Self Portrait with Fur-Trimmed Robe. Self-Portrait is a panel painting by the German Renaissance artist Albrecht Dürer.
Painted early in 1500, just before his 29th birthday, it is the last of his three painted self-portraits. Art historians consider it the most personal, iconic and complex of his self-portraits.
The self-portrait is most remarkable because of its resemblance to many earlier representations of Christ. Art historians note the similarities with the conventions of religious painting, including its symmetry, dark tones and the manner in which the artist directly confronts the viewer and raises his hands to the middle of his chest as if in the act of blessing.
Dürer's face has the inflexibility and impersonal dignity of a mask, hiding the restless turmoil of anguish and passion within. In its directness and apparent confrontation with the viewer, the self-portrait is unlike any that came before.
It is half-length, frontal and highly symmetrical; its lack of a conventional background seemingly presents Dürer without regard to time or place. The placement of the inscriptions in the dark fields on either side of Dürer are presented as if floating in space, emphasizing that the portrait has a highly symbolic meaning. Its sombre mood is achieved through the use of brown tones set against the plain black background. The lightness of touch and tone seen in his earlier two self-portraits has been replaced b
Painted early in 1500, just before his 29th birthday, it is the last of his three painted self-portraits. Art historians consider it the most personal, iconic and complex of his self-portraits.
The self-portrait is most remarkable because of its resemblance to many earlier representations of Christ. Art historians note the similarities with the conventions of religious painting, including its symmetry, dark tones and the manner in which the artist directly confronts the viewer and raises his hands to the middle of his chest as if in the act of blessing.
Dürer's face has the inflexibility and impersonal dignity of a mask, hiding the restless turmoil of anguish and passion within. In its directness and apparent confrontation with the viewer, the self-portrait is unlike any that came before.
It is half-length, frontal and highly symmetrical; its lack of a conventional background seemingly presents Dürer without regard to time or place. The placement of the inscriptions in the dark fields on either side of Dürer are presented as if floating in space, emphasizing that the portrait has a highly symbolic meaning. Its sombre mood is achieved through the use of brown tones set against the plain black background. The lightness of touch and tone seen in his earlier two self-portraits has been replaced b
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