Making A Self Portrait In Oil Paint

Self Portraiture

Self-portraiture has been a powerful form of expression in the realm of visual arts, serving as a medium for artists to explore identity, mortality, and the human condition. In 20th century England, two artists stand out for their distinctive approaches to self-portraiture: Lucian Freud and Frank Auerbach. Both utilized their own likeness as a canvas to investigate profound themes while navigating the evolving landscape of modern art. Their work not only reflects their personal experiences but also contributes to the broader discourse on representation and the self.

The Historical Context of Self-Portraiture

Self-portraiture has a rich history, dating back to the Renaissance when artists like Albrecht Dürer and Rembrandt van Rijn utilized the form to assert their identity and explore their place in society. By the 20th century, the role of the self-portrait began to shift dramatically, influenced by various artistic movements, including Modernism, Expressionism, and Surrealism. This era saw artists challenge traditional norms, experimenting with abstraction, form, and the concept of the self.

In England, the tumult of the two World Wars, as well as socio-political changes, deeply affected the art scene. Artists were compelled to confront existential questions, resulting in self-portraits that were often raw, introspective, and psychologically charged. In this context, Lucian Freud and Frank Auerbach emerged as leading figures in the exploration of self-portraiture, each developing a unique visual language that resonated with the tumultuous times in which they lived.

Lucian Freud: The Body as a Landscape

Lucian Freud, born in 1922 to a Jewish family in Berlin, moved to England in 1933, fleeing the rise of the Nazi regime. Freud’s background deeply influenced his artistic practice, shaping his views on identity, mortality, and the human form. His self-portraits are notable for their intense scrutiny and visceral quality, often revealing the artist’s body in its raw, unembellished state.

Freud’s approach to self-portraiture is characterized by a profound engagement with flesh. His works, such as “Self-Portrait with a Black Eye” (1978) and “Reflection (Self-Portrait)” (1985), showcase his signature technique of layering paint, creating a tactile surface that almost pulsates with life. In these portraits, Freud eschews idealization; instead, he presents himself as a vulnerable, aging man, inviting viewers to confront the reality of human existence.

The physicality of Freud’s self-portraits can be seen as a form of psychological introspection. He often painted in a state of discomfort or vulnerability, which translates into the canvas. The starkness of his gaze and the unflinching depiction of his own body suggest a desire to confront and accept the passage of time. In “Self-Portrait with a Black Eye,” for instance, Freud’s bruised visage is not only a literal representation but also a metaphor for the struggles of life itself.

Freud’s obsession with the body extends to his use of paint as a means of exploration. He described paint as a medium that allows him to express not just likeness but also the essence of his subject. In his self-portraits, this results in a sense of immediacy and intimacy. The viewer is not merely observing a painting; they are engaging with the raw emotions and experiences that Freud channels through his brush.

Frank Auerbach: The Self as a Continuous Process

Frank Auerbach, born in 1931 to a Jewish family in Berlin, also fled to England, arriving just before the outbreak of World War II. Like Freud, Auerbach’s background and experiences inform his artistic exploration, particularly his engagement with the themes of memory and perception. His self-portraits, characterized by thick applications of paint and a vigorous, expressive style, present a different perspective on the self.

Auerbach’s works, such as “Self-Portrait” (1955) and “Self-Portrait in the Studio” (1969), reflect a dynamic approach to identity. He often revisits the same compositions, painting over previous versions and reinterpreting his own likeness. This method reveals an understanding of the self as fluid and ever-changing, rather than fixed. For Auerbach, self-portraiture becomes an act of discovery, an ongoing dialogue with his own identity.

The physicality of Auerbach’s painting process is integral to his exploration of self. His thick brushstrokes and impasto technique create a sense of movement and depth, embodying the tumultuous nature of human experience. In “Self-Portrait in the Studio,” Auerbach depicts himself in a space filled with paint and chaos, emphasizing the connection between the artist and his environment. The act of painting itself becomes a metaphor for the struggle to understand oneself amidst the complexities of life.

Auerbach’s self-portraits often reflect a sense of introspection and contemplation. The expressive quality of his brushwork conveys not only his physical presence but also the psychological layers beneath. The resulting images evoke a raw, visceral response, inviting viewers to engage with the tension between appearance and reality.

Themes of Identity and Mortality

Both Freud and Auerbach delve into themes of identity and mortality in their self-portraits. Freud’s depictions often reflect the inevitability of aging and the fragility of the human body. His unflinching portrayal of his own form serves as a meditation on mortality, challenging viewers to confront their own existence. The vulnerability expressed in his works resonates deeply with the broader human experience, highlighting the shared struggles of aging and self-acceptance.

Auerbach, on the other hand, presents identity as a dynamic process, shaped by memory and perception. His repetitive approach to self-portraiture suggests a continual exploration of the self, reflecting the complexities of human experience. Each version of his self-portrait acts as a snapshot of a moment in time, inviting contemplation on how identity evolves and transforms over the years.

Conclusion: The Enduring Legacy of Self-Portraiture

Lucian Freud and Frank Auerbach have made indelible contributions to the tradition of self-portraiture in 20th century English painting. Their distinct styles and approaches offer profound insights into the human condition, exploring themes of identity, mortality, and the self in ways that resonate deeply with viewers.

Freud’s intense examination of the body and Auerbach’s dynamic, evolving approach both challenge conventional representations of the self, inviting audiences to engage with the complexities of existence. In an age where questions of identity and representation continue to evolve, the self-portraits of these two artists remain a powerful testament to the enduring relevance of self-exploration in art.

As we reflect on their work, we are reminded that self-portraiture is not merely about capturing a likeness; it is an ongoing dialogue with the self, a mirror reflecting our shared humanity and the myriad experiences that shape who we are.