:39:09 | |
Big questions and none of them simple. | 0:39:09 | 0:39:12 | |
For instance, do you show yourself in the act of painting? | 0:39:12 | 0:39:15 | |
Here's one that does. | 0:39:17 | 0:39:20 | |
It's Artemesia Gentileschi, in a dynamic self-portrait, at Hampton Court. | 0:39:20 | 0:39:25 | |
Sleeves rolled up, getting down to work, she's like an action painter, three centuries in advance. | 0:39:25 | 0:39:32 | |
Except, of course, that unlike Jackson Pollock and co, she's not a man. | 0:39:32 | 0:39:37 | |
To be a woman painter in the 17th century was the opposite of easy | 0:39:41 | 0:39:45 | |
and Gentileschi endured unusual cruelties. | 0:39:45 | 0:39:48 | |
She was raped by her painting tutor and at the subsequent trial, she was publicly humiliated and tortured. | 0:39:48 | 0:39:54 | |
Yet she survived to have a very successful 40-year career, her paintings were prized | 0:39:54 | 0:39:59 | |
all across Europe and her self-portrait was the first by a woman | 0:39:59 | 0:40:03 | |
to appear in a royal collection. | 0:40:03 | 0:40:05 | |
It's actually very startling when you stumble across her in a dark corner of Hampton Court, | 0:40:16 | 0:40:22 | |
still hard at work, three and a half centuries after Charles I invited her to England. | 0:40:22 | 0:40:27 | |
She's showing herself doing something quite ordinary and traditional - painting herself at work - | 0:40:27 | 0:40:32 | |
but what an original take on the theme. | 0:40:32 | 0:40:35 | |
She's making this extraordinary kind of wild kiltering gesture up there to make her mark, | 0:40:35 | 0:40:42 | |
and the sleeve is falling away, so you see the naked forearm, the dirty fingernails, | 0:40:42 | 0:40:47 | |
lights flashing across her bosom and forehead. | 0:40:47 | 0:40:49 | |
This is Exhibit A in any history of women's art. | 0:40:52 | 0:40:56 | |
It's the first self portrait by a woman to be internationally famous | 0:40:56 | 0:40:59 | |
and it shows something that was very rare for the 17th century, | 0:40:59 | 0:41:03 | |
in fact, it was regarded as a freak of nature - | 0:41:03 | 0:41:05 | |
a woman who paint and showed herself doing it. | 0:41:05 | 0:41:09 | |
I love the fact that Gentileschi could be painting anything, large or small. | 0:41:11 | 0:41:16 | |
The canvas is so far a promising blank and that she isn't wasting time making eyes at us. | 0:41:16 | 0:41:21 | |
This artist is getting down to work. | 0:41:21 | 0:41:24 | |
Showing yourself at work is the simplest way to declare your profession | 0:41:25 | 0:41:30 | |
and it's no accident that it was frequently women painters, down the centuries, | 0:41:30 | 0:41:34 | |
who chose to show themselves palette in hand, brush at the ready, | 0:41:34 | 0:41:37 | |
even if they were dressed as if they were on their way to the ball. | 0:41:37 | 0:41:41 | |
These are self-portraits that say, "Look, I'm an artist. | 0:41:45 | 0:41:49 | |
"This is what I do." | 0:41:49 | 0:41:51 | |
But the working self-portrait can also be used to make the personal political. | 0:41:53 | 0:41:58 | |
That's certainly the case with a 20th century work in the National Portrait Gallery in London. | 0:41:58 | 0:42:03 | |
Here's Laura Knight's wonderfully provocative self-portrait, it's called Self With Nude. | 0:42:09 | 0:42:15 | |
Couldn't be clearer than that. And Knight is showing herself doing the very thing that hadn't | 0:42:15 | 0:42:20 | |
been allowed for centuries - painting a nude figure, no drapes and no accompaniment - on her own. | 0:42:20 | 0:42:27 | |
Even at this point, in 1913, this was controversial. | 0:42:27 | 0:42:31 | |
In provincial art colleges, you still couldn't do it and even later in the century it wasn't allowed. | 0:42:31 | 0:42:36 | |
So she's turning her back on tradition, snubbing tradition, | 0:42:36 | 0:42:39 | |
and, of course, turning her back on us, as well. | 0:42:39 | 0:42:42 | |
What I love about this painting is that it's absolutely of its political moment. | 0:42:43 | 0:42:49 | |
This is the time of suffragettes and here she is doing indoors, | 0:42:49 | 0:42:52 | |
in a sense, what they were doing on the streets. | 0:42:52 | 0:42:55 | |
And I think she's asserting her women's rights in doing this. | 0:42:55 | 0:42:59 | |
And she puts them on equal footing - | 0:42:59 | 0:43:02 | |
the model, the artist - as if they both had the right | 0:43:02 | 0:43:07 | |
to be in a painting and they both had the right to autonomy. | 0:43:07 | 0:43:10 | |
To the vote, you might say. | 0:43:10 | 0:43:11 | |
She's voting for women's art. | 0:43:11 | 0:43:14 | |
It's clear that Laura Knight has a campaign in mind, | 0:43:24 | 0:43:27 | |
but the motive behind many self-portraits is far less obvious. | 0:43:27 | 0:43:31 | |
With portraits, you know that someone wanted a likeness of that person and probably paid. | 0:43:31 | 0:43:36 | |
But self-portraits are not often commissioned, there's little money or glory involved. | 0:43:36 | 0:43:41 | |
So why do artists make them? | 0:43:41 | 0:43:44 | |
For all sorts of deep and surprising reasons. | 0:43:44 | 0:43:48 | |
This is Murillo, portraying himself at the prayers of his children, that he may be with them after his death, | 0:43:49 | 0:43:56 | |
as it says in the inscription scrolling out like a fax. | 0:43:56 | 0:44:00 | |
Children were Murillo's subject and his passion. | 0:44:00 | 0:44:03 | |
He raised 12 on his own, when his wife died. | 0:44:03 | 0:44:05 | |
Those words express paternal love, but so does the gesture - | 0:44:05 | 0:44:10 | |
the hand appearing to reach out of the frame, to quicken, as if still alive. | 0:44:10 | 0:44:14 | |
The father no longer leaving his children in dying. | 0:44:14 | 0:44:17 | |
Here's Michelangelo in The Last Judgement, in the Sistine Chapel. | 0:44:19 | 0:44:24 | |
Not the magnificent Saint Bartholomew, but that ragged epidermis, | 0:44:24 | 0:44:28 | |
dangling like an overcoat from his hand, the skin of Bartholomew, who was flayed. | 0:44:28 | 0:44:33 | |
Michelangelo was in his late sixties, much preoccupied with death and resurrection. | 0:44:33 | 0:44:38 | |
The only way to be redeemed was to shuck off the mortal flesh | 0:44:38 | 0:44:41 | |
and be reborn at the last judgement, as this self-portrait shows. | 0:44:41 | 0:44:46 | |
Here's Michelangelo, the famous broken nose is the giveaway, | 0:44:46 | 0:44:50 | |
offering up his old skin to God, who's just above. | 0:44:50 | 0:44:53 | |
It's the visual equivalent of a prayer. | 0:44:56 | 0:44:58 | |
But in Vienna is a collection of self-portrait sculptures | 0:45:05 | 0:45:09 | |
that have a purpose so strange it even eclipses this. | 0:45:09 | 0:45:14 | |
This is the Austrian sculptor, Franz Xaver Messerschmidt, | 0:45:17 | 0:45:21 | |
caught in a complete revulsion. | 0:45:21 | 0:45:24 | |
His eyes are screwed up, his mouth's pursed tight, the whole face is a kind of rictus. | 0:45:24 | 0:45:31 | |
And it's a head that makes you want to move your own in recoil. | 0:45:31 | 0:45:35 | |
Real force of personality. | 0:45:35 | 0:45:38 | |
The academic title they give it is Revolting Odour, as if what he was feeling and experiencing was simply | 0:45:38 | 0:45:44 | |
a nasty smell, but I think there's something much worse going on here. | 0:45:44 | 0:45:49 | |
Why would anyone want to portray themselves like this? | 0:45:49 | 0:45:53 | |
Messerschmidt had the most troubling motive of all self-portraitists. | 0:45:54 | 0:45:58 | |
His sculptures are, literally, a form of exorcism. | 0:45:58 | 0:46:02 | |
If self-portraits could behave like real people - | 0:46:02 | 0:46:05 | |
staring, acting, showing off - they can also descend into madness. | 0:46:05 | 0:46:10 | |
Once, Messerschmidt had been a man with a golden career, | 0:46:19 | 0:46:22 | |
winning prestigious commissions from the Habsburg Court, that are all 18th-century perfection. | 0:46:22 | 0:46:29 | |
His abilities put him at the heart of the artistic establishment. | 0:46:29 | 0:46:33 | |
In his time, this handsome building was the Vienna Academy of Fine Arts. | 0:46:33 | 0:46:38 | |
Here on the second floor is where Messerschmidt studied and where he eventually became a teacher, | 0:46:44 | 0:46:49 | |
with the written promise that he would one day get the job he really craved, Professor of Sculpture. | 0:46:49 | 0:46:55 | |
This is the world that Messerschmidt lived and worked in. | 0:47:12 | 0:47:16 | |
It's an incredible place and he must have seen it every day, | 0:47:16 | 0:47:19 | |
because it's just along the corridor from his studio. | 0:47:19 | 0:47:21 | |
Miles of neo-classical marble and cherubs and gold, and up here on the ceiling, this immense fresco, | 0:47:21 | 0:47:29 | |
celebrating the arts and the sciences and, right in the middle, the two people who supposedly | 0:47:29 | 0:47:36 | |
have helped them most, the Emperor and his wife, in a real kind of beautiful medallion there. | 0:47:36 | 0:47:40 | |
It's unthinkable to me that anyone who could have lived in such a world, | 0:47:41 | 0:47:46 | |
so rigid and formal and ceremonial, | 0:47:46 | 0:47:50 | |
could have broken out and produced such wild self-portraits. | 0:47:50 | 0:47:55 | |
Messerschmidt's series of so-called "character heads" rank among the strangest figures in art. | 0:48:05 | 0:48:11 | |
It's impossible to believe they were made in the 18th century, | 0:48:11 | 0:48:15 | |
they seem so modern, so out of kilter with their times. | 0:48:15 | 0:48:19 | |
Around the time he started to work on the heads, Messerschmidt's life began to fall apart. | 0:48:23 | 0:48:28 | |
In the archive of the Academy of Fine Arts is evidence of a crushing professional disappointment. | 0:48:28 | 0:48:34 | |
This document is a report, by the supervisor of the | 0:48:37 | 0:48:39 | |
Academy of Fine Arts to the Empress. Can you tell us what it's about? | 0:48:39 | 0:48:43 | |
It is about who is going to succeed some Professor of Sculpture, | 0:48:43 | 0:48:47 | |
who has died recently, | 0:48:47 | 0:48:48 | |
and Messerschmidt, he was intended to get this position. | 0:48:48 | 0:48:52 | |
And here it says why it's not such a good idea. | 0:48:52 | 0:48:57 | |
"So he has been very confused in his head for the past three years." | 0:48:57 | 0:49:02 | |
So do you think they're implying that he's mad? | 0:49:02 | 0:49:06 | |
Yes, I do. | 0:49:06 | 0:49:07 | |
There are other documents in which he's described as believing | 0:49:07 | 0:49:11 | |
-his colleagues to be his enemies and so on. -So paranoid, as well? | 0:49:11 | 0:49:16 | |
Yes. The Chancellor here asks for a pension. | 0:49:16 | 0:49:21 | |
He gets a pension, in the end. | 0:49:21 | 0:49:23 | |
-So they pay him off? -Yes, they do. | 0:49:23 | 0:49:25 | |
Messerschmidt left Vienna, | 0:49:27 | 0:49:29 | |
but many of the heads he spent the rest of his life working on are still here. | 0:49:29 | 0:49:34 | |
We do have an account of how and why Messerschmidt came to make these heads. | 0:49:52 | 0:49:56 | |
A visitor to his studio in 1781 found the sculptor pulling violent faces in the mirror. | 0:49:56 | 0:50:02 | |
He was pinching himself until he grimaced, he was yawning convulsively. | 0:50:02 | 0:50:06 | |
He was swallowing so violently his eyes closed involuntarily. | 0:50:06 | 0:50:11 | |
Messerschmidt told the visitor that he was being physically tormented | 0:50:13 | 0:50:17 | |
by a demon he called the Spirit of Proportion. | 0:50:17 | 0:50:19 | |
He had angered this spirit, he said, but had figured out a system | 0:50:19 | 0:50:23 | |
to drive it away, that involved pinching himself and grimacing. | 0:50:23 | 0:50:27 | |
The heads are a record of the expressions he used to exorcise this demon. | 0:50:29 | 0:50:34 | |
My sense, looking at the heads, is that they are kind of stand-off. | 0:50:37 | 0:50:40 | |
A real head-to-head, if you like. | 0:50:40 | 0:50:43 | |
A way of beating off the spirit that was tormenting him. | 0:50:43 | 0:50:47 | |
Imagine making your own head. | 0:50:55 | 0:50:57 | |
You know, this is a really ephemeral expression and he's carved this | 0:50:59 | 0:51:02 | |
in alabaster, which is one of the hardest of stones. | 0:51:02 | 0:51:05 | |
It must have taken him months and months to get something that lasts half a second. | 0:51:05 | 0:51:11 | |
And you just don't know I'm here, at all. | 0:51:40 | 0:51:43 | |
You've just gone, haven't you? | 0:51:43 | 0:51:44 | |
Even this one is meant to represent something...like a smile. | 0:51:53 | 0:51:59 | |
It's just, sort of, horrifyingly vacuous. | 0:52:01 | 0:52:04 | |
This one's the most alien of them all. | 0:52:16 | 0:52:19 | |
It just feels as though he's turned into his own bone. | 0:52:19 | 0:52:22 | |
Just one bone, it's like bird's beak. | 0:52:22 | 0:52:26 | |
It's really a horrifying thing. | 0:52:26 | 0:52:29 | |
And it's a thing, you know. You feel he's turned his own being | 0:52:29 | 0:52:34 | |
into an object. | 0:52:34 | 0:52:36 | |
It's just too frightening, really, to look at. | 0:52:41 | 0:52:43 | |
I can't really bear to look at it. | 0:52:43 | 0:52:45 | |
These heads were first shown here in Vienna as a sort of medical freak show, forensic evidence. | 0:52:52 | 0:52:58 | |
But even in his lifetime, people felt their power, their expression | 0:52:58 | 0:53:03 | |
of what it is to be stuck with your own thoughts, your own demons, | 0:53:03 | 0:53:07 | |
to be locked inside your own head. | 0:53:07 | 0:53:10 | |
In Paris, there's a self-portrait that, like Messerschmidt, | 0:53:20 | 0:53:23 | |
is all about about being stuck with oneself and also seems to bridge | 0:53:23 | 0:53:27 | |
the 18th century with our own neurotic, modern world. | 0:53:27 | 0:53:30 | |
It was made by a painter working at the time of the French Revolution | 0:53:32 | 0:53:36 | |
and who was part of that revolution himself. | 0:53:36 | 0:53:38 | |
This is Jacques-Louis David. | 0:53:40 | 0:53:41 | |
Even if you don't know the dramatic back story to this picture, | 0:53:41 | 0:53:45 | |
it still stops you dead in the gallery, | 0:53:45 | 0:53:47 | |
this painting of a man who seems strange, even to himself, | 0:53:47 | 0:53:51 | |
and with, I think, a powerful air of isolation. | 0:53:51 | 0:53:54 | |
When David painted this picture in 1794, he wasn't just alone | 0:53:55 | 0:53:59 | |
in the sense of closing the studio door to get down to work. | 0:53:59 | 0:54:02 | |
He was a man in prison. Here he is, literally, in solitary confinement. | 0:54:02 | 0:54:08 | |
David was the unrivalled propagandist of the French Revolution, | 0:54:16 | 0:54:20 | |
a revolution partly enacted in images. | 0:54:20 | 0:54:23 | |
But more than that, he was a politician himself. | 0:54:23 | 0:54:26 | |
He sat in the National Convention, was a friend and political ally | 0:54:28 | 0:54:32 | |
of Robespierre, and was known as "the fiery terrorist", | 0:54:32 | 0:54:35 | |
even among such extreme company. | 0:54:35 | 0:54:39 | |
He designed enormous public ceremonies, | 0:54:39 | 0:54:41 | |
such as the Festival of the Supreme Being, | 0:54:41 | 0:54:44 | |
in which thousands of Parisians sang songs, while Robespierre | 0:54:44 | 0:54:48 | |
descended an artificial mountain, planted with the tree of liberty. | 0:54:48 | 0:54:53 | |
In July of 1794, Robespierre, | 0:55:00 | 0:55:03 | |
David's great ally and inspiration, fell victim to his own revolution. | 0:55:03 | 0:55:08 | |
David, knowing he might be next, disappeared. | 0:55:14 | 0:55:16 | |
Warrants were issued. | 0:55:16 | 0:55:18 | |
Searches took place. | 0:55:18 | 0:55:20 | |
When they eventually found David, they threw him in a makeshift prison. | 0:55:20 | 0:55:24 | |
He was shocked to find himself there, when all he'd done, he repeatedly protested, was love liberty, | 0:55:24 | 0:55:30 | |
France and the revolution. | 0:55:30 | 0:55:31 | |
It was here that David painted himself, not knowing if the public would ever see his self-portrait. | 0:55:37 | 0:55:43 | |
Captivity didn't turn out to be too harsh for David, physically. | 0:55:49 | 0:55:53 | |
The guard's son turned out to be an old pupil | 0:55:53 | 0:55:55 | |
and they allowed the painter to turn his cell into a studio. | 0:55:55 | 0:55:58 | |
He managed somehow to acquire palette, canvas, paints, brushes, and, crucially of course, a mirror. | 0:55:58 | 0:56:06 | |
Imagine being stuck with yourself, like this. Boxed in. | 0:56:11 | 0:56:14 | |
The mirror's become the fourth wall of your cell. | 0:56:14 | 0:56:17 | |
You cannot get away from yourself. | 0:56:17 | 0:56:19 | |
The reflection is showing you back the injustice of your circumstances. | 0:56:19 | 0:56:23 | |
Here he is, brought low by his own revolution. | 0:56:25 | 0:56:28 | |
Gripping the brush and palette so tightly, he's probably lost all sense of them, | 0:56:28 | 0:56:33 | |
as he tries to come to terms with his situation. | 0:56:33 | 0:56:36 | |
David is just there with the mirror, there's nothing else to do. | 0:56:43 | 0:56:46 | |
He's not allowed to communicate with the rest of the world. And just only with himself. | 0:56:46 | 0:56:50 | |
But when you look at the painting, he seems not to recognise himself | 0:56:50 | 0:56:55 | |
really at all. I think it's an experience one often has. | 0:56:55 | 0:56:59 | |
You look in the mirror, hoping to get a picture of yourself that you really have some familiarity with, | 0:56:59 | 0:57:04 | |
something stable and definite and you look there | 0:57:04 | 0:57:07 | |
and there's this person you don't expect to see. And you're... shocked, bewildered, incredulous. | 0:57:07 | 0:57:13 | |
"Is this really what I look like?" | 0:57:13 | 0:57:16 | |
He's alone with himself, and yet, it's not an introspective painting. | 0:57:16 | 0:57:20 | |
It doesn't have this deep, psychic inner drama. | 0:57:20 | 0:57:23 | |
He's just looking at himself in the mirror, trying to make sense of what he sees there. | 0:57:23 | 0:57:29 | |
And I think that he's baffled. | 0:57:29 | 0:57:32 | |
David would spend six months as a prisoner, waiting for his case to be considered. | 0:57:37 | 0:57:42 | |
Eventually, he was rehabilitated, becoming court painter to Napoleon. | 0:57:42 | 0:57:47 | |
David's painting betrays the great fiction of all self-portraits, | 0:57:50 | 0:57:53 | |
which is that the artist is looking at us when, literally, he's just looking at himself. | 0:57:53 | 0:57:59 | |
None of us really needs a mirror to see ourselves. | 0:58:04 | 0:58:06 | |
The daylight world is a sphere of endless reflections | 0:58:06 | 0:58:10 | |
in which we are caught and held all the time in shining surfaces. | 0:58:10 | 0:58:14 | |
But artists need a more reliable glass - the mirror, | 0:58:14 | 0:58:18 | |
the painter's silent accomplice. | 0:58:18 | 0:58:21 | |
A mirror is a curious object, almost invisible, except when the frame tells you it is there. | 0:58:27 | 0:58:33 | |
Everything in it is reversed, so you never see yourself as others do. | 0:58:33 | 0:58:37 | |
The artist can't see, never mind paint, both eyes at once. | 0:58:39 | 0:58:43 | |
Which is why one eye is very often out of focus. | 0:58:43 | 0:58:46 | |
The artist Patrick Hughes has written extensively on mirrors | 0:58:51 | 0:58:54 | |
and knows the perils of using this tricky tool all too well. | 0:58:54 | 0:58:58 | |
-Here's a mirror. -Here is a mirror. | 0:59:03 | 0:59:04 | |
Slippery business. It doesn't quite give you reality as it is, does it? | 0:59:04 | 0:59:08 | |
No, we're like ourselves, just like ourselves, | 0:59:08 | 0:59:12 | |
but subtly different, with the... | 0:59:12 | 0:59:14 | |
I'm touching my right cheek, but this guy in the mirror is touching his left cheek. | 0:59:14 | 0:59:20 | |
Just turned around, mirror imaged. | 0:59:20 | 0:59:22 | |
It's like...like a twin. That's my twin in the mirror. | 0:59:25 | 0:59:29 | |
My other self. Or, as Peter Cook wrote in his autobiography, | 0:59:29 | 0:59:33 | |
"Tragically, I was an only twin." It's just me and my twin. | 0:59:33 | 0:59:40 | |
Do you find the mirror induces any form of introspection? | 0:59:40 | 0:59:44 | |
I'm not very big on introspection. I'm rather not. | 0:59:44 | 0:59:48 | |
But you can learn extraordinary things about yourself, can't you? | 0:59:48 | 0:59:51 | |
What a fool you are. "What a nincompoop", is my first impression of me. | 0:59:51 | 0:59:56 | |
But then, what a child, as well. | 0:59:56 | 0:59:59 | |
There's so many different ideas you have about yourself, not all flattering. | 0:59:59 | 1:00:05 | |
Your image is still to me when I am looking at it. | 1:00:05 | 1:00:07 | |
But if I look at myself, | 1:00:07 | 1:00:09 | |
my eyes are moving constantly. | 1:00:09 | 1:00:11 | |
I can't quite see what I look like for all the detail. | 1:00:11 | 1:00:15 | |
We can't really see ourselves in mirrors, can we? | 1:00:15 | 1:00:17 | |
It wouldn't be able to be a self portrait probably without a mirror. | 1:00:17 | 1:00:20 | |
But it's a hard thing to work with, it abbreviates things, doesn't it? | 1:00:20 | 1:00:25 | |
It makes things a lot smaller. My head is much smaller, I believe it's about half the size of me. | 1:00:25 | 1:00:31 | |
And it's all shiny. | 1:00:31 | 1:00:34 | |
It's subtly different. | 1:00:34 | 1:00:36 | |
It's not like a photograph, all flat and ready, | 1:00:36 | 1:00:39 | |
it's shiny and 3D, and, like you say, it moves. | 1:00:39 | 1:00:43 | |
'Patrick's art is like a mirror itself, | 1:00:47 | 1:00:49 | |
'a visual illusion that moves and appears to have a life of its own. | 1:00:49 | 1:00:53 | |
'He's currently working on a self-portrait based on his own death mask.' | 1:00:58 | 1:01:02 | |
Actually, at this stage, you could so easily be turned | 1:01:04 | 1:01:06 | |
into somebody else with a bit of lipstick. | 1:01:06 | 1:01:08 | |
'It's an idea as strange as self-portraiture itself. | 1:01:08 | 1:01:11 | |
'The artist trying to get the inner and outer selves to match up. | 1:01:11 | 1:01:16 | |
'And Patrick's going to go further by turning himself inside out.' | 1:01:16 | 1:01:20 | |
And his face is coming away. | 1:01:20 | 1:01:22 | |
Wow. | 1:01:22 | 1:01:24 | |
Wow. | 1:01:24 | 1:01:26 | |
I'm here. This is me. | 1:01:26 | 1:01:28 | |
-Reborn. -And this is me here. | 1:01:28 | 1:01:30 | |
When painted inside, Patrick's face will appear convex and his death mask will become a life mask. | 1:01:32 | 1:01:40 | |
And the real spark of life will come when you presumably put the highlights of the eyes? | 1:01:40 | 1:01:44 | |
The real animation will come. | 1:01:46 | 1:01:48 | |
His eyes are alive. It looks just so different. | 1:01:52 | 1:01:57 | |
That's alive, it comes alive. | 1:01:57 | 1:01:59 | |
That's terrific. | 1:02:01 | 1:02:03 | |
Perhaps when I'm dead and gone, | 1:02:03 | 1:02:05 | |
you'll be able to look at this and see, there I am. It's Patrick. | 1:02:05 | 1:02:09 | |
It's still a life. | 1:02:09 | 1:02:10 | |
Do you feel in some way that he is a fragment of you, or a relic of you? | 1:02:13 | 1:02:19 | |
Yeah, he's got some of my hairs up his nostrils. | 1:02:19 | 1:02:22 | |
And I fit him perfectly, you know. | 1:02:22 | 1:02:24 | |
If you were there... | 1:02:24 | 1:02:27 | |
And it's a strange feeling to be at one with yourself, in that way. | 1:02:27 | 1:02:31 | |
-A snug fit. -Yes. | 1:02:31 | 1:02:32 | |
If I wore him as a head piece, I'd just have a big square head. | 1:02:32 | 1:02:36 | |
Patrick Hughes describes his art as being about the surface of things. | 1:02:38 | 1:02:43 | |
It's not what artists are supposed to say. | 1:02:43 | 1:02:46 | |
By the beginning of the 19th century, an archetype had emerged of the artist | 1:02:46 | 1:02:50 | |
as a man of penetrating vision, capable of seeing deep inner truths. | 1:02:50 | 1:02:55 | |
An outsider with a soul as powerful as the elements around him. | 1:02:55 | 1:03:00 | |
But what's odd is that while you do see this in paintings, | 1:03:00 | 1:03:04 | |
you don't really see it in self-portraits, which avoid this Romantic cliche. | 1:03:04 | 1:03:08 | |
Here's the great Romantic painter Delacroix, formal and withheld. | 1:03:10 | 1:03:15 | |
Here's gentleman Goya in cravat and top-hat. | 1:03:21 | 1:03:25 | |
He's keeping a sharp eye on his public. | 1:03:25 | 1:03:28 | |
In fact, for real Romantic self-portraits, you have to wait half a century | 1:03:38 | 1:03:43 | |
for an artist who saw himself, more than any other, as a misunderstood genius. | 1:03:43 | 1:03:48 | |
The supreme fantasist and patron saint of the avant-garde, Gustave Courbet. | 1:03:48 | 1:03:53 | |
This is Courbet as The Wounded Man, stabbed through the heart, | 1:03:56 | 1:04:01 | |
though the blood looks suspiciously like an afterthought. | 1:04:01 | 1:04:05 | |
He could equally well be waiting to be kissed. | 1:04:05 | 1:04:08 | |
It's sometimes said that self-portraits are vain, all that time spent in front of the mirror. | 1:04:08 | 1:04:13 | |
In Courbet's case, they really are. | 1:04:13 | 1:04:16 | |
It's a tremendously narcissistic painting. | 1:04:18 | 1:04:20 | |
He's had to imagine what he might look like half asleep, rather drowsy. | 1:04:20 | 1:04:25 | |
And I think with Courbet, you really can say that | 1:04:25 | 1:04:29 | |
here, finally, is a self-portraitist who is in love with himself. | 1:04:29 | 1:04:34 | |
He painted himself so often, and if he'd painted any other man | 1:04:34 | 1:04:38 | |
as often as that, people would have said he was in love. | 1:04:38 | 1:04:42 | |
Courbet is the hero every time of his own far-fetched stories. | 1:04:47 | 1:04:52 | |
Here he is as The Desperate Man, all thrilling Hitchcock close-up. | 1:04:52 | 1:04:56 | |
The artist as star. | 1:04:56 | 1:04:58 | |
And then there's this. | 1:05:00 | 1:05:02 | |
This is Courbet's L'Atelier. | 1:05:04 | 1:05:06 | |
The largest and most grandstanding self-portrait I know of. | 1:05:06 | 1:05:10 | |
The scene is Courbet's studio. | 1:05:10 | 1:05:14 | |
Filled with people, he really makes you walk up and down the length of it | 1:05:14 | 1:05:18 | |
to see everybody who's in it. It's 20 ft wide. | 1:05:18 | 1:05:21 | |
L'Atelier is as strange as a dream. | 1:05:24 | 1:05:27 | |
Why is Courbet painting a landscape? | 1:05:27 | 1:05:29 | |
What's the nude model doing there? | 1:05:29 | 1:05:31 | |
As for the crowd, which includes everyone from the street urchins | 1:05:31 | 1:05:34 | |
to the anarchist Proudhon, and the emperor himself, the political allegory remains a mystery. | 1:05:34 | 1:05:42 | |
'The world come to be painted at my studio', declared Courbet. | 1:05:43 | 1:05:48 | |
What the picture shows above all is Gustave Courbet, centre of the world. | 1:05:48 | 1:05:53 | |
'No other painter coined quite so many images of the artist as a free spirit. | 1:05:58 | 1:06:02 | |
'One in particular became a blueprint for future generations. | 1:06:02 | 1:06:09 | |
'In The Meeting, nicknamed Bonjour Monsieur Courbet, the artist is being | 1:06:09 | 1:06:13 | |
'greeted by a new patron and his servant just outside Montpellier. | 1:06:13 | 1:06:17 | |
'With his beard and staff, Courbet is a pilgrim-cum-prophet, and he's met with worship. | 1:06:17 | 1:06:23 | |
DOOR BUZZES | 1:06:23 | 1:06:25 | |
'The writer Julian Barnes, an authority on Courbet, believes this | 1:06:29 | 1:06:32 | |
'painting marks the moment that artists tamed their patrons.' | 1:06:32 | 1:06:37 | |
It's a wonderfully free image of an artist and a very new one. | 1:06:37 | 1:06:41 | |
I mean, he's outdoors, he's completely free. | 1:06:41 | 1:06:43 | |
He's wearing his rambling clothes. Nobody owns him. | 1:06:43 | 1:06:46 | |
Do you think he's partly responsible for inventing a new archetype | 1:06:46 | 1:06:52 | |
of the artist, the avant-garde artist? | 1:06:52 | 1:06:55 | |
Yes, he was great at self-marketing, Courbet. | 1:06:55 | 1:06:58 | |
He was the first artist probably to use photographs to promote his own work. | 1:06:58 | 1:07:02 | |
In the Franco-Prussian war, he even had a cannon named after him, | 1:07:02 | 1:07:06 | |
which he used to trundle round the streets, and he'd hand out | 1:07:06 | 1:07:09 | |
the itinerary for when you can see Le Canon Courbet pass. | 1:07:09 | 1:07:12 | |
Erm... Yes. It was... | 1:07:12 | 1:07:13 | |
He was a great self-promoter. | 1:07:13 | 1:07:15 | |
He was naturally, as he said to the head of the Beaux-Arts Academy once, | 1:07:15 | 1:07:20 | |
"I'm the proudest and most arrogant man in France." | 1:07:20 | 1:07:24 | |
It's a painting that's both | 1:07:24 | 1:07:27 | |
simple and grand at the same time. | 1:07:27 | 1:07:30 | |
And you sense there's a lot more going on. | 1:07:30 | 1:07:33 | |
It's Courbet, of course, meeting his patron, Alfred Bruyas, and Bruyas' servant who was a man called Callas. | 1:07:33 | 1:07:41 | |
He's sort of auditioning them rather than the other way around. | 1:07:41 | 1:07:45 | |
I mean, the whole history of painting has been | 1:07:45 | 1:07:47 | |
the patron auditions the artist, and the artist has to come up to snuff. | 1:07:47 | 1:07:51 | |
You look at say, the eyes. | 1:07:51 | 1:07:53 | |
Deeply cast down head. | 1:07:53 | 1:07:56 | |
Erect head but eyes slightly cast down. | 1:07:56 | 1:07:59 | |
Head cocked up, | 1:07:59 | 1:08:03 | |
and a beard that's interrogatory-stroke-aggressive, I would say. | 1:08:03 | 1:08:08 | |
Probing them. Will they do? | 1:08:08 | 1:08:11 | |
Also greeting them is the dog. | 1:08:11 | 1:08:13 | |
And the dog is turning away from its master. | 1:08:13 | 1:08:16 | |
The dog is being, I think, lured towards the new king of the household who was Mr Courbet. | 1:08:16 | 1:08:22 | |
This painting says, from now on, the artist is in charge. | 1:08:22 | 1:08:26 | |
Yes, we need the patron, yes, we need the donor. | 1:08:26 | 1:08:29 | |
But he is no longer the main player. | 1:08:29 | 1:08:32 | |
And I think that's how it stayed. | 1:08:32 | 1:08:34 | |
You know. If in 100 years, | 1:08:34 | 1:08:38 | |
Hirst's Shark is remembered, it will be Hirst's Shark. | 1:08:38 | 1:08:41 | |
And not Saatchi's shark. | 1:08:41 | 1:08:45 | |
Bonjour Monsieur Courbet became an archetype for future painters. | 1:08:50 | 1:08:54 | |
Van Gogh and Gauguin travelled to Montpellier to see it. | 1:08:56 | 1:09:00 | |
Gauguin even painted his own version, Bonjour Monsieur Gauguin, | 1:09:00 | 1:09:04 | |
in which he meets a Provencal peasant woman on rather more equal terms, | 1:09:04 | 1:09:08 | |
showing himself as a roving outsider. | 1:09:08 | 1:09:11 | |
But tradition has decreed that the ultimate outsider is not Gauguin, | 1:09:14 | 1:09:18 | |
but his friend Van Gogh. | 1:09:18 | 1:09:20 | |
A lone genius, unrecognized in his lifetime, poverty-stricken, | 1:09:24 | 1:09:29 | |
driven to suicide by society. | 1:09:29 | 1:09:31 | |
And all these agonies expressed in his art. | 1:09:31 | 1:09:34 | |
The cliche's been hard to dislodge. | 1:09:34 | 1:09:37 | |
Many people still think they experience Vincent's sufferings directly when they look at his works, | 1:09:37 | 1:09:42 | |
particularly a self-portrait in London's Courtauld Gallery. | 1:09:42 | 1:09:47 | |
It begins with the most notorious incident in art. | 1:09:47 | 1:09:51 | |
Christmas Eve, 1888, Van Gogh, after a terrible row with Gauguin, | 1:09:51 | 1:09:57 | |
cut off part of his ear and sent it to a girl he'd met in a bar. | 1:09:57 | 1:10:01 | |
His landlord was trying to have him evicted. | 1:10:01 | 1:10:04 | |
He'd run out of money. He'd very little food left. | 1:10:04 | 1:10:07 | |
The local police were keeping him under observation. | 1:10:07 | 1:10:10 | |
And even with the ear not yet healed, he managed to paint | 1:10:10 | 1:10:14 | |
one of the greatest and most famous of all his self-portraits. | 1:10:14 | 1:10:18 | |
This painting is generally thought to show Van Gogh at his most harrowed and deranged. But I don't agree. | 1:10:21 | 1:10:28 | |
To me, he's at home. And he has all his familiar things around him. | 1:10:28 | 1:10:33 | |
Behind him is the easel with a new work, something promising, the future. | 1:10:33 | 1:10:38 | |
And his beautiful Japanese print here that he's put in. | 1:10:38 | 1:10:41 | |
And this window opening out onto light and not darkness. | 1:10:41 | 1:10:46 | |
And look at the colour in this painting. | 1:10:46 | 1:10:48 | |
It's absolutely magnificent. | 1:10:48 | 1:10:50 | |
The eyes, around the eyes, so beautiful, | 1:10:50 | 1:10:53 | |
it's like water underneath an iceberg. Beautiful blue-green. | 1:10:53 | 1:10:56 | |
This amazing green against the yellow behind, | 1:10:56 | 1:10:59 | |
which is such a sort of encouraging colour. | 1:10:59 | 1:11:02 | |
He always said yellow was the colour of hope and I think that's here in the picture. | 1:11:02 | 1:11:06 | |
And it feels to me as though the storm has passed. | 1:11:06 | 1:11:10 | |
And the painting shows the order and the composure. And the bravery. | 1:11:10 | 1:11:14 | |
There is no self-pity here. | 1:11:14 | 1:11:15 | |
It is not a martyrdom. | 1:11:15 | 1:11:18 | |
Every mark in this painting is laid down slowly, carefully. | 1:11:20 | 1:11:24 | |
You couldn't paint like this if you were just pouring out your inner anguish. | 1:11:24 | 1:11:28 | |
Van Gogh's is one of the shortest careers in art, barely ten years. | 1:11:33 | 1:11:38 | |
And nearly all of his self-portraits were painted in the last four, | 1:11:38 | 1:11:42 | |
from the moment he arrived in Montmartre in 1886. | 1:11:42 | 1:11:45 | |
"What impresses me most", Van Gogh writes, | 1:11:48 | 1:11:51 | |
"more than all the rest of my work is the portrait. | 1:11:51 | 1:11:55 | |
"The modern portrait." | 1:11:55 | 1:11:56 | |
It's not the sunflowers, its not the cypresses. | 1:11:56 | 1:11:59 | |
It's the portrait that drives Van Gogh's ambition. | 1:11:59 | 1:12:03 | |
And it was here in Paris that he first really began to paint faces. | 1:12:03 | 1:12:07 | |
Specifically, his own, because he could not afford to pay for a model. | 1:12:07 | 1:12:11 | |
You can see his style develop, | 1:12:15 | 1:12:17 | |
from the self-portrait made a few months after arrival. | 1:12:17 | 1:12:20 | |
Ordinary brush marks and ordinary colours. | 1:12:20 | 1:12:23 | |
To his departure two years later. | 1:12:23 | 1:12:26 | |
Here, the short sharp lines are like exclamation marks, | 1:12:26 | 1:12:29 | |
radiating around his head like a force field. | 1:12:29 | 1:12:32 | |
Van Gogh's style is indelibly his own | 1:12:37 | 1:12:40 | |
and, eventually, he becomes one with that style in the self-portraits. | 1:12:40 | 1:12:46 | |
'In the Musee d'Orsay is what I think is his greatest self-portrait | 1:12:54 | 1:12:58 | |
'made near the end of his life. | 1:12:58 | 1:13:01 | |
'He wrote that he was working in between bouts of paranoia | 1:13:01 | 1:13:05 | |
'that "spur me on as a miner who's always in danger, and makes haste in what he does." | 1:13:05 | 1:13:11 | |
'It hangs away from the rest of his paintings.' | 1:13:11 | 1:13:14 | |
This is one of Van Gogh's last self-portraits. | 1:13:17 | 1:13:20 | |
He'd already been, for some time, in a mental hospital. | 1:13:20 | 1:13:24 | |
But there's no sense of that when you look at this picture. | 1:13:24 | 1:13:28 | |
It is dazzling, radiant, and so dignified. | 1:13:28 | 1:13:31 | |
He's upright in the middle of the storm. | 1:13:31 | 1:13:34 | |
And all around him it's what looks like the starry night by day time. | 1:13:34 | 1:13:40 | |
All those fantastic whirls and striations and notations | 1:13:40 | 1:13:43 | |
that he uses to describe cypresses and iris trees and stars at night. | 1:13:43 | 1:13:49 | |
They're all here used to describe him. | 1:13:49 | 1:13:51 | |
He's become one with his world of art, with his painting, his style. | 1:13:51 | 1:13:58 | |
He said he was going to revolutionise portraiture through the use of colour, through colour effects. | 1:13:58 | 1:14:03 | |
Nobody quite understands what he meant by that, but standing in front of this wonderful painting, | 1:14:03 | 1:14:09 | |
I feel that the colour effect | 1:14:09 | 1:14:12 | |
is like a sort of clear, pure song. | 1:14:12 | 1:14:15 | |
It's uplifting, calming. | 1:14:15 | 1:14:19 | |
It's Van Gogh in and as a sea of tranquillity. | 1:14:19 | 1:14:25 | |
'Calmness, Van Gogh says in his letters, was what he sought in his art as in his life. | 1:14:30 | 1:14:34 | |
'And it's what he achieved in this tremendous painting. | 1:14:34 | 1:14:38 | |
'Anyone looking for neurosis or self-pity won't find it in Van Gogh's brush marks. | 1:14:39 | 1:14:44 | |
'Ever since Freud's revelations about the psyche, artists turned | 1:14:44 | 1:14:48 | |
'to the self-portrait to display their psychic wounds to the world.' | 1:14:48 | 1:14:53 | |
This is Edvard Munch's Self-Portrait in Hell. | 1:14:56 | 1:15:00 | |
He's bearing up with suspicious bravado. | 1:15:00 | 1:15:03 | |
He'd been rejected by his girlfriend and turned a gun on himself, | 1:15:03 | 1:15:06 | |
strategically nicking only a fingertip. | 1:15:06 | 1:15:09 | |
This is a public 'j'accuse', made for display in an Oslo gallery where everyone, could see it. | 1:15:09 | 1:15:16 | |
It's what you might expect from this exuberant miserablist. | 1:15:17 | 1:15:20 | |
And who hasn't said it, I'm in hell. | 1:15:20 | 1:15:22 | |
A metaphor made literal. | 1:15:22 | 1:15:25 | |
This is Egon Schiele, a fellow expressionist, as Saint Sebastian... | 1:15:25 | 1:15:30 | |
suffering for his art, after being sentenced to only three days in prison | 1:15:30 | 1:15:34 | |
for displaying an image of a naked girl, a very qualified martyrdom. | 1:15:34 | 1:15:38 | |
Hererida Kahlo in The Wounded Deer, self portrait. | 1:15:38 | 1:15:43 | |
She'd endured terrible health, miscarriages, a philandering husband | 1:15:43 | 1:15:48 | |
and she turns herself into a symbol of suffering. | 1:15:48 | 1:15:51 | |
Self-portraits allow artists to put over their side of the story, to campaign, to weep, to protest. | 1:15:51 | 1:15:58 | |
These artists are figurative painters. | 1:15:58 | 1:16:00 | |
But with modernism comes a strange new dilemma. | 1:16:00 | 1:16:03 | |
Not just how to turn yourself into a work of art, but whether this is actually possible. | 1:16:05 | 1:16:11 | |
'In fact, what's interesting about coming to a gallery of modern art | 1:16:13 | 1:16:17 | |
'is just how unlikely you are to find many self-portraits from the first half of the 20th century. | 1:16:17 | 1:16:24 | |
'How are you going to present yourself? In or out of your style? | 1:16:27 | 1:16:31 | |
'What if you are an abstract painter, a futurist, a minimalist and can get over any kind of likeness? | 1:16:31 | 1:16:36 | |
'Faced with this conundrum, some artists just revert to old fashioned naturalism.' | 1:16:36 | 1:16:42 | |
Here's Mondrian's Composition I ... | 1:16:44 | 1:16:47 | |
The characteristic geometry, the characteristic colours. | 1:16:47 | 1:16:51 | |
Now here's Mondrian himself wearing collar and tie in Self Portrait, 1918. | 1:16:54 | 1:17:02 | |
Heitting in front of a Mondrian, | 1:17:02 | 1:17:05 | |
but what the self-portrait shows is a disjuncture between the man and the art. | 1:17:05 | 1:17:10 | |
Mondrian can't do himself as a Mondrian. | 1:17:10 | 1:17:14 | |
The self-portrait disturbs our sense of him as an artist. | 1:17:14 | 1:17:19 | |
There's no cubist Picasso. | 1:17:21 | 1:17:23 | |
There's no abstract expressionist Jackson Pollock. | 1:17:23 | 1:17:26 | |
But recognizable likeness doesn't matter. | 1:17:26 | 1:17:29 | |
Perhaps self-portraiture itself becomes redundant, | 1:17:29 | 1:17:32 | |
if like Jackson Pollock you believe yourself to be present | 1:17:32 | 1:17:36 | |
in every drip of Number 6, 1948. | 1:17:36 | 1:17:39 | |
And just as Picasso was claiming that he could no longer understand | 1:17:41 | 1:17:44 | |
what he looked like well enough to make a self-portrait, | 1:17:44 | 1:17:48 | |
a young American got into a photobooth and took a pot shot at the whole business. | 1:17:48 | 1:17:53 | |
MUSIC: "Waiting For The Man" by The Velvet Underground & Nico | 1:17:53 | 1:17:56 | |
Andy Warhol sat down in a photo booth and began to act, putting his hand to | 1:18:03 | 1:18:08 | |
his throat, tilting his head, arching his neck as if he was being hanged. | 1:18:08 | 1:18:14 | |
What kind of man does that? | 1:18:14 | 1:18:16 | |
What kind of man wears sunglasses in a photobooth? | 1:18:16 | 1:18:19 | |
Well, a poseur certainly. | 1:18:19 | 1:18:21 | |
But also a man who isnoing to show himself. | 1:18:21 | 1:18:26 | |
Warhol's self-Portrait 1963-64 showed his two-tone face, | 1:18:32 | 1:18:37 | |
perfect for mass-reproduction: Black specs, white skin, silver wig. | 1:18:37 | 1:18:42 | |
But everything inside is kept out of sight. | 1:18:42 | 1:18:45 | |
For Warhol, the self of these self- portraits is no more substantial | 1:18:45 | 1:18:50 | |
than the paper on which it's printed. | 1:18:50 | 1:18:52 | |
Even in a close-up as enormous as Self-Portrait 1967, | 1:18:55 | 1:19:00 | |
he's able to hide in plain view. | 1:19:00 | 1:19:02 | |
Andy Warhol, the most famous face in 20th century art. | 1:19:04 | 1:19:09 | |
His face is as famous as his art. | 1:19:09 | 1:19:11 | |
But where is he? | 1:19:11 | 1:19:13 | |
You can hardly recognise him in this image. | 1:19:13 | 1:19:17 | |
The painting's enormous, it's about the span of my open arms. | 1:19:17 | 1:19:22 | |
And yet, the size of it just seems to enlarge the one enormous point, | 1:19:22 | 1:19:27 | |
which is that he's not here. | 1:19:27 | 1:19:29 | |
That he's slipped away, that he somehow, whatever trace of him | 1:19:29 | 1:19:33 | |
there is here, is caught between the layers of this silkscreen process. | 1:19:33 | 1:19:38 | |
The orange wiped across, then the red on top, horrible colour scheme, | 1:19:38 | 1:19:43 | |
and then the blue, he's just vanished. | 1:19:43 | 1:19:45 | |
He's a ghost in the mechanised process, I suppose. | 1:19:45 | 1:19:49 | |
And the only thing that really tells you that he was alive at all, | 1:19:49 | 1:19:55 | |
I suppose is that tiny highlight there in the eye, | 1:19:55 | 1:20:00 | |
which quickens the painting, tells you that he was here, he was alive. | 1:20:00 | 1:20:04 | |
He was looking, he was looking at you. | 1:20:04 | 1:20:07 | |
Just one dot in something nearly as big as a billboard. | 1:20:07 | 1:20:11 | |
Warhol's whole image was a kind of vanishing act. | 1:20:13 | 1:20:16 | |
He'd lost his pigmentation at an early age, hence the colourless face and hair. | 1:20:16 | 1:20:21 | |
Loathing his pockmarked skin, he went for primitive dermabrasion, | 1:20:21 | 1:20:25 | |
which in those days involved actual sandpaper. | 1:20:25 | 1:20:29 | |
No artist before had so desperately sought the spotlight | 1:20:29 | 1:20:33 | |
yet been so pathological about disappearing within it. | 1:20:33 | 1:20:36 | |
-Is he here? -No, he's camera shy. | 1:20:36 | 1:20:39 | |
He repeated himself over and over again | 1:20:41 | 1:20:44 | |
until he became like a kind of trademark for himself. | 1:20:44 | 1:20:48 | |
Like an emblem. And here, six times over, repeating like a pattern. | 1:20:48 | 1:20:53 | |
The work is called Self-Portrait Strangulation. | 1:20:53 | 1:20:57 | |
There's no colon, no comma between the two words, he really means it. | 1:20:57 | 1:21:01 | |
Self-Portrait Strangulation, as if he was doing in self-portraiture. | 1:21:01 | 1:21:06 | |
I think you can see that in the work. | 1:21:06 | 1:21:08 | |
It's self-portraiture coming to a stuttering end here. | 1:21:08 | 1:21:12 | |
Six times over, getting a little fainter every time. It's wearing out. | 1:21:12 | 1:21:18 | |
And you have a sense that the essential self or the soul, he was a Catholic, | 1:21:18 | 1:21:23 | |
has somehow been evacuated from every single one of the Warhols in this grid. | 1:21:23 | 1:21:30 | |
For many artists, the concise "this is me" of self-portraits just doesn't work any more. | 1:21:31 | 1:21:37 | |
We think of our modern selves as complex and multi-faceted. | 1:21:37 | 1:21:41 | |
Self-portraits limit us to one person, one face and that doesn't fit with our modern sense of ourselves. | 1:21:41 | 1:21:47 | |
Moving into to the 21st century, artists show themselves | 1:21:49 | 1:21:52 | |
ever-changing, never-ending, fragmented. | 1:21:52 | 1:21:56 | |
The American painter Chuck Close makes gigantic pictures that | 1:21:59 | 1:22:02 | |
from a distance show his face, but in close-up, | 1:22:02 | 1:22:06 | |
break down into constituent pixels, multi-form shapes. | 1:22:06 | 1:22:11 | |
Close speaks of the man in the pictures as "him, not me". | 1:22:11 | 1:22:14 | |
Distant and impersonal. | 1:22:14 | 1:22:17 | |
Cindy Sherman makes herself up like an actress performing different roles... | 1:22:22 | 1:22:27 | |
portraits of people who've never existed. | 1:22:27 | 1:22:30 | |
But they're also self-transformations, | 1:22:30 | 1:22:32 | |
evidence of how one person can become someone else | 1:22:32 | 1:22:35 | |
with only minimal adjustments of expression, wardrobe and make-up. | 1:22:35 | 1:22:40 | |
While we were making this programme, | 1:22:42 | 1:22:44 | |
there was an exhibition by Mark Wallinger, | 1:22:44 | 1:22:47 | |
one of the most original British artists at work today. | 1:22:47 | 1:22:49 | |
This is the self-portrait in its current state. | 1:22:53 | 1:22:56 | |
Whatever you make of it, we've come a long way from Durer. | 1:22:58 | 1:23:03 | |
This is Self, Times New Roman. | 1:23:04 | 1:23:08 | |
by Mark Wallinger and that is what it is... | 1:23:08 | 1:23:11 | |
A great big enormous capital letter "I". | 1:23:11 | 1:23:16 | |
And in fact, it is scaled to the exact height | 1:23:16 | 1:23:19 | |
of the artist himself, 180 centimetres. | 1:23:19 | 1:23:23 | |
If he was standing up here on this pedestal, he would be this height. | 1:23:23 | 1:23:27 | |
And the reason I think it's really very funny is because it's | 1:23:29 | 1:23:33 | |
obviously about the slipperiness of this letter, this word "I", | 1:23:33 | 1:23:38 | |
what is an I? What does it mean? | 1:23:38 | 1:23:40 | |
What does it signify? | 1:23:40 | 1:23:43 | |
How can one represent themselves with just an "I"? | 1:23:43 | 1:23:46 | |
Mark Wallinger, it's quite clearly not a literal representation of you | 1:23:49 | 1:23:53 | |
in any way, but does it in any sense represent your identity? | 1:23:53 | 1:23:56 | |
It does, in as much as it does everyone else's as well. | 1:23:58 | 1:24:03 | |
It's a conundrum in that respect. | 1:24:03 | 1:24:06 | |
But...personified like this and raised up on a plinth, | 1:24:06 | 1:24:10 | |
I guess there's a sort of, a kind of self-mockery of the idea | 1:24:10 | 1:24:15 | |
that "I am important", it's quietly saying as well. | 1:24:15 | 1:24:18 | |
Which we all like to feel occasionally, yes. | 1:24:18 | 1:24:21 | |
I wanted to make something that was at the same time | 1:24:21 | 1:24:24 | |
so generic as nominally to be almost invisible... | 1:24:24 | 1:24:28 | |
and at the same time, something that was very specifically about my person, | 1:24:28 | 1:24:33 | |
because that's kind of the relationship one has with that word | 1:24:33 | 1:24:37 | |
in terms of language and how one relates to other people. | 1:24:37 | 1:24:41 | |
I don't think that there's, there isn't some essential truth or... | 1:24:41 | 1:24:48 | |
core of my being that's going to be found anywhere there. | 1:24:48 | 1:24:53 | |
'It's the default "I" | 1:24:54 | 1:24:57 | |
'rather than the dregs of my life. | 1:24:57 | 1:25:00 | |
'To be honest!' | 1:25:00 | 1:25:02 | |
This self-portrait doesn't represent the artist's face | 1:25:04 | 1:25:07 | |
so much as his thinking. | 1:25:07 | 1:25:09 | |
What a slippery thing is the self. | 1:25:09 | 1:25:12 | |
How can I represent it? And what I love about it is that Mark Wallinger embraces us all in this question. | 1:25:12 | 1:25:19 | |
It's a self-portrait for all of us. | 1:25:19 | 1:25:22 | |
It's the last word on the subject. | 1:25:22 | 1:25:24 | |
And yet at the same time, self-portraiture has no straight path, | 1:25:26 | 1:25:29 | |
it's constantly circling back to its beginnings. | 1:25:29 | 1:25:34 | |
Wallinger is at work at the same time as Lucian Freud, | 1:25:34 | 1:25:38 | |
who's painted himself almost as often as Rembrandt. | 1:25:38 | 1:25:41 | |
Here he is, naked in the studio, a maestro with a baton, | 1:25:43 | 1:25:47 | |
a bare King Lear. | 1:25:47 | 1:25:48 | |
All a self-portrait can ever be is an illusion, | 1:25:48 | 1:25:51 | |
never the embodiment or the whole story. | 1:25:51 | 1:25:54 | |
Yet Freud keeps on painting, keeps on trying. | 1:25:54 | 1:25:58 | |
Like all of us, he's a work in progress. | 1:25:58 | 1:26:03 | |
From Durer to Freud and Wallinger seems like A to Z, | 1:26:09 | 1:26:13 | |
or at least A to I for self-portraits. | 1:26:13 | 1:26:15 | |
They're all so different. | 1:26:15 | 1:26:18 | |
It may look as if they're not even doing the same thing. | 1:26:18 | 1:26:22 | |
And yet I see a connection. | 1:26:22 | 1:26:25 | |
Each artist is making something that represents his or her thoughts | 1:26:25 | 1:26:30 | |
on having and being a self. | 1:26:30 | 1:26:32 | |
Each artist faces this strange idea of turning oneself inside out, | 1:26:32 | 1:26:39 | |
of representing oneself both in and as a work of art. | 1:26:39 | 1:26:45 | |
And for me, every one of these self-portraits | 1:26:45 | 1:26:49 | |
is in a profound sense, a fragment of the artist's self. | 1:26:49 | 1:26:54 | |
My father, James Cumming, was a painter. | 1:27:04 | 1:27:07 | |
His work took the form of lyrical abstraction, | 1:27:07 | 1:27:10 | |
celebrating the microscopic sources and structures of life. | 1:27:10 | 1:27:14 | |
He never made a self-portrait, or so we thought. | 1:27:14 | 1:27:17 | |
'But years after his death, we found a tiny image hidden in a sketchbook.' | 1:27:17 | 1:27:24 | |
Here he is. Among the... | 1:27:29 | 1:27:34 | |
seed pods and the ice structures and the chromosomes. | 1:27:34 | 1:27:40 | |
All my life, I longed to see him through his own eyes, | 1:27:40 | 1:27:43 | |
the great revelation of self-portraits, | 1:27:43 | 1:27:46 | |
and here at last, I do. | 1:27:46 | 1:27:47 | |
My father saw himself as just another element, a tiny element, | 1:27:47 | 1:27:53 | |
a particle of the universe. | 1:27:53 | 1:27:55 | |
He was very self-effacing, a very modest man. | 1:27:55 | 1:27:59 | |
And that's there in this self-portrait and its diminutive scale, hidden away, | 1:27:59 | 1:28:05 | |
just tucked in the margin of the sketchbook. | 1:28:05 | 1:28:08 | |
And that's the unique thing about self-portraits. | 1:28:10 | 1:28:13 | |
No matter how tiny or vast, | 1:28:13 | 1:28:15 | |
how accurate or fanciful or outlandish, | 1:28:15 | 1:28:18 | |
they always reveal a deep and incontrovertible truth. | 1:28:18 | 1:28:22 | |
The truth of how the artist saw themselves from within as well as without. | 1:28:22 | 1:28:28 | |
MUSIC: "Look At Me" by John Lennon | 1:28:28 | 1:28:30 | |
Subtitles by Red Bee Media Ltd | 1:28:47 | 1:28:49 | |
E-mail [email protected] | 1:28:49 | 1:28:51 |