SELF PORTRAITS

It is a painter’s trick. Rembrandt, Picasso, Bonnard, several come to mind. Mirrors are used when imagination fails. One is pulled away from the landscapes, bouquets, faces of others, street scenes and classical and biblical myths and stories haunting one’s studio. Suddenly one senses something has changed about oneself. Perhaps one’s lover has noticed something different in one’s aging or one’s art. One looks away to find what it is. One glances in a mirror at oneself. At first one’s vision is fleeting, being defensive and impromptu, then one chooses to distort what one sees, insisting it is nothing visible. Then one looks again more seriously, like an examining physician, and one wants to be literal, as it were, scientific, seeking a treatment or even a cure. But what does one actually see? Is one’s self becoming factual? Gradually one insists there is more to it than what appears to be. The change isn’t evident, since one barely looked at oneself before. What have others seen? what is hidden from one’s self that looks into the mirror? One becomes obsessed with the idea of finding out what never interested one before. By staring one finds nothing different. Then by staring at different times, one finds little changes by looking ever more closely. If one takes breaks and then returns, a little more is seen each time to have changed. If it isn’t physical, is it an attitude or a mood that is different each time one looks? It doesn’t occur to one that anyone else’s opinion would matter. For once one is looking without expectation of being seen or as a professional artist one isn’t being paid for what one is seeing. This unexpected practice of looking at oneself has no value to anyone else. It is a diversion, and in a certain sense it is a relief from, dare one say, money. Nothing is to be gained by such preoccupation. It is a private, perhaps even a perverse, activity, away from anyone’s immediate interest. Also, it is not an act of self-preservation. An artist’s value isn’t in what he sees in himself but what he reveals by the way he looks at any other thing. Many who are only self-preoccupied would disagree vehemently. Straining, however, to see in a mirror only what is hidden in one’s self is best left to the mirror, which has no opinion of itself. Is it thus objective? Yes, but only when one isn’t looking at it having no opinion of its own. An artist mustn’t be attracted to a non-existence. Whether sighted or blind an artist’s passion is thus not to see only the outer self. If the artist turns to self-portraiture at all or even fleetingly it is only in mockery, not in wonder at the power of art.If he is increasingly afraid of what he sees, he may turn away in memory to earlier paintings, for instance, of nudes, based on real models, whose sexuality he observed, desired and he thinks now he captured more vividly and accurately than any unattractive portrait of himself. He is restimulated, almost aroused, forgets he is older or even old, and turns the mirror around to its blank frame, and discovers at least in memory he has stopped aging.HWM

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