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One of the best paintings of the Hermitage, the self-portrait of Van Dyck demonstrates to us the artist in the creative, uninhibited person of a person who makes a living impression of embodied art, a little rebellious, out of the sequence of everyday images, and it is through this that is especially attractive.
The aristocratic appearance is emphasized by the masterful play of light, which makes the pallor of the skin a dignity inherent in the embodiment of a thin nature, sensitive and therefore sensual, emotionally elevated and therefore deep.
Curly hair, glare in the eyes, an enchanted, detached smile, a receptive posture that is open to the world and thereby listening and speaking - this should look like a muse man who brings his unique vision to the world. The scarcity of the color palette used for the picture is compensated by the skillful difference between the clarity of illumination and the blurring of the skin lines, which creates a realistic, landscape twilight.
An attempt by a portrait painter to genuinely catch other people's characteristic features and to display an entity deeper than appearance to portray his own individuality in his perception deserves special attention, like a mirror trying to reflect itself and show depth, modestly not turning into infinity only from formal observance of decency .
A ceremonial portrait is the main genre and feature of Van Dyck, and Self-Portrait brings the essence of his talent to the absolute, allowing a connoisseur to see all the subtleties of the artist’s skill on one canvas.
A special color close to the Venetian school, which made the artist one of the most outstanding portrait painters of the seventeenth century, is represented in this picture in its purest essence. And it was this flavor, which made a significant contribution to the development of English painting, that became the standard that was embodied in the traditions of the English portrait school founded by Van Dyck.
Composition Kustodiev Portrait of Chaliapin