Juliana Hsieh

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Juliana Hsieh
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Andy Warhol

• http//www.warhol.org/ http//www.warhol.dk
  / http//www.warholfoundation.org/
• Andy WarholAmerican, born Pittsburgh,
  Pennsylvania, 1928 - 1987Self-Portrait,
  1986Synthetic polymer and silkscreen ink on
  linen80 x 80 1/4 in. (203.0 x 203.4
  cm.)PARTIAL GIFT OF THE ANDY WARHOL FOUNDATION
  FOR THE VISUAL ARTS AND PARTIAL PURCHASE,
  SMITHSONIAN COLLECTIONS ACQUISITION PROGRAM AND
  JOSEPH H. HIRSHHORN BEQUEST FUND, 1995 (95.1)

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• Andy Warhol Twenty Jackies (Vingt Jackies) -
  1964 - acrylique et Liquitex sur toile,
  sérigraphieSource de l'image  L'Art
  Contemporain - Klaus Honnef - édité chez TASCHEN
  (1994)

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• Andy Warhol1928-1987Pop Art200 Cans of SoupOther
  Warhol Images  
• 200 Cans of Soup by Andy Warhol, Screen print,
  1962, 72"x102" Private Collection

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• Andy Warhol
• Zelene boce Coca Cole, 1962.

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KiKi Smith

• http//www.moma.org/exhibitions/2003/kikismith

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Max Beckman

• http//www.moma.org/exhibitions/2003/beckman.html

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Rembrandt ???

• http//www.mystudios.com/rembrandt/rembrandt-paint
  ings-young-man.html
• http//www.mystudios.com/rembrandt/rembrandt-index
  .html
• When scholars began to study Rembrandt in the
  nineteenth and early twentieth centuries they
  were surprised by the large number of self
  portraits. It was discovered that he had painted
  himself on at least forty occasions, had etched
  himself thirty-one times, and made a handful of
  drawings. This segment of his oeuvre is unique in
  art history, not only in its scale and the length
  of time it spans, but also in its regularity. New
  self portraits appeared almost annually, and
  sometimes several times a year. The magnificent
  variety of both painted and etched self portraits
  demonstrates that Rembrandt saw them as
  experimental forcing-grounds for his painterly
  and graphic adventures.
• The works in this exhibit were chosen to show
  the development of Rembrandt's style from his
  early days in Leiden to his last days in
  Amsterdam. For this exhibit the self portraits
  have been divided into three sections. The
  paintings section contains fourteen paintings
  with Rembrandt alone. The scenes section has five
  paintings with Rembrandt in costume. The last
  section contains eight self portrait etchings.
• Rembrandt occupies his very own place among
  Dutch seventeenth-century painters. Through out
  the years his technique changed, but his style
  remained personal and recognizable. He had many
  pupils to whom he taught his 'manner', as well as
  followers who attempted to learn and assimilate
  by themselves. The stories told about Rembrandt
  and his studio prove very clearly, that Rembrandt
  made a unique impression on those who came to
  work with him. He inspired his pupils with his
  openness to bring out their individual
  capabilities so each painter would ultimately
  find his own way.
• In order to provide an accurate record as
  possible of all the important dates in
  Rembrandt's life, from his birth to his burial in
  a rented grave numerous sources were researched.

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RembrandtSelf Portrait as a Young Man1628oil
on panel, 22.5x18.6cmRijksmuseum, Amsterdam

• The face is largely in the shadows and the
  features are hard to make out. Only the ear lobe,
  a striking element of virtually all Rembrandt's
  painted self portraits, catches the light. This
  painting is not a self portrait in the strict
  sense of the word, but a tronie. A tronie is a
  Dutch term for a type of picture between a
  portrait and a history piece. The sitter is
  portrayed in a particular role, sometmes with the
  appropiate clothing and props, and his identity
  is irrelevant.

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RembrandtSelf Portrait as a Young Man1629oil
on panel, 15.5x17.7cmBayerische
Staatsgemaldesammlungen

• The surprised expression and turned head create
  the suggestion that Rembrandt caught himself
  looking in the mirror. The loose brushwork also
  contributes to the spontaneous impression of this
  work. Rembrandt has scratched the curly hair into
  the wet paint exposing the ground layer. This
  plays an important role in the colouring of the
  painting. He has succeeded masterfully in
  creating a great range of hues with a minimal use
  of color.

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RembrandtSelf Portrait with Gorget1629oil on
panel, 38.2x31cmGermanisches Nationalmuseum,
Nuremberg

• This painting has always been thought to be a
  copy. Then in 1991 at a major Rembrandt exhibit
  where both paintings were shown side by side for
  the first time , Claus Grimm surprised the art
  world when he identified this painting as the
  original. After a comparison of the two paintings
  using detailed photos, slides, and a modern
  scientific examination, the findings confirmed
  his position. When studying the painting from the
  Hague (the copy) a preliminary sketch of the
  subject was found. This has never been seen on a
  real Rembrandt before.

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RembrandtSelf Portrait with Beret and Gold
Chain1630-1oil on panel, 69.7x57cmWalker Art
Gallery, Liverpool

• Judging by the style in which it was painted,
  this self portrait was painted in 1630 or 1631.
  This painting could be classified as a
  transitional work. Rembrandt has used his own
  face to experiment with the play of light but in
  contrast to earlier pieces he has taken pains to
  depict himself recognizably. From an inventory
  of the Royal Family done around 1639, we know
  that Charles I owned this picture titled "being
  his owne picture done by himself in a Black
  capp and furrd habbitt with a little goulden
  chaine uppon both his Shouldrs In an Ovall and
  square black frame". After Charles' beheading the
  picture has auctioned to Major Bass. It was not
  until 1935 that the self portrait was identified
  based on the description and dimensions found in
  the inventory records.

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RembrandtSelf Portrait Wearing a Hat1632oil on
panel, 21.8x16.3cmPrivate Collection

• This painting has only recently been recognized
  as a Rembrandt. Scholars in the past rejected the
  work because of its unusual small size and
  weakness in execution. But scientific analysis
  has shown the panel to come from the same tree as
  the Portrait of Maurtis Huygens, which shows that
  it was produced in Rembrandt's workshop. The
  signature was written while the paint was still
  wet and the attire was used in other Rembrandt
  works. This painting also suffers from over
  cleaning and retouching which would explain the
  weaknesses in execution.

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RembrandtSelf Portrait1640oil on canvas,
93x80cmNational Gallery, London

• Rembrandt painted this self portrait at the
  height of his success. The pose resembles a self
  portrait done by Durer in 1498. The body is
  turned more towards the viewer and the entire arm
  rests on the balustrade. The face is painted in
  short, regular brush strokes. Each hair of the
  moustache is rendered separately and his hair is
  shorter from the previous year giving him a more
  dignified look. Rembrandt has dressed himself as
  a master from bygone days, but he has managed
  above all to remain himself.

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RembrandtSelf Portrait1642oil on panel,
69.9x58.4cmThe Royal Collection, London

• Having been written off as a Rembrandt in 1982,
  this painting has made a remarkable comeback.
  Even though little of the original paint can be
  seen today, a detailed examination has revealed
  that below the over painting lies an authentic
  self portrait. Three stages of this painting can
  be distinguished
• the panel was first used in Rembrandt's shop,
  maybe by a pupil
• paint was partially scraped off and a second
  version was painted in 1642
• then a third painting was painted by another hand
  over the second
• The later over painting done at a unknown date
  can be recognized by a difference in structure
  and style of painting. Striking enough though,
  the signature was left untouched and is
  consistent his his signature at the time.

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RembrandtSelf Portrait1652oil on canvas,
112.1x81cmKunsthistorisches Museum, Vienna

• In this self portrait Rembrandt appears to have
  found a fresh inspiration, as this painting is
  one of his most successful and original. He
  represents himself in a different way from
  previous works. Hands on hips, A penetrating gaze
  that radiates self assurance. The portrait
  extends below the waist and much of the picture
  is taken up by clothing. The brown robe is
  probably working attire, designed mainly to be
  piratical and comfortable.

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RembrandtSelf Portrait1658oil on canvas,
131x102cmFrick Collection, New York

• The size and monumentality combined with painting
  technique make this piece, beyond doubt the most
  impressive of Rembrandt's self portraits. The
  work is life sized and it seems he has depicted
  himself as a famous painter from the past. The
  paint surface is extremely complex in which the
  paint was applied in several successive layers.

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RembrandtSelf Portrait with Beret and Turned-Up
Collar (right)1659oil on canvas,
84.4x66cmNational Gallery of Art, Washington

• A right-handed painter such as Rembrandt would
  most likely place a mirror to the left of the
  easel so that his painting hand would not block
  his view. Rembrandt changed this time and painted
  himself on the right of the canvas. This reversal
  give us us a different view of his face. There is
  a slight blemish on his cheek and in this
  lighting he is noticeably hollow-cheeked. The
  dynamic brushwork in the face, makes a stark
  contrast with the even strokes used to paint the
  clothing and background. This is unusual even for
  a late rembrandt. the unusually free and
  sketch-like execution has sown some doubts as to
  the paintings attribution. An explanation might
  be, that Rembrandt stopped painting at a certain
  stage in which he usually carried on elaborating
  details and smoothing over. Rembrandt's
  biographer, Arnold Houbraken wrote that
  Rembrandt's motto was 'that a work is finished
  when the master has achieved his intention in
  it'.

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RembrandtSelf Portrait with Beret and Turned-Up
Collar (left)1659?oil on canvas,
52.7x42.7cmNational Gallery, Scotland

• With the placement of the subject so close to the
  edge of the painting this self portrait gives the
  viewer a sense of confrontation with the painter.
  In comparison to other self portraits, there is
  an avoidance of strong shadows and the uniform
  lighting shows every unevenness in the face. This
  painting was done in less haste than the one in
  Washington (10) with the highlights in the hair
  applied with care. Whatever the differences in
  the brushwork of the two paintings, they probably
  stem from the same period, indicate the same
  aging process, and correspond in terms of
  clothing.

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RembrandtSelf Portrait with Two
Circles1665-9oil on canvas, 114.3x94cmKenwood
House, London

• Few self portraits have appealed to our
  imagination so much over the centuries as this
  one. Its not just that this work is monumental
  and has great pictorial qualities, but also
  because of the two circles behind the painter.
  Many explanations have been advanced for this
  curious background feature. The most plausible
  argument links the circles to a theory of art,
  namely the ability to draw a circle freehand as
  evidence of consummate artistic skill. Because of
  its closed form, the circle was associated with
  perfection and eternity, and therefore ideal as a
  symbol of artistic excellence.

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RembrandtSelf Portrait at the Age of 631669oil
on canvas, 86x70.5cmNational Gallery, London

• The work shown here is from the last year of
  Rembrandt's life. This fact was only discovered a
  few decades ago during a restoration. The date is
  located on the lower left near his back.
  Rembrandt tackled this piece full of inspiration
  and verve. He made numerous changes in the course
  of this work to achieve the best possible result.
  The fact that he made constant adjustments to
  this work does not conjure up the image of an
  artist who has lost his flair. To the aging
  master, painting was still a creative process,
  which was not finished until the final brush
  stroke had been applied.

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RembrandtSelf Portrait1669oil on canvas,
63.5x57.8cmThe Hague

• The details in this painting suggest that this is
  Rembrandt's last self portrait. The painter looks
  somewhat older, his double chin has sagged even
  more, the cheeks are more sunken, and the gray
  hair longer. The face is older but it does not
  show signs of mental decline as some earlier
  authors have suggested. Although parts of this
  painting have been left at an early stage of
  completion, the painting as a whole is very
  impressive. The hat is more like a lopsided
  turban than anything else. X-radiographs shows he
  initially planned to give himself a white cap. In
  several other self portraits, he also painted
  over this white cap. One gets the impression that
  Rembrandt painted what he saw in the mirror and
  then after he decided how to portray himself the
  cap would be replaced.