Steinlen de Face Tete Droite 1905

Editor: So, this is Théophile Alexandre Steinlen's self-portrait in charcoal from 1905. It's called 'Steinlen de Face Tete Droite.' The dark background makes the face seem almost…stark, a bit haunting even. What do you see in this piece, looking at it from an iconographic perspective? Curator: The face is certainly the focal point, isn't it? The sharp contrasts pull our gaze right there. It makes me think about the tradition of the artist's gaze, particularly in self-portraits. Artists often grapple with self-representation and identity. What does it mean to see yourself, to capture your essence, in a visual medium? This one feels honest, almost unvarnished. Editor: Yes, that's exactly what I felt, so very unvarnished! The man underneath is peeking through... Curator: Consider how often artistic self-portraits were vehicles for self-promotion. Steinlen, though, with his somber gaze and unidealized features, perhaps is communicating something more personal. The eyes are key – are they weary, observant, critical, or something else entirely? They definitely tell a story. Look, too, at the implied hand, the tool of the trade, also presented without flattery or special fanfare. Is there a level of honesty in those tools? Editor: The level of honesty feels refreshing for the period, really. This exercise is making me appreciate art's ability to express deeper realities. I guess it pushes past the surface! Curator: Exactly! Steinlen's self-representation, stripped bare of artifice, offers an enduring commentary on the nature of self-perception and the human condition. That cultural memory remains with us. Editor: Thank you so much for your expert eye! It’s fascinating to unravel those visual layers. Curator: My pleasure! Hopefully, this little unraveling gives a peek into what iconography has to offer the budding artist.