Selbstporträt (Self Portrait) 1947

Editor: This is Carl-Heinz Kliemann's "Self Portrait" from 1947, created as a print. The high contrast and sharp lines create a striking effect. What immediately strikes me is how angular and almost unsettling the figure is, but it also feels very immediate and raw. What do you see in this piece, from a formalist perspective? Curator: Indeed, the piece leverages a potent interplay of contrasting shapes and textures. Note the artist's calculated use of positive and negative space. The stark blacks define the subject while the whites, aggressively carved out, add an unsettling, nervous energy. Consider the composition; how does the lack of a traditional background inform our reading of the figure itself? Editor: It's interesting you mention the lack of background. It forces you to focus solely on the portrait, almost magnifying its intensity, since there are no other forms to distract from its overall shape and presentation. Is this high level of contrast common for prints from that time? Curator: Contrast in prints is not unique, but the deliberate and unflinching nature of its employment in Kliemann's work sets it apart. Observe the bold carving and graphic elements, especially within the face itself, which serves to dissect rather than portray, adding to that feeling of rawness. Have you considered how Kliemann transforms his medium? Editor: I think it's fascinating how the sharp lines simplify and abstract the facial features. It's recognizable as a portrait, yet the expression is almost mask-like. This has given me a much more grounded sense of how prints work structurally to achieve expression. Thank you for the insights! Curator: My pleasure. By observing how line and shape combine, and noting their dissonance with expectations of "proper" portraiture, we gain appreciation for art beyond surface representation. I also benefitted, realizing again that form can deliver the depth we might not otherwise see!