Zelfportret 1920

Editor: So here we have "Zelfportret," or Self-Portrait, a drawing from 1920, housed here at the Rijksmuseum. The artist rendered the subject, presumably himself, using only geometric shapes. What do you make of a portrait done like this? Curator: It's a striking piece, isn’t it? Given the historical context of 1920, the geometric abstraction is very telling. Traditional portraiture, commissioned by the wealthy, aimed to capture likeness and project status. Modernism, however, especially in the wake of World War I, questioned these established societal structures and their values. This drawing participates in a visual culture that explores interiority and psychology through abstraction. Consider the public role of portraiture at that time and ask, how might an abstracted self-portrait challenge those norms? Editor: That’s a fascinating way to look at it! It's like the artist is deliberately dismantling the traditional idea of a self-portrait, of presenting a recognizable, flattering image to the world. Instead, it offers a fractured, more complex view. Curator: Exactly. And the choice of a drawing, a more accessible medium than painting, speaks to a potential shift in the perceived audience for art, perhaps even towards a more democratic ideal. Do you think this aesthetic serves the message, considering its radical deviation from societal values at the time? Editor: I think so. The sharp angles and stark contrast feel very intentional, a rejection of the soft, romanticized portraits of the past. It reflects the turmoil of the era. It is fascinating how the abstraction almost provides clarity. Curator: It certainly offers a different lens through which we understand not just the individual, but the society in which they existed. It shows us how political and historical analysis of artistic intent and expression provides new pathways to art appreciation. Editor: It does shift my perspective about how artists use self-portraits to connect, confront and influence society. Thanks!