Self-Portrait 1922

This self-portrait was etched by Max Liebermann; it’s all about the scratching, the lines of the plate. The artist isn’t trying to capture a likeness, he’s capturing a process. Look closely, and you’ll see how Liebermann uses hatching to create form. The lines are dense and dark where he wants to show shadow, and light and sparse where he wants to indicate light. The way he renders his hands is particularly striking: they're just a tangle of lines, but they still manage to convey a sense of weight and volume. The image is predominantly monochrome, but this etching feels vivid with movement and texture. It's like Liebermann is saying, "Here I am, a collection of lines, a process in motion." It reminds me of the stark self-portraits of Rembrandt, or perhaps the nervous lines of Giacometti. Art is always in conversation, reaching across time and space. Ultimately, this piece is not about fixed representation, but about embracing ambiguity and the endless possibilities of seeing.