{"id":1548,"date":"2021-07-01T20:38:51","date_gmt":"2021-07-01T17:38:51","guid":{"rendered":"https:\/\/mymanet.net\/?p=1548"},"modified":"2023-05-28T00:25:18","modified_gmt":"2023-05-27T21:25:18","slug":"painting-christ-another-self-portrait-p15","status":"publish","type":"post","link":"https:\/\/mymanet.net\/home\/2021\/07\/01\/painting-christ-another-self-portrait-p15\/","title":{"rendered":"Painting Christ – Another Self-Portrait? (P15)"},"content":{"rendered":"

Both paintings of Christ \u2013 Christ Mocked by the Soldiers<\/em> and Dead Christ with Angels<\/em> \u2013 have been interpreted as hidden self-portraits.
\nA certain likeness exists, especially in Christ Mocked (see previous Post 14).<\/p>\n

But I agree with James Rubin (2010) that the relation is more metaphorical:
\nManet is presenting<\/em> himself as a painter through the painting rather than representing<\/em> himself as a person in the painting.
\nThis prompts Rubin to draw a connection to the Self-Portrait with a Palette<\/em>
\n(see Post 12).<\/p>\n

Figure 1:  Comparing Dead Christ with Angels(1864)  and Self-Portrait with a Palette (1879)<\/p>\n

\"\"<\/p>\n

Here, I like to cite Rubin (2010) at length:<\/p>\n

\u201cAdditionally, Christ’s body is so intensified  by its life size, frontal position, and proximity more blatant than in any art-historical precedent that as an image in reverse it could connote a literal mirror image of whoever contemplates it<\/em><\/strong> \u2026 imposing on the viewer\u2019s actual space and forcing a response. \u201c(p. 102-3; emphasis added)<\/p>\n

\u201cIn his paintings of the 1860s, Manet responds not just to the eye but to the gaze; he represented not just the hand but its creative function; he imagined not only the appearance of the body but its vitality. The body, whether nude of clothed, was rarely neutral but rather powerfully present and communicating with the viewer\u2019s realm as well as bearing the marks of the process of its creation.
\nThe Dead Christ with Angels<\/em> is the painting in which these characteristics are perhaps most compelling.
\nFor here the marks of a corpse coming into being within art ironically suggest the opposite processes of decay and death\u2026.The drama of life and death<\/i><\/b>, creative power and inanimate substance, is represented by the hand
\n\u2013 the hand of Christ as represented by the painter and, as in the self-portrait, by the painter\u2019s hand painting itself.\u201d (p.156; emphasis added)<\/p>\n

Three themes are suggested by Rubin:
\n– Manet\u2019s motivation to present himself in the image of Christ
\n– the meaning of the mirror
\n– the role of the eye and the hand in the representation of the painter and painting.<\/p>\n

For all three themes Rubin offers an interpretation which goes beyond the limits of this post, and I recommend Rubin for deeper insights drawing on philosophy (Schopenhauer) and psychoanalysis (Lacan).
\nBut I would like to add some comments in view of MyManet<\/b><\/em> looking through the eyes of the painter in his aim to engage the viewer:<\/p>\n

First<\/strong>, Manet does not imply a direct identification \u2013 the artist Manet as God-like \u2013 but Rubin points out that Dead Christ<\/em> with Angels is an \u201coptimistic work\u201d (p.105). The artist, the viewer, and Christ\u2019s realistic body are sharing a rather intimate space and a close relationship in the experienced presence meaning that there is a potential for transcending suffering and being creative not only as an artist.<\/p>\n

Second<\/strong>, the mirror is an important means of self-reflection, not only in the process of painting a self-portrait, but also for the reflection of one\u2019s identity and role in life.
\nThe mirror is not shown directly in either painting; in Figure 2, I have added a yellow frame indicating the mirror. Rubin points out that the paintings create the impression of a close distance as taken in front of a mirror<\/em>.
\nThis is obvious in case of the self-portrait but also in both paintings of Christ.
\nIn the case of Dead Christ<\/em>, the wound of Christ from the spear (under his heart) is on the wrong side \u2013 as if reflected in a mirror. Critics at Manet\u2019s time were quick to point out this \u201cmistake\u201d. Manet refused to correct this, apparently because the effect of a mirror was intended.<\/p>\n

Figure 2: Christ embodying Manet\u2019s scheme   and   Study to Dead Christ with Angels<\/em> (1864)<\/p>\n

\"\"<\/p>\n

In fact, in the study (Figure2), the image is not<\/em> mirrored and the wound on the \u201ccorrect\u201d side.
\nSince the study is not a print (where we might expect a reversed image) but in oil, Manet is experimenting again.<\/p>\n

Another clue for the existence of a mirror is not mentioned by Rubin.
\nLooking closely at the toes of Christ\u2019s foot extending toward the front, we see a strange diffuse spot reminding of the painting hand in the self-portrait (Figure 1).
\nThe toe seems to be touching the mirror! (yellow circle in Figure 2)
\nIn the study this detail is not indicated and the foot is not extended so far forward.
\nThus, Manet made the change deliberately.<\/p>\n

The self-reflective gaze into the mirror draws the viewer (and the painter) into the space of the painting.
\nAt the same time, by making explicit the role of the painting as a mirror image<\/em> beyond the picture plane<\/em>, the painter\/viewer can distance himself or herself from the image and take a fresh and objective look.
\nIn the case of the self-portrait, we saw that the painting initiated and mediated a communication between the painter, his image and the viewer by having the painter \u201cseeing you\u201d. In case of Dead Christ<\/em>, both painter and viewer are asked to reflect on themselves as if \u201cseen as Christ\u201d.<\/p>\n

Moreover, a special effect of Dead Christ<\/em> resides in the fact that Christ is not<\/em> looking at the painter\/viewer but presumably to God Father – though with an inward or \u201cabsorbed\u201d gaze. The mirror supports an expectation of Christ \u201clooking at you\u201d, while Christ\u2019s gaze redirects your gaze to God or the \u201cBig Other<\/em>\u201d.
\nIn the study (Figure 2), Christ is looking more toward the viewer establishing a direct contact in the role of the First<\/em>. In the finished painting, Manet redirects the viewer\u2019s gaze toward the body and the hands<\/em>, and directs Christ\u2019s gaze away from the viewer.<\/p>\n

Third<\/strong>, the redirection of the viewer\u2019s gaze creates a very complex situation which leads us back to Manet\u2019s scheme. Christ looking at God Father places him into the role of the Third <\/em>looking outward. The two angels are \u201cabsorbed\u201d in mourning (yellow); perhaps the one holding Christ from the back may be seen as doubling in the role of the \u201cOther<\/em>\u201d (light green). I prefer interpreting the angels as creating the mourning atmosphere or a \u201ccoulisse\u201d (this effect is stronger in the study) while Christ is presented \u201con stage\u201d (light middle ground).
\nIn the case of the self-portrait, I suggested that the self in the mirror may be seen in either of the four roles of the scheme.
\nIn the case of Christ, we might see him incorporating all four roles:<\/p>\n

The illumination on the \u201cstage\u201d creates a strange depth in the painting:
\nThe foot reaches forward into the darker frontstage (enhanced in red), while the head recedes into the darker backstage (green triangle).
\nThe gaze of Christ is directed inward\/outward relating to the external \u201cauthority\u201d or the \u201cBig Other<\/em>\u201d (purple circle).
\nFor the roles of the First<\/em> and the Second<\/em>, we return to Rubin\u2019s interpretation relating the painter\u2019s eye and hand. Eyes or gazes and hands or gestures constitute for Manet the space of painting.
\nIn the self-portrait, the eye is \u201cseeing\u201d and representing <\/i>reality, the hand is \u201cperforming\u201d and presenting <\/i>the reality as seen by the painter.<\/p>\n

Christ is not looking at the viewer (or painter) but reaches out with his foot which bears the mark of a wound like an eye<\/em>. Similarly, the two hands are opened and presented to us with their wounds like eyes.
\nChrist is \u201cfacing\u201d us with his wounds<\/em>.
\nThe \u201ceye\u201d on his foot takes the role of the First <\/em>(red circle), the \u201ceyes\u201d on his hands mediate in the middle ground taking the role of the Second<\/em> (blue circles) and preserving the unity of Christ\u2019s vulnerable body.
\nWe have seen this unifying role already in the Luncheon on the Grass<\/em>, where the hand of the Second<\/em> \u2013 the person to the right – is placed in the centre of the triad with an inclusive gesture.
\nFinally, compared with the study, Manet places Christ\u2019s head further back into the dark and moves the head of the caring angel into the light. This supports a double role of Christ:
\n– as the Third,<\/em> he directs his dying gaze toward God Father;
\n– as the \u201cOther<\/em>\u201d, he is looking from the dark background increasing his distance from the viewer who is focusing on the illuminated dead or dying body.<\/p>\n

We need not agree on one or the other interpretation. Clearly, Manet is creating an ambiguous space, as Rubin characterizes it, with a dynamic of intimate approach and mourning retreat, of an optimistic view of life and a process of decay and death \u2013 \u201cthe drama of life and death\u201d(Rubin).
\nThe point is:<\/p>\n

While Manet\u2019s scheme is not immediately guiding the composition, as in Christ Mocked<\/em>, we still can sense its influence in the way the dynamics of eye and hand, of gazes and gestures unfold in the painting and engage the viewer into an intimate social space.
\nAlthough the \u201cdrama of life and death\u201d is the theme, Manet does not draw us into a dramatic narrative.
\nAgain, Manet is presenting a \u201cmoment in between\u201d and not telling a \u201cstory\u201d.
\nStill, the two paintings of Christ are loaded with emotion compared with the other paintings we have considered so far.
\nBut, typical for Manet, the emotions appear to \u201carrested\u201d like the activities.
\nHow does this fit into his formal scheme?<\/p>\n

See you next week!<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Comparing “Dead Christ with Angels” and “Self-Portrait with Palette” and Manet’s scheme<\/p>\n","protected":false},"author":199326225,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_crdt_document":"","footnotes":""},"categories":[156853,225364],"tags":[429903348,156853,570956732,748385127,8593,53643],"class_list":["post-1548","post","type-post","status-publish","format-standard","hentry","category-diagram","category-manet","tag-dead-christ-with-angels","tag-diagram","tag-eye-and-hand","tag-manets-scheme","tag-mirror","tag-self-portrait"],"yoast_head":"\nPainting Christ - Another Self-Portrait? 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