Evolution of the Self-Portrait

Evolution of the Self-Portrait
The self-portrait or the depiction of the self through various forms of images has come a long way since the early 15th century to the present. When one compares how the self-images are taken in the current world and how they used to be made during the early stages, one cannot help but wonder how such a transformation came to be. However, a closer look at the evolution of the self-image and how it came to be what it is in the present not only answers that question but also shows how each stage of this evolution contributed to what the self-portrait is today. The following paragraph will explore some of the critical stages of the self-portrait evolution thus taking the reader through the gradual changes that occurred over time to create one of the most famous and influential ways of communication in the current world.
One of the earliest stages of the self-portrait was the imperial era. During this juncture, self-portraits were mainly done by talented artists who were commissioned to paint portraits of their leaders. The portraits painted in this period could be described as painted to immortalize the imperial leader such as a king. The portraits served as a reminder to all about who they served and the power they wielded. These portraits were painted in a way that showed the imposing and unquestionable power of their leader who during the period was believed to be chosen by God himself. Also, it was expensive for one to commission an artist to paint a self-portrait of themselves during this time.

As a result, self-portrait was not accessible to the masses and thus the few that could be seen by people were items of awe to those who saw them hence emphasizing the variation between the ruling class and the ruled subjects. A good example of a portrait that can capture the prevailing situation of this stage is the Las Meninas that was painted in 1656 by Diego Velazquez (Mirzoeff, 32). The portrait is a suitable example in this case not because it shows the majestic image of the King but rather because it shows the environment and the behavior of the people surrounding the ruling class while a portrait of him is being drawn. In the portrait, it can be seen that everyone’s attention except the two maidens has been directed towards the King and Queen whose portrait is being painted. The two maidens who are not looking at the King and Queen have their attention directed to the princess who is a small girl. The portrait depicts a clear image about the order of things during that period.
Even though the artists who painted the immortal images of their imperial leaders were recognized and remembered for their work for many years, the fact remained that the portraits painted did not depict the majesty of the artist by rather the immortal presence of the imperial leaders. After the collapse of the old empires, it was time for the artists to be the heroes of their work and this era started in the 19th century. This ushered in a new stage where unlike the imperial stage where self-portraits could only be seen palaces, churches, carnivals, and coins, in this new era, the artiste’s work could be seen in art museums, newspapers, magazines and other forms of media that could be accessed cheaply by the average citizens. In this era, a new way of capturing the self-portrait had also emerged. The new way was through photography which was also cheaper than painting. As the artists fought for recognition or heroism through their art, a significant change in the perspective of art was seen. One of the earliest portraits that could be said to depict this was that of Elisabeth Vigee-Lebrun who painted a portrait of her and her daughter. Even though Vigee-Lebrun was of the royal family, unlike her ancestors whose photos were majestic, her perspective of her portrait was informal and celebrated her life not as a royal family member but as a mother. This can also be described as one of the earliest act of feminism. The portrait depicted her as a loving, caring mother and their informal dressing emphasized the fact that her aim was not to appear powerful and imposing but rather feminine and motherly (Mirzoeff, 41).
This stage was also responsible for the invention of the photographic fake. Hippolyte Bayard was the first person ever to come up with a photographic fake (Mirzoeff, 43). In his first photo of this new style, he was depicted as a dead man who had drowned. This brought a new perspective to capturing the self-portrait where the artist visualized an event or a storyline that was convincing or controversial before staging it and capturing it. This new perspective was intriguing and caught the attention of the masses and it was not long before others artists followed suit. A good example in the self-portrait of Gustave Courbet, ‘The Wounded Man’ where he portrays himself as a man who had committed suicide by stabbing himself with a sword. The photographic fake played a key role in the evolution of the self-portrait. By depicting staged events to the masses, artists were able to influence the masses with their views, especially the political ones. A good example can be seen in Gustave Courbet‘s portrait, The Wounded Man. In the portrait, Courbet’s suicide is a reflection of his political view. During the period between 1848 and 1855, France had been undergoing political revolutions which had failed. Courbet being a supporter of the revolution through his painting was trying to communicate to the masses that for the real revolutionist, death was the only option. The willingness of one to stay true to one’s beliefs even when it cost them their life is not only a convincing idea but also one that could be perceived as honorable and one that could influence a following.
The next stage of the self-portrait was ushered by postmodernism. During the era, there were a lot of contrasting views about the period and the general existence of people. Since it was a postwar period, new mental disorders were being seen that people had never seen before such as Post Traumatic Stress Disorder. This led to the development of the idea that people had more than one self. One most significant proponents of this stage was Marcel Duchamp. In his experiment with his various selfs, Duchamp took a self-portrait of his alter ego who was a female in gender. In the portrait, Rrose Selavy, his alter ego poses as a lady wearing a hat, a fur overcoat, and jewelry (Mirzoeff, 50). Duchamp reproduced several versions of this picture while experimenting with his different versions of his self. It is during this period that Voguing started where people were provided with a platform to perform and express their various parts of the self. The Voguing culture also played a key role in revolutionizing how people dressed and the acceptance of the different dressing styles of the various categories of individuals in the society. This was also the platform where homosexual African-American men and Hispanic men found a self-expression platform. During this period, photography was the most prevalent way that self-portraits were captured.
The current self-portrait era which has been termed as the selfie era is the latest stage in the evolution of the self-portrait. Inventions and innovations in technology have played a significant role in the revolution of the self-portrait. However, the step taken to combine the camera and the mobile phone was one of the most influential measures in this revolution. A lot has been said about the current stage. Some of the comments have been positive, but others have been negative. Despite this, most people have failed to recognize that the current stage has captured most of the strengths of those preceding it. The technological advancement has enabled any willing person to be an artist since devices do most of the work in capturing and processing the self-portrait. Therefore, what is left to the artist is the creativity of events, scenes, and other minor adjustments. In the current period, thanks to technology, the self-portrait is more that art but rather it is more of a language (Mirzoeff, 65). There are new social media platforms for the sole purpose of sharing pictures and small messages. This accurately captures the expression “a picture speaks a thousand words.”
Work cited
Mirzoeff, Nicholas. How to See the World: An Introduction to Images, from Self-Portraits to Selfies, Maps to Movies, and More. , 2016. Print.