Self Portrait of the Artist as a Deaf Man c. 1775

Editor: Here we have Joshua Reynolds' "Self-Portrait of the Artist as a Deaf Man," dating back to around 1775. It's striking how somber the palette is, and his expression seems rather contemplative, even a little sad. How do you interpret the visual symbols in this self-portrait, considering its title? Curator: Well, the hand cupped to the ear is immediately significant, isn’t it? It acts as a visual declaration, but also something more poignant. What do we associate with hearing, and conversely, with deafness, within the social lexicon of the 18th century? Editor: Isolation, perhaps? Difficulty in participating fully in social life? Curator: Precisely. The hand becomes a barrier, both a symbol of Reynolds’s impairment and a signifier of exclusion. Notice also the dramatic chiaroscuro – the stark contrast of light and shadow. Where does the light fall, and what is shrouded in darkness? Editor: The light seems to illuminate his face, drawing attention to his expression, while the rest of the canvas, particularly his clothing, fades into the background. Does this signify anything about the visibility, or lack thereof, surrounding his condition? Curator: A keen observation! The face, the seat of expression and communication, is highlighted, almost pleadingly. Yet, the darker tones cloak his body, perhaps mirroring the societal discomfort or even shame often associated with disability. Does this hand gesture evoke any other historical artistic trends for you? Editor: It does call to mind depictions of melancholy. Is Reynolds associating himself with that tradition, or perhaps commenting on the realities of a sensory impairment? Curator: Possibly both. The power of self-portraiture lies in its layered meanings. It invites us to see the artist, not just as he presents himself, but also within the larger tapestry of cultural and emotional significance attached to the human senses and the experience of losing one. Editor: This has certainly given me a new appreciation for how deeply symbols can resonate, especially within a portrait. I'll never look at Reynolds' work the same way.