Selbstbildnis im Atelier 1920

Curator: Let’s turn our attention to "Self-Portrait in the Studio" painted by Cuno Amiet in 1920. What grabs you first? Editor: Well, there’s a kind of unsettling honesty in it, isn't there? The colours are almost bruising – purples, greens – not your typical flattering self-portrait. And the artist’s gaze is so direct; I feel as though I’m intruding. Curator: Indeed! Amiet was deeply influenced by Expressionism and this painting is awash with those hallmarks. Look at the raw brushstrokes, almost feverish. But you’re right, that direct gaze is key. It feels intensely personal, almost confrontational. Self-portraits in general serve as modern-day icons, representations of their individual selves. Editor: I suppose it’s a look in the mirror, not just at his reflection, but at his creative soul. Notice how the paintings in the background blur into abstraction? They almost represent ideas more than things. Curator: Exactly. The paintings in the background add another layer. Are they real canvases? Memories? Half-formed dreams? There is a fascinating play of artifice and reality that makes it a complex investigation of identity. Editor: Amiet plays with convention too. His earlier work features flowing lines that align more obviously with Art Nouveau principles. And yet in this later self-portrait, he offers this stark depiction that seems rawer and almost unfinished. Curator: Yes, and consider how the palette creates such an emotional impact. It feels muted, yet incredibly vibrant and unsettling. He wasn’t simply painting a face, he was capturing a feeling, a state of mind. It reflects Amiet's interior world. Editor: Almost a feeling of psychological unrest? Or is that too strong a reading? It does appear as though he questions his art while also celebrating it. I find his piercing gaze absolutely hypnotic, however! Curator: Hypnotic indeed. It’s a gaze that pulls you into the heart of the creative process. Editor: And leaves you with so many questions! An effective, affecting piece.