Selbstbildnis nach rechts II 1921 - 1922

Editor: This is Otto Mueller’s “Self-Portrait Facing Right II” from 1921-22, a lithograph. The starkness of the black and white and the angular lines give it such a raw, almost unsettling feeling. How do you interpret this work? Curator: The rawness you perceive speaks to the core of Expressionism. Consider the historical context: Germany reeling from World War I, a society grappling with trauma and uncertainty. Mueller, as part of the "Die Brücke" group, uses the self-portrait to explore the fractured self, disillusioned by the promises of progress. How does his gaze make you feel? Editor: Uneasy, definitely. There’s a sense of defiance, maybe even a little bit of anger, but also… vulnerability? Is that intentional? Curator: Absolutely. Expressionist artists weren’t interested in idealized beauty; they sought to expose raw emotion. Notice how the lithographic process, with its grainy texture, enhances this. Think about how this contrasts with earlier traditions of portraiture and its cultural implications, specifically those surrounding male representation. Does the rendering of his features subvert the patriachal and conventional expectations? Editor: Yes, I see that. The asymmetrical features, the almost brutal honesty…it’s a far cry from idealized portraits of powerful men. It's a portrait that is stripped down, laid bare. Curator: Exactly. It challenges the traditional notions of masculinity, exposing vulnerability and a profound sense of disillusionment within a specific socio-political climate. How does seeing it that way affect your initial reading? Editor: It makes the image much more powerful and nuanced. It's not just about raw emotion, it's about the context that produced those emotions. Curator: Precisely! It underscores the importance of art as a form of historical commentary and an agent of change in a time of unprecedented social unrest. I hadn't thought of it that way before.