Renaissance self-portraits and the moral judgement of taste
The following comments are concerned with a special feature of the portrait: clothing and its profound significance. Two artist’s portraits are exemplary for a view at artists who refer to their social standing. The examples are the self-portrait of Albrecht Dürer and the portrait-bust of Anton Pilg...
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| Format: | Article |
| Language: | English |
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Department of Art History, University of Birmingham
2017-12-01
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| Series: | Journal of Art Historiography |
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| Online Access: | https://arthistoriography.files.wordpress.com/2017/11/zitzlsperger1.pdf |
| Summary: | The following comments are concerned with a special feature of the portrait: clothing and its profound significance. Two artist’s portraits are exemplary for a view at artists who refer to their social standing. The examples are the self-portrait of Albrecht Dürer and the portrait-bust of Anton Pilgram in Vienna's St. Stephen's Cathedral. While scholars did many investigations on the Dürer self-portrait in comparison the bust of Anton Pilgram leads a shadowy existence. For overarching portrait studies and especially studies on self-portraits of the Renaissance, the Vienna example has been overlooked. Reason enough to get it back into the limelight because it is of exceptional quality and the bust is a jewel of iconography of portraits. |
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| ISSN: | 2042-4752 |