Selvportrett 1891

Curator: This is Theodor Severin Kittelsen's "Self-Portrait," completed in 1891. It’s rendered in oil on canvas, as you can see. Editor: The first thing I notice is the very earth-toned palette, it's rather subdued. There is something almost worn about the whole surface and facture, as if the painting itself is aging before our eyes. Curator: Kittelsen often depicted folklore and the darker aspects of Norwegian culture. Do you think he infused this portrait with some of those symbolic inclinations? The cap, perhaps? Editor: Possibly, but the attire looks contemporary to me for the period. What grabs me is that tangible quality in the oil paints; I can practically feel the texture under my fingers, that mix of pigment and binder, and it begs the question – where did those raw materials come from, and who ground those colors? It makes you think of the labor behind artistic production, and that's just in the material sphere! Curator: That tangible aspect does lead to an undeniable intimacy. The somewhat melancholic gaze feels charged with self-reflection, perhaps even a degree of romantic angst that's often associated with that era. Look at the shadows, how they define a narrative of emotional complexity that goes far beyond straightforward likeness. Editor: Absolutely, but there's also a stark reality present. It's a well-dressed man, clearly. So who made that jacket? How long did it last? How was the textile created? I mean, his appearance indicates access to materials, to markets and tailors. It places him squarely within a network of social production. Curator: He presents himself, as well as anyone can in a self-portrait. It almost seems like an archetype here, beyond the mere representation of a man. It's as if he seeks to embody something greater—the artist as a figure consumed by their own internal world. Editor: Perhaps... though what I find really compelling is this man’s relationship to material culture, to objects that were crafted with particular intent. Oil paints in the 19th century weren't what they are today; what kind of pigments did he use, and from which resources were they drawn? Those paints connect him to a specific economic reality. Curator: It gives us pause, a certain reflective turn back into our own understanding of self and art. Editor: Yes, we think not only of Kittelsen's self, but also the hands involved in creating the material world around him, that eventually comprised the very act of portraiture.