Delicate implications in Western portraits

There is a lot to learn from the pride of ancient Greek artists who must have enjoyed a similar social status as unknown Goryeo (918-1392) celadon artisans.

KIM SEUNG-JUNGThe author is a professor of archaeology at the University of Toronto. Michelangelo is said to have included his portrait in the mural painting “The Last Judgment” at the Sistine Chapel in the Vatican. Located near the left knee of Christ, St. Bartholomew holds his flayed skin to describe the story of his martyrdom as he was skinned alive.

Michelangelo drew his self-portrait — more specifically, his agonized face — in the head part of the flayed skin of St. Bartholomew. The reason why he chose the “empty shell” for his self-portrait instead of one of the numerous muscular bodies taken from ancient Greek statues might reflect his true anguish as an artist to face death soon.

In contrast, Raphael’s self-portrait is featured on the right corner of “The School of Athens” — a mural painted around the same time in the Vatican — looking straight at the audience. In contrast to Michelangelo, Raphael’s portrait exudes confidence of youth. Raphael depicted himself along with masters of the time, including Michelangelo, Leonardo da Vinci and architect Bramante. He was 26 years old at the time.

In the history of Western art, the artist’s self-portrait is an art genre closely related to the fundamental philosophy of creative action. I wondered why Rembrandt left 80 self-portraits and Van Gogh left 36 when only a few can be found in Korean traditional art history.

The first self-portrait in Western history remaining today dates back to the end of the 6th century BC in ancient Greece. Signed by a ceramic artist named Smicrus, the painting portrays a symposium drinking party of nobles. The artist wrote his name above a figure appreciating flute music with his head tilted back.

It’s a bold expression for an artisan to depict himself enjoying aristocratic leisure. There is a lot to learn from the pride of ancient Greek artists who must have enjoyed a similar social status as unknown Goryeo (918-1392) celadon artisans.