Self Portrait 

Curator: Here we have what's known as a self-portrait, painted with oil on canvas, by the Romanian artist Ion Andreescu. Editor: It immediately strikes me as a work of subtle observation, but also imbued with a certain melancholy. His eyes seem heavy, questioning. Curator: That’s a keen observation. Self-portraits have always been laden with symbolism. Looking into a mirror becomes an act of self-reflection. Do we see ourselves as we wish to be seen, or as we truly are? Andreescu seems to present himself plainly, in simple, dark attire, against a neutral backdrop. Editor: Andreescu seems to present himself as a man amongst men. I wonder how his status impacted his self perception and in turn the portrayal of this portrait. Curator: It is an intriguing point you make there! One might argue that the simple backdrop actually brings the observer into a much closer intimacy with the artist. The almost romantic sensibility here comes as little surprise, as portraits throughout art history also convey more than just appearances. The eyes are typically "windows to the soul". Editor: True, and I think the realism employed is crucial. There's no attempt to idealize, but an acceptance of a somewhat pensive and average mien, and I read an acceptance of middle-class anxieties present at the time. Also there is the interesting and quite skilled use of the impasto effect. Curator: Yes, the impasto is very effective in capturing texture. Ultimately the piece suggests the universal theme of self-awareness and understanding. These questions are constantly evolving. Editor: Precisely. And I’m left pondering how artists of his era saw themselves fitting, or not, within broader social movements. This piece may just inspire our next talk. Curator: Indeed. A painting that truly speaks volumes about a painter, a painting of the soul.