{"id":4082,"date":"2023-03-09T17:01:05","date_gmt":"2023-03-09T15:01:05","guid":{"rendered":"https:\/\/xarxa.museunacional.cat\/maneres-de-dir-jo\/"},"modified":"2024-08-08T14:42:33","modified_gmt":"2024-08-08T12:42:33","slug":"maneres-de-dir-jo","status":"publish","type":"page","link":"https:\/\/xarxa.museunacional.cat\/en\/maneres-de-dir-jo\/","title":{"rendered":"Ways of saying I"},"content":{"rendered":"

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Ways of saying I
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\nSelf-portraiture and Women in the Art Museums Network of Catalonia<\/span><\/h2>\n

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Curator: Cristina Masan\u00e9s<\/span><\/h4>\n

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35 works
\n32 artists
\n9 museums: Museu d\u2019Art de Cerdanyola \/ Museu d\u2019Art Contemporani de Barcelona \/ Museu d\u2019Art de Girona \/ Museu d\u2019Art de Sabadell \/ MORERA. Museu d\u2019Art Modern i Contemporani de Lleida \/ Museu d\u2019Art Modern de Tarragona \/ Museu de l\u2019Empord\u00e0 \/ Museu de Manres\u00e0 \/ Museu Nacional d\u2019Art de Catalunya<\/strong><\/span><\/h4>\n

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I, or self-concept, is quite modern. Firstly, in the 17th century, it was necessary to formulate it as a concept. Later, in the 18th century, the self-portrait began to be important. Finally, in the 19th century, it became popular among the bourgeoisie to record their private lives in personal diaries. It was modernity that fostered a notion of identity as an introspective process that led the depths of the soul to emerge into a supposed authentic I. Whether it be the I thinking about the essay, the painted portrait or the private voice of those writing a diary, what is in play is the always awkward question of “Who answers to my name?”.<\/h4>\n

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In modern self-portraiture, the artists \u2013men, of course\u2013 often present themselves as masterful creators or tortured souls. They depict themselves in their studios, as well as sometimes playing social roles or displaying connections \u2013perhaps with their families\u2013 of mastery or patronage. Female artists, although they have been mainly presented as objects and rarely as subjects, cannot be said not to have portrayed themselves. As a proclamatory gesture, much work remains to be done and, perhaps as a result of the interest for their own image or due to a privileged physical awareness, we also have self-portraits signed by women. More than you would imagine at first.<\/h4>\n

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This is a virtual journey through the collections of the Art Museums Network of Catalonia in which we have traced a line between the different self-portraits of women. Very few women artists paint themselves painting. The first canvases \u2013from the late 19th century\u2013 incorporate the pictorial canon of the portrait. However, it was from the 1960s that self-representation of women artists became widespread, expanding the very notion of self-portraiture. It is evident that feminism played an important role in this, as well as the idea of a porous subject linked to post-modernity and the freedom associated with contemporary art.<\/h4>\n

It is not easy to depict yourself, even in the age of the selfie. In addition to technical ability, a certain psychological honesty is required \u201cto be able build up an image in which I recognise myself\u201d. Needless to say, in this process the face takes the largest part of the cake and, naturally, along with the face comes the look. However, that is just the tip of the self-representation iceberg. We invite you to follow some of its driftings, bearing in mind the performative risk of the self-image: \u201cIf I show what I\u2019m like, I might end up resembling myself\u201d.<\/h4>\n

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Anatomies: when the I is spoken with the body<\/h2>\n

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There are many portraits that, following the rules of the tradition, concentrate on the face and the look, seeking all that is specific. Sometimes it is the breadth of the cheekbones, the inclination of the head or the intensity of the eyes. Pepita Teixidor, Trini Sotos, Maria Teresa Ripoll, Maria Noguera, Joaquim Casas and Ana Maria Smith chose that option. There are no full figures; at the most, they are three-quarter length portraits. Neither do we have any fragmented bodies until well into the 20th century when, in a clear metonymy, the artists decided to take a part for the whole. Hands, feet, breasts, heart, lungs and other parts of the anatomy are the focus of the works of Ana S\u00e1nchez, Ester Fabregat and Laura Cirera. Is the fragmented body of the subject contemporary? Or is it the prehistoric essentiality that is so well invoked by Ana Mendieta with her self-portrait in a leaf? The fact is that, also in art, the I is often expressed with the body.<\/h4>\n

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