Self Portrait 1817

Curator: Let’s turn our attention to Sylvester Shchedrin's "Self Portrait" from 1817, housed here at the Tretyakov Gallery. A powerful image of a Romantic era artist. Editor: It strikes me immediately by the somber lighting. A sort of reserved mood, despite those quite flushed cheeks. And the collar is remarkably stiff, formal even, against what otherwise feels rather approachable. Curator: Absolutely. The color does lead our eyes toward his face. Portraits of artists are frequently loaded with cues to understanding their intentions and self-perception. Take his slightly averted gaze, for instance. Do you think that shy romanticism plays into the artwork? Editor: That’s where I see the process. Oil paint, of course, offers that ability to layer and blend, crucial for conveying that softened, idealized depiction of the artist. However, I cannot stop thinking about the cost. He is presenting the materials of an emerging upper class, with this very clear presentation. Curator: It’s impossible to divorce the art from these elements. What is conveyed through these aesthetic choices are a part of the portrait's symbolism as a whole. That specific formal attire – it's communicating his societal aspirations just as much as the glint in his eye conveys his artistic temperament. The Romantic artists very intentionally positioned themselves within history. Editor: So much labor went into the acquisition and manufacture of the pigment, canvas, and the fashionable clothing worn here. The production and consumption that he seems not so concerned with, instead focusing on romanticized ideals. Curator: I appreciate your observation and think about how each element signifies. We look at this oil paint self portrait and how, by choosing to depict himself, Shchedrin is preserving not only his own likeness but a specific vision of artistic identity for posterity. Editor: That tension between production and emotional resonance – it really brings this portrait to life for me. Thank you.