Self-Portrait 1915

Editor: Here we have Lyonel Feininger’s "Self-Portrait" from 1915, an oil painting residing here at the Museum of Fine Arts Houston. It's definitely not your typical self-portrait, is it? I'm struck by the sharp angles and how they seem to dissect the figure, almost like a gemstone. What’s your take on this fragmented portrayal? Curator: Fragmented, yes, but also, perhaps, a reflection of the fracturing world around him at the time. Europe was plunging into the First World War. Feininger wasn’t just painting himself; he was painting a world on the verge of shattering. Those crystalline forms aren't just Cubist aesthetics; they speak to a deep unease. Doesn’t the painting feel like it's holding its breath? Editor: I see what you mean. The colors are muted, somber almost, which enhances that feeling. I initially focused on the geometrical shapes, but the underlying tension is hard to ignore. Is he deliberately stripping away the superficial layers to reveal something rawer, more vulnerable? Curator: Exactly! It's an incredibly personal and quite brave thing, isn't it, to lay bare your inner turmoil in such a direct way? Consider his eyes; they seem to be peering both outward and inward simultaneously. As if he's questioning his place in this dislocated reality. The Gothic arches in the background are also noteworthy. Aren't they interesting, almost like cages? Editor: Definitely adds to the claustrophobic feeling! This makes me think about how artists use self-portraits to not just represent themselves, but also their worlds, and it's amazing how effectively Feininger communicates his vision. Curator: It really does offer insight into not only the artist, but the collective anxieties brewing during a pivotal point in history. Thanks for unpacking this painting with me. Editor: The pleasure was all mine. I am seeing this with entirely new eyes now.