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METAMORPHOSIS - THE PORTRAIT OF MR. S.K. #0110/ 2010
(  Satoshi Kinoshita )
| Series: | Paintings: Landscape 2 | | Medium: | Acrylic on stretched Italian linen | | Size (inches): | 84 x 72 | | Size (mm): | 2134 x 1829 | | Catalog #: | PA_0139 | | Description: | Signed, titled, date, copyright in magic ink on the reverse.
As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a monstrous vermin.
Original: Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheuren Ungeziefer verwandelt.
From The Metamorphosis (1915) by Franz Kafka
-en.wikiquote.org/wiki/Franz_Kafka
Metamorphosis -
This article is about the biological process. For other uses, see Metamorphosis (disambiguation).
Metamorphosis is a biological process by which an animal physically develops after birth or hatching, involving a conspicuous and relatively abrupt change in the animal's body structure through cell growth and differentiation. Some insects, amphibians, mollusks, crustaceans, Cnidarians, echinoderms and tunicates undergo metamorphosis, which is usually (but not always) accompanied by a change of habitat or behavior.
Scientific usage of the term is exclusive, and is not applied to general aspects of cell growth, including rapid growth spurts. References to "metamorphosis" in mammals are imprecise and only colloquial, but historically idealist ideas of transformation and monadology, as in Goethe's Metamorphosis of Plants, influenced the development of ideas of evolution.
-en.wikipedia.org/wiki/Metamorphosis
Self-portrait -
A self-portrait is a representation of an artist, drawn, painted, photographed, or sculpted by the artist. Although self-portraits have been made by artists since the earliest times, it is not until the Early Renaissance in the mid 1400s that artists can be frequently identified depicting themselves as either the main subject, or as important characters in their work. With better and cheaper mirrors, and the advent of the panel portrait, many painters, sculptors and printmakers tried some form of self-portraiture. The probable example by Jan van Eyck of 1433 is the earliest known panel self-portrait.[1] He painted a separate portrait of his wife, and he belonged to the social group that had begun to commission portraits, already more common among wealthy Netherlanders than south of the Alps. The genre is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, did it become truly popular.[2]
Types of self-portrait:
A self-portrait may be a portrait of the artist, or a portrait included in a larger work, including a group portrait. Many painters are said to have included depictions of specific individuals, including themselves, in painting figures in religious or other types of composition not intended to depict the actual persons as themselves.[3] Often these are just faces in a crowd, often at the corner of the work, but a particular hybrid genre developed where historical scenes were depicted using a number of actual persons as models, often including the artist, giving the work a double function as portrait and history painting. Rubens and Rembrandt painted such scenes[4] This culminated in the seventeenth century with the work of Jan de Bray, and has been revived in recent years in photography by Cindy Sherman. Many artistic media have been used; apart from paintings, drawings and prints have been especially important.
Sometimes artists place their own image into group portraits, such as (probably) Jan van Eyck in the Arnolfini Portrait, who inspired Diego Velázquez in Las Meninas.[5] Later group portraits of family, friends or professional groups became common.
Notes and references:
1. ^ Campbell, Lorne; National Gallery Catalogues (new series): The Fifteenth Century Netherlandish Paintings, pp 212-17, 1998, ISBN 185709171
2. ^ a b accessed online July 28, 2007 an online history of self-portraits, various excerpts from Edward Lucie-Smith and Sean Kelly, The Self Portrait: A Modern View (London: Sarema Press, 1987)
3. ^ Campbell, Lorne, Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries, pp. 3-4, 1990, Yale, ISBN 0300046758
4. ^ Eg, respectively, the four Philosophers and the Prodigal Son ( Gemäldegalerie Alte Meister, Dresden)
5. ^ Campbell, Lorne; National Gallery Catalogues (new series): The Fifteenth Century Netherlandish Paintings, pp 180, 1998, ISBN 185709171. The Arnolfini Portrait hung in the same palace in Madrid in which Las Meninas was painted
Further reading:
* John J. Ciofalo, Self-Portraits of Francisco Goya. Cambridge University Press, 2001
* Edward Lucie-Smith with Sean Kelly, The Self Portrait: A Modern View. (1987)
* Ernst van de Wetering and others; Rembrandt by himself, 1999, National Gallery, London / Mauritshuis, The Hague, ISBN 1857092708
* Joseph Leo Koerner, The Moment of Self-Portraiture in German Renaissance Art, Chicago/London, 1993
* Jonathan Miller, On Reflection, 1998, National Gallery, ISBN 857092376.
* Belle, Julian (Ed.): Five Hundred Self-Portraits. Phaidon Press, London/New York, 2000 (pb 2004), ISBN 0-7148-4384-9 Self-Portraits in chronological order from ancient Egypt to the present.
Not in English:
* Joëlle Moulin, L'autoportrait au XXe siècle, éd. Adam Biro, Paris, 1999
* Pascal Bonafoux, Les peintres et l'autoportrait, 1984
* Bernard Auriol, L'image préalable, l'expression impressive et l'autoportrait, Psychologie Médicale, 19, 9, 1543-1547, 1987
* Bonafoux, Pascal / Rosenberg, David: Moi! Autoportraits du XXe siècle. Musée du Luxembourg (Paris) / Skira Editore (Milano), Exhibition catalogue. 2004, Text French, Paris 2004, ISBN 88-8491-854-5 The book presents 155 artist (fine art) of the 20th century by showing their self-portraits added by informative texts.
* Borzello, Frances: Wie Frauen sich sehen – Selbstbildnisse aus fünf Jahrhunderten. Karl Blessing Verlag, München 1998, ISBN 3-89667-052-2
* Calabrese, Omar: Die Geschichte des Selbstporträts. Deutscher Kunstverlag, München 2006, ISBN 3-7774-2955-4
* Pfisterer, Ulrich / Rosen, Valeska von ~ (Hrsg.): Der Künstler als Kunstwerk. Selbstporträts vom Mittelalter bis zur Gegenwart. Reclam, Stuttgart 2005, ISBN 3-15-010571-4 (Rezension)
* Jeancolas, Claude. (1998). Passion Rimbaud: L'Album d'une vie. (French) Paris: Textuel. ISBN 978-2909317663
Self-portrait in neurology:
* Tielsch AH, Allen PJ (2005) Listen to them draw: screening children in primary care through the use of human figure drawings. Pediatr Nurs 31(4): 320—327. This survey of literature is focused on the method of drawing people as the method of diagnostics. Children's figures can recognize mental disorders. The authors describe the use of self-portraits for diagnostics of emotional disorders in children from 6 to 12 years. Although this procedure does not make it possible to place final diagnosis, it is useful for the recognition of problems.
* Morin C, Pradat-Diehl P, Robain G, Bensalah Y, Perrigot M (2003) Stroke hemiplegia and specular image: lessons from self-portraits. Int J Aging Hum Dev 56(1): 1-41. Patients with hemiplegia have diverse problems of self-perception, which are caused by neurological defeats of the idea of body, or by psychological problems with the perception their own self.
Psychology of self-perception:
* Wegner DM (2003) The mind's self-portrait. Ann N Y Acad Sci 1001: 212—225. Psychology and neuroscience approach understanding of reason and consciousness. Meanwhile each human reason contains the self-portrait, which contains the self-appraisal of cognitive processes. This self-portrait assumes that the actions of man are governed by thoughts and, thus, the body is governed by consciousness. Self-portrait leads to the persuasion, that we consciously desire to make something. Studies show that self-portraiture is a caricature on the function of the brain, but at the same time it is the basis of the sensation of authorship and responsibility of one's own actions.
-en.wikipedia.org/wiki/Self-portrait
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