Self-Portrait Rembrandt, Byen Ung-Pil, Frida Kahlo

DP VISUAL ART COMPARATIVE STUDY

Min Suh Park ‘17

Many artists throughout the history have used themselves as a subject to create self portrait through various mediums. Though most self-portraits aim to express and record oneself, others use self portraits as a mean to communicate a certain message. Self-portrait is closely related to self perception of the artist, and by recognizing how the artist perceives oneself, I was able to understand their other works much easily. Looking through the series of self portraits, especially Rembrandt’s, I recognized that these sets of work are like autobiographies of the artists. Not only did I recognize various styles of each artists, but also learned closely about the artists’ lives through the portraits. In this sense, self-portrait is like a mirror for the artist. At different points in their lives, the artists captures what they see in the mirror whether it is a truthful observation or an imagination. By looking through the self portraits of Rembrandt, Byen Ung-Pil, and Frida Kahlo, I was able to understand these artists in depth along with the culture and artist movements of the time. This comparative study will examine four paintings from the three artists mentioned above: “Self-portrait with Two Circles,” “Selbstportraet als ein Mensch-Spiegel,” “Self-portrait with Thorn Necklaces and Humming Bird,” and “The Two Fridas.” The following slides demonstrate my understanding of the artists and their work along with the influence they had on my art making process.

Fig. 1 Fig. 2 Fig. 3 Fig. 4

Fig. 1. Rembrandt, Van Rijin. Self-portrait with Two Circles. 1556-1669, Oil on canvas, Kenwood house, London, http://www.wsj.com/articles/masterpiece-rembrandts-self-portrait-with-two-circles-1414187690 Fig. 2. Ung-Pil, Byen. Selbstportraet als ein Mensch-Spiegel. 2004, Oil on canvas, Private collection, http://www.ungpil.com/250404.jpg. Fig. 3. Kahlo, Frida. Self-portrait with Thorn Necklaces and Humming Bird. 1940, Oil on canvas, Nikolas Muray Collection, Harry Ransom Center, The University of Texas at Austin, http://www.hrc.utexas.edu/exhibitions/2014/kahlo/ Fig. 4. Kahlo, Frida. The Two Fridas. 1939, Oil on canvas, Museo de Arte Moderno, Mexico City, http://www.museoartemoderno.com/colecciones/

Dutch Golden Age Painting

The artistic climate changed radically after the reformation: two of the wealthiest sources of patronage—the monarchy and the Church—were now gone, and an increasingly prosperous middle class arose, eager to express its status and its new sense of national pride by purchasing art (Camara). An increase in sea trade resulted in a wealthy class of merchants who sought interest in decorate houses with paintings (Adams). Art at this time was produced primarily for the middle class, the kind of citizens who had created its stability and prosperity. These patrons liked paintings that celebrated their achievements, possessions, and surroundings (Arnason).

In 1578, there was a revolt against Spanish rule in the Netherlands, and in 1579, seven provinces in the Northern territories joined together to form the Republic of the United Netherlands (Arnason). The country gained its independence in 1609.

The long and bloody struggle for independence created a strong sense of national pride which is commonly expressed in 17th century Dutch art (Arnason).

This led to the Dutch Golden Age (1610-80) → Growth of Dutch Realism

By the middle of the 17th century, a new market had emerged to meet the demands of the middle class: smaller-scale paintings to display in private homes. These paintings included religious subjects for contemplation, as seen in Rembrandt’s paintings and prints of biblical narratives, as well as portraits documenting his life (Camara).

During this period, almost every type of painting flourished and most artists were specialists, concentrating on one or two types of painting (Arnason). Rembrandt’s a great exception, as he explored with wide variety of paintings—portraits, etchings, landscapes, historical or religious paintings, etc.

Rembrandt van Rijin

“Rembrandt was known for his penetrating, sympathetic portrayals of human emotions and weakness. He recorded his life in approximately 80 introspective self-portraits (Adams 18).”

Rembrandt experimented with the consistency of paint and the role of light through chiaroscuro—the dramatic effect of light and shadow—which works of Caravaggio (fig. 6) are known for (Farthing).

The artist became highly successful in the 1630s, when he had several pupils and assistants, started his own art collection, and lived the life of a cultivated gentleman. In his self-portraits in 1640, Rembrandt exudes confidence and urbanity (Liedtke). Along with his wife’s death in 1642, financial issues, and the artist’s controversial relationship with his son’s nurse and with his maidservant, Rembrandt showed a change in his artistic style: from theatrical style to a more contemplative manner (Liedtke).

Fig. 5. Camera, Esperanca. “Map of Northern Europe.” Khan Academy, 1700, Digital image, Khan Academy, n.d., https://ka-perseus-images.s3.amazonaws.com/2f3514f1ff9240187373e85cb070ab2b6318df98.jpg Fig. 6. Caravaggio, Michelangelo Merisi da. The Calling of Saint Matthew. 1599-1600, Oil on canvas, San Luigi dei Francesi, Rome, http://saintlouis-rome.net/le-caravage-il-caravaggio/ Fig. 7. Rembrandt, Van Rijin. Night Watch. 1642, Oil on canvas, Rijks museum, Amsterdam, https://www.rijksmuseum.nl/en/general-information/building-and-presentation/night-watch-gallery/objects#/SK-C-5,0 Fig. 8. Johannes, Vermeer. Girl with a Pearl Earing. 1665, Oil on canvas, Royal Picture Gallery Mauritshuis, Hague, Netherlands, https://www.mauritshuis.nl/en/explore/the-collection/artworks/girl-with-a-pearl-earring-670/detailgegevens/

Cultural Significance: Rembrandt

Fig. 5

Fig. 7 Fig. 8

Fig. 6

The Mexican Revolution began in 1910 when Kahlo was three years old, and as a result, Kahlo witnessed armed struggles in the streets as she grew up (Frida Kahlo Biography).

Kahlo’s interest in her mixed German-Mexican ancestry with the influence of her husband’s strong nationalism meant that many of her works dealt with combined issues of national identity, her husband’s presence as an artist, and/or her role as La Mexicana—the traditional Mexican woman and wife (Beaver).

Frida Kahlo’s Life: Marriage and Mexican Culture

The Mexican Revolution

Her paintings dealt with personal subject matter along with the intimate scale which created a sharp contrast with the work of her contemporaries: the Mexican Muralists. Mexican Muralist movement aimed to produce monumental public murals that embedded country’s national history and identity with the support from the government. Like her peers Rivera, José Clemente Orozco, and David Alfaro Siqueiros, Kahlo at times expressed her desire to paint things related to Communist revolutionary movement, yet her art remained very far from those of other avowed communists (Frida Kahlo l MoMA).

Born to a German Jewish father and a Spanish-American Indian mother, Kahlo was part of an intellectual and politically radical elite in the modern Mexico with good education. Kahlo contracted polio when she was six. At the age of 18, she got in a bus accident which caused her to spend the rest of her life in pain, enduring multiple operations (Arnason). She began painting at this period of her life during her recovery.

Kahlo was deeply influenced by indigenous Mexican culture, which is apparent in her use of bright color and dramatic symbolism (Frida Kahlo Biography). She frequently included monkeys as a symbol which is shown in “Self-Portrait with Thorn Necklace and Humming Bird.” In Mexican mythology, monkeys are symbols of lust, yet Kahlo portrayed them as tender and protective creatures. Christian and Jewish themes are often depicted in her work; she combined elements of the classic religious Mexican tradition with surrealist renderings (Frida Kahlo Biography).

She was a well known muralist Diego Rivera’s wife. During their marriage, the two shared her Marxist sentiments (Gardner 511). Both of them had an affair during the marriage, and later got divorced. Such stories are commonly exposed in Kahlo’s paintings.

Kahlo later gained her recognition with her vibrant personality and her choice of unorthodox subject matter (Farthing). Her style was particularly admired by the surrealists. Her works are notable in a way that she incorporates personal experiences, including her marriage, her miscarriages, and her numerous operations.

Cultural Significance: Frida Kahlo

Fig. 9

Fig. 10 Fig. 11 Fig. 12

Fig. 9. Kahlo, Frida. Self Portrait with Stalin. 1954, Oil on canvas, Frida Kahlo Museum Coyoacán, Mexico, https://www.sartle.com/artwork/self-portrait-with-stalin-frida-kahlo. Fig. 10. Kahlo, Frida. Frieda and Diego Rivera. 1931, Oil on canvas, San Francisco Museum of Modern Art, SF, USA. SF MOMA, https://www.sfmoma.org/artwork/36.6061. Fig. 11. Kahlo, Frida. Henry Ford Hospital (La cama volando). 1932, Oil on canvas, Dolores Olmedo Collection, Mexico City, Mexico, https://www.google.com/culturalinstitute/beta/u/0/asset/henry-ford-hospital/kgHTa-02kVhHJA. Fig. 12. Kahlo, Frida. The Broken Column. 1944, Oil on canvas, Dolores Olmedo Collection, Mexico City, Mexico, https://www.google.com/culturalinstitute/beta/u/0/asset/the-broken-column/EgGMbMFBQrAe3Q.

Lack of diversity in art field: “‘In the 1980s, art students learned the academic art from Dansaekhwa professors inside the campus, but when they went outside, political paintings were everywhere, on the walls, on the streets. It was how Korean art environment was in the 1980s,’(Lee).”

Famous movement called Dansaekhwa—Korean monochrome art—was led by many famous college professors (considered mainstream) (Lee). New forms of art movement rose in the 80s and 90s: Minjung art (public art) and realism

Minjung art: artistic response to political movement in Korea (especially popularized during 1980s under dictator Chun Doo-Hwan)—call for democratization and Korean reunification (Lee).

These new forms of art were often restricted by the government (ex. Artworks with too much red color—symbolizing communism—were often banned) (See Fig. 13)

Korean art in 80s and 90s

Fig. 13. Shin, Hak-Chul. Landscape 1. 1980, Collage on paper, n.p., http://www.artnet.com/artists/shin-hak-chul/landscape-1-a-Q04VZrp70ZO9DPxCWKoGKA2 Fig. 14. Byen, Ung-Pil. 한사람으로서의 자화상. 2008, Oil on canvas, Private Collection, http://www.news2day.co.kr/n_news/news/view.html?no=31264 Fig. 15. Byen, Ung-Pil. 한사람으로서의 자화상. 2008, Oil on canvas, Private Collection, http://www.news2day.co.kr/n_news/news/view.html?no=31264 Fig. 16. Byen, Ung-Pil. 한사람으로서의 자화상-복숭아3. 2008, Oil on canvas, Private Collection, http://www.news2day.co.kr/n_news/news/view.html?no=31264 Fig. 17. Byen, Ung-Pil. 한사람으로서의 자화상-사과3. 2008, Oil on canvas, Private Collection, http://www.news2day.co.kr/n_news/news/view.html?no=31264

Ung-Pil Byen works on self-portraits, however, unlike the conventional portrait where the artist’s character, thoughts, or stand in society is emphasized, his work intentionally takes out these features. His portrait does not have eyebrows, hair, or clothes; he even make a wry face to make his face even harder to identify. Through his work he hopes to tell the audience that all people are valuable and that their values are of equivalent importance (Artwingseoul).

He studied Western art in Korea, and moved to Germany to study under a professor who specializes in installation because he wanted to explore with different genres. Byen says, memory, painting, or photography all have different ways of storing the moment, but it all comes from the same intention of keeping certain moments. He still finds traditional painting more appealing as paintings come from effort and time (Han).

He believes that the basis in art comes from sight, not theory; “I believe in visual discovery” says Byen. For example, you don’t work thinking how the audience will view your work, but discovering new ideas through many experiments. He also believes that all art making comes by chance; as Picasso said, “Art is not creation, it’s discovery.” He thinks art comes from the improvements from the discoveries in our daily lives (Han).

Byen removes all features that characterizes individuals and purposefully makes weird face to show that the importance lies what’s inside the person, not outside (Hong).

Byen Ung-Pil

Cultural Significance: Byen Ung-Pil

Fig. 13

Fig. 14 Fig. 15

Fig. 16 Fig. 17

Studying abroad, he was faced with prejudice and racial discrimination for the way he looks. His hair color, eyebrows, and eye color made him categorized into Asian and he had to deal with prejudice coming from such stereotype. So he wanted to tell the audience that all humans are equal and the same through his work: a portrait of someone, not himself. He didn’t think that one piece of work is enough, so he continued with a series (Han).

Other work from the artist:

An x-ray of this painting revealed that Rembrandt initially painted himself in the very act of painting. Though he settled for a more monumental pose, it is made very evident that he painted this painting to illustrate himself as an artist (Cork).

Throughout Rembrandt’s life, he painted a total of approximately 80 self-portraits. He used self-portrait to record traces of his life, from his successful life as a young artist to the decease of fame and loss of wealth toward the end of his life (Cork).

Self-portrait for Rembrandt was a means of recording. He narrated his life events through his self-portraits. In this particular painting, his facial expression and the depth of the creases on his forehead show the hardships he faced towards the end of his life, including bankruptcy and loss of his wife and his son.

Purpose:

In my opinion, this painting was painted in order to express Rembrandt’s identity and profession as an artist. This portrait in particular was painted towards the end of his life, on the down slope of his fame and wealth. By the time, Rembrandt had lost his wife and a son, and he was on the verge of being bankrupt. Therefore, unlike his earlier portraits that depicts him as a “gentleman,” Rembrandt looks more comfortable, in a gown with his art supplies in his hands. Through this painting, Rembrandt wishes to express his grief and his identity as an artist.

Rembrandt was a leading Dutch painter at the time who uses light and shadow with great versatility. He’s marked for his portraits or paintings of biblical scenes with an interesting use of light. He often emphasized certain parts of this painting using light and left large areas of his paintings obscured in shadow. His paintings are often dramatic with his use of high contrast method of light and dark. He also conveys emotion and personality through his portrait (Cork). However, his fame did not last for very long, and his later life is marked by misfortune.

Function: Rembrandt

Fig. 18 Fig. 19 Fig. 20 Fig. 21 Fig. 22

Fig. 1

Fig. 1. Rembrandt, Van Rijin. Self-portrait with Two Circles. 1556-1669, Oil on canvas, Kenwood house, London, http://www.wsj.com/articles/masterpiece-rembrandts-self-portrait-with-two-circles-1414187690 Fig. 18. Rembrandt, Van Rijin. Self-Portrait with Gorget. 1629, Oil on canvas, Germanisches National museum, http://www.wga.hu/art/r/rembrand/27self/07sp1629.jpg Fig. 19. Rembrandt, Van Rijin. Self-Portrait Wearing a White Feathered Bonnet. 1635, Oil on canvas, Buckland Abbey, England, http://useum.org/artwork/Self-portrait-wearing-a-white-feathered-bonnet-Rembrandt-1635. Fig. 20. Rembrandt, Van Rijin. Self-Portrait. 1636-1638, Oil on canvas, Norton Simon Museum, California, https://images.nortonsimon.org/fcgi-bin/iipsrv.fcgi?IIIF=F196918P.ptif/full/!400,600/0/default.jpg Fig. 21. Rembrandt, Van Rijin. Large Self-Portrait.1652, Oil on canvas, Kunsthistorisches Museum, https://www.google.com/culturalinstitute/beta/u/0/asset/large-self-portrait/dQG9VR8cLvD7EQ Fig. 22. Rembrandt, Van Rijin. Self-Portrait. 1660, Oil on canvas, Metropolitan Museum of Art, http://www.metmuseum.org/art/collection/search/437397

In this painting, Frida Kahlo uses objects from nature—animals and plants—to express her identity and suffering. The painting is about her cultural identity and the suffering she goes through during her marriage with Diego Rivera. Her hair and clothing represents her cultural background as a Mexican female artist, and the animals allude to her marriage with Diego Rivera.

Purpose:

“I paint myself because I am so often alone and because I am the subject I know best.”-Frida Kahlo

I believe that Frida painted this painting to express the changes she went through during her marriage with Diego Rivera. Frida Kahlo uses the two symmetrical image to emphasize the difference between the two figures: how the marriage has changed her.

Frida Kahlo puts so many symbolic creatures in this painting; she wasn’t painting a scene from reality but using symbolic elements to express her feelings. A bird often symbolize freedom and life—hummingbird, especially, is colorful, and it always hovers above flowers. But in this painting the humming bird is black and lifeless. This may be a symbol of Frida herself. Frida spent most of her life in physical pain after the bus accident happened when she was eighteen. After that she endured about thirty-five operations to fix her body. She spent so many years in bed and wasn’t able to bear any children. This is a painting about her suffering (“Self-Portrait with Thorn Necklace and Hummingbird”).

Narrative portrait of Frida Kahlo, metaphorically

showing Frida Kahlo’s marriage → Showing the transition in her identity while going through her divorce with Diego Rivera.

This painting (Fig. 4) was painted shortly after her divorce with Diego Rivera. This portrait shows Frida's two different personalities. One is the traditional Frida in Tehuana costume, with a broken heart, sitting next to an independent Frida dressed in modern outfit (“The Two Fridas, 1939”). In Frida's dairy, she wrote about this painting and said it is originated from her memory of an imaginary childhood friend—showing that the sources of her inspiration come from her own imagination. Later she admitted it expressed her despair and loneliness with the separation from Diego (“The Two Fridas, 1939”).

Self Portrait with Thorne Necklace and Humming Bird

The Two Fridas

Kahlo's affair in New York City with Hungarian-born photographer Nickolas Muray (1892–1965) ended in 1939 followed by her divorce with the artist Diego Rivera at the end of the year left her heartbroken and lonely. However, She produced some of her most powerful and compelling paintings and self-portraits during this time (“Frida Kahlo's Self-portrait with Thorn Necklace and Hummingbird”).

She often uses symbols in her painting as she did in “Self Portrait with Thorne Necklace and Humming Bird.” In this painting, she used blood to show connection as she did in “My Grandparents, My Parents, and I.”

Function: Frida Kahlo

Fig. 3

Fig. 4

Fig. 3. Kahlo, Frida. Self-portrait with Thorn Necklaces and Humming Bird. 1940, Oil on canvas, Nikolas Muray Collection, Harry Ransom Center, The University of Texas at Austin, http://www.hrc.utexas.edu/exhibitions/2014/kahlo/ Fig. 4. Kahlo, Frida. The Two Fridas. 1939, Oil on canvas, Museo de Arte Moderno, Mexico City, http://www.museoartemoderno.com/colecciones/

Other work from the artist:

In his interview he says that he wanted to address discrimination and prejudice he faced during his study in Germany. By minimizing details on the face (ex. Hair, eyebrows, make-up), Byen takes away the features that allow people to categorize race. This also allowed his self-portraits to be generalized to anyone, including the viewers of this work. By minimizing individuality and deforming his face with his hands, Byen comments on the overemphasis the society puts on how people look—explicitly expressing his discontent with such discrimination. He wants to tell the audience that all humans are equal and the same through his work: a portrait of “someone,’ not him.

The title “한 사람으로서의 자화상” directs to his purpose of the portrait. The word “한 사람”means “someone” in Korean, showing how this portrait could be a reflection of anyone looking at the portrait, not someone in specific.

Purpose:

Function: Byen Ung-Pil

Fig. 2

Fig. 23 Fig. 24

Fig. 25 Fig. 26

Fig. 2. Ung-Pil, Byen. Selbstportraet als ein Mensch-Spiegel. 2004, Oil on canvas, Private collection, http://www.ungpil.com/250404.jpg. Fig. 23. Byen, Ung-Pil. Selbstportraet als ein Mensch15. 2004, Oil on canvas, Private collection, http://www.ungpil.com/selbstportraet15.htm Fig. 24. Byen, Ung-Pil. Selbstportraet als ein Mensch16. 2003, Oil on canvas, Private collection, http://www.ungpil.com/110404.jpg

Fig. 25. Byen, Ung-Pil. Zwei Portraets. 2003, Oil on canvas, Private collection, http://www.ungpil.com/zweiportraet_1.jpg Fig. 26. Byen, Ung-Pil. Selbstportraet als ein Mensch17. 2004, Oil on canvas, Private collection, http://www.ungpil.com/selbstportraet17.htm

Analysis in Formal Qualities:Two circles in the background alludes to old Italian fable (Giotto); showing his artistic skill by drawing a perfect circle freehand, therefore a symbol of artistic excellence. (theory)

Compared to the earlier self portraits of Rembrandt, this portrait is much less superficial and more personal. In his earlier portraits, Rembrandt portrays himself as strong, successful man through his facial expression and use of color to create the mood. In this later self-portrait of himself, Rembrandt looks more relaxed, however the details in his face (wrinkles on his forehead and darkness under his eyes) tells the viewers his sorrow from the loss of his wife and his son.

The lighting is very notable and typical in this painting. The light strikes from the side, creating a harsh shades on the right side of the face, clearly showing the bridge of his nose. The triangle right under the right eye is slightly bright, still showing some structure of his face. This lighting is known as Rembrandt Lighting, which is still used in photography to emphasize the structure of one’s face in a photoshoot.

Compared to other self-portraits of Rembrandt’s this particular portrait has lighter background which allows the viewers to look at the painting as a whole, rather than his face only. (soft shadows and light) Darker and looser marks towards the edges of canvas creates a sharp contrast with his face. These also create a sense of space and depth to the painting, making Rembrandt look more dignified but also lonely.

Bolder and rougher brushstrokes: Unfinished and gestural strokes even leaving some of the parts showing the paint in the middle ground: free brush strokes make this work honest and personal compared to his earlier work (features like his hair, mustache were painted with free mark-making strokes, bringing the painting into life)

Palette and brushes representing Rembrandt as an artist - contrast with his early work portraying himself as a gentleman/ successful businessman rather than an artist (confrontational portrait)

Contrast/Emphasis Unlike his hyperrealistic paintings in the early ages, he uses bigger and bolder brush strokes to create texture to the painting. He puts much emphasis on his face using strong contrast between light and dark and by using various sizes of strokes throughout the painting. The varying level of attention to detail creates the balance in painting as looser strokes towards the ends of the canvas allow for emphasis. (Differentiating foreground and background)

Contrast between light and dark: There is a clear direction of where the light is coming from

The dark shadows on his eyes create a mood of melancholy and the sense of age and the hardship in Rembrandt’s life

Scratching of thick paint: eyebrows and right underneath his face (various strokes and techniques)

Composition Asymetrical with typical Rembrandt Lighting (slightly off the center; rule of thirds) Warm color used throughout the painting: yellow-brown tone Realistic portrayal of Rembrandt: proportion, balance highly accurate

Formal Analysis: Rembrandt

Fig. 20

Fig. 1

Fig. 27

Fig. 28

Fig. 1. Rembrandt, Van Rijin. Self-portrait with Two Circles. 1556-1669, Oil on canvas, Kenwood house, London, http://www.wsj.com/articles/masterpiece-rembrandts-self-portrait-with-two-circles-1414187690 Fig. 20. Rembrandt, Van Rijin. Self-Portrait. 1636-1638, Oil on canvas, Norton Simon Museum, California, https://images.nortonsimon.org/fcgi-bin/iipsrv.fcgi?IIIF=F196918P.ptif/full/!400,600/0/default.jpg Fig. 27. Rembrandt, Van Rijin. Self-portrait with Two Circles (Close up 1). 1556-1669, Oil on canvas, Kenwood house, London, http://www.wsj.com/articles/masterpiece-rembrandts-self-portrait-with-two-circles-1414187690 Fig. 28. Rembrandt, Van Rijin. Self-portrait with Two Circles (Close up 2). 1556-1669, Oil on canvas, Kenwood house, London, http://www.wsj.com/articles/masterpiece-rembrandts-self-portrait-with-two-circles-1414187690

Analysis in Formal Qualities

Self portrait with direct stare confronts and engages her viewer: her face is calm and solemn, seeming as if she’s quietly enduring the pain

Great detail in the description of her face (hair, contour, etc.)

Vibrant use of colors: liveliness of the subjects (Frida’s red cheeks, green leaves)

The Thorn necklace allude to the Jesus Christ’s crown of thorns. The thorn necklace digs into ther neck, and drips of blood is coming out of her neck. Using this metaphor, the artist talks about her pain enduring the failure in marriage. (Biblical reference)

Different style used in the painting of thorn with strong outlines: emphasis on the thorn

Frida Kahlo’s hair and white dress represents her connection to Mexican culture (influenced by Nationalist Diego Rivera)

Clear foreground (Frida), midground (animals and leaves), and background (sky)

Balance: Frida Kahlo’s portrait right in the middle with two animals on the side (symmetric, well-balanced) Unity: created around Frida Kahlo—all objects are somehow connected to or close to Frida Kahlo in the middle creating unity and balance

Background is filled with leaves, animals, and insects, creating a tight, claustrophobic space showing her suffering: Frida Kahlo was often sick and had to stay in bed

Contrast: Flowers and leaves in the background with the insects flying over her head symbolizes female fertility which creates a strike contrast with the animals symbolizing death and evil.

Variety: diverse subjects incorporated in the painting—animals, insects, plants, human—as well as their direction and mood (varying directions at which they are looking at)

Dead hummingbird on the necklace is a symbol in Mexican folkloric tradition of luck charms for falling in love. The black cat—symbolizing bad luck and death—and the spider monkey—symbolizing evil—are right behind the both sides of her shoulder. The spider monkey was also gifted from Diego Rivera.

Contrast between deathly imagery of the foreground with the imagery of female fertility in the background

Formal Analysis: Frida Kahlo

Fig. 29

Fig. 30

Fig. 3

Fig. 3. Kahlo, Frida. Self-portrait with Thorn Necklaces and Humming Bird. 1940, Oil on canvas, Nikolas Muray Collection, Harry Ransom Center, The University of Texas at Austin, http://www.hrc.utexas.edu/exhibitions/2014/kahlo/ Fig. 29. Kahlo, Frida. Self-portrait with Thorn Necklaces and Humming Bird (Close up 1). 1940, Oil on canvas, Nikolas Muray Collection, Harry Ransom Center, The University of Texas at Austin, http://www.hrc.utexas.edu/exhibitions/2014/kahlo/ Fig. 30. Kahlo, Frida. Self-portrait with Thorn Necklaces and Humming Bird (Close up 2). 1940, Oil on canvas, Nikolas Muray Collection, Harry Ransom Center, The University of Texas at Austin, http://www.hrc.utexas.edu/exhibitions/2014/kahlo/

Analysis in Formal Qualities

Kahlo's work often graphically exposes human anatomy and other symbols to make analogies: broken heart, bleeding blood vessels, and an image of her ex-husband. Kahlo utilized blood as a visceral metaphor of union, as she did in the family portrait above.

Frida on the right is holding a picture of Diego Rivera whereas Frida on the left is holding scissors which cut the vein that unites the two two Fridas: Frida on the right represents herself before the influence of Diego Rivera. Frida on the left has a traditional Mexican clothes, a wedding dress with intricate embroidery. The contrast in the Two Fridas’ attire represents the change in Frida Kahlo’s identity and socio-political stance.

These two self-portraits show the difference in her look as a result of her change in cultural identity. In her self-portrait on the left, she is wearing a western velvet gown. However, in her self portrait on the right, her accessories reference distinct periods in Mexican history—her necklace is a reference to the pre-Columbian jadite of the Aztecs, and the earrings are colonial in style—while her simple white blouse is a nod to peasant women.

Narrative portrait of Frida Kahlo, metaphorically showing Frida Kahlo’s marriage, showing the

transition in her identity while going through her divorce with Diego Rivera → Diego Rivera was a very strong nationalist, who continuously influenced Frida throughout their marriage.

The heart on the right is full and healthy, whereas the heart on the left is damaged and weakened. The red blood smearing her white wedding dress represents her physical and spitiritual suffering as well as her attitude towards womanhood and fertility.

Stormy sky and bench shows the loneliness and the adversity Frida went through after her divorce with Diego Rivera.

Contrast created from the composition of the portrait: contrast between the Frida in white dress and the Frida in blue dress (appearance, heart, facial expression, etc.)

Well-balanced: the symmetrical image of two Fridas, yet the two images create an interesting contrast

Power exerted through the hands firmly grabbing each other

Frida’s effective expression of culture and emotion through painting—narrates Frida’s story

Formal Analysis: Frida Kahlo

Fig. 4

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Fig. 32 Fig. 33

Fig. 4. Kahlo, Frida. The Two Fridas. 1939, Oil on canvas, Museo de Arte Moderno, Mexico City, http://www.museoartemoderno.com/colecciones/. Fig. 31. Kahlo, Frida. My Grandparents, My Parents, and I (Family Tree). 1936, Oil on canvas, The Museum of Modern Art, New York, https://www.moma.org/collection/works/78784. Fig. 32. Kahlo, Frida. Self-portrait in a Velvet Dress. 1926, Oil on canvas, Private collection, Mexico, https://www.google.com/culturalinstitute/beta/u/0/asset/self-portrait-wearing-a-velvet-dress/9QHUrLhK3UEXqw. Fig. 33. Muray, Nickolas. Frida Kahlo. 1939, Printed, George Eastman Museum, United States, https://www.google.com/culturalinstitute/beta/u/0/asset/frida-kahlo/LQFkT3W_ndy9dA

Analysis in Formal Qualities

Studying art in Korean school, he took many classes in relation to human figure—plaster cast drawing, anatomy classes, and more. This naturally strengthened his knowledge in human portraiture. He also likes to examine the strangers passing by, and these kinds of activities, as a result, increased his interest in portrait.

Very skillful, but simplistic painting: weak contrast, restricted range of colors used

Symmetrical: reflection of Byen’s face

Round and circular strokes well blended with each other: smooth texture

Subjects fill the whole canvas, very little background/sense of space, and overall very well balanced without emphasis on a certain part.

Composition: brings focus to the middle where the two images are closest to each other

Blank expression on Byen’s face and his eyes looking into the space (with no focus) create emptiness and loneliness. His distorted face also shows his discontent or frustration.

Technically and conceptually strong work with realistic description of the volume of Byen’s face with gradation and precise proportion

Much details are missing from the painting intentionally for his purpose of the painting (wrinkles on his hands, brows, etc.)

The focus of the painting also follows the direction at which the two people are looking at: to the right

Formal Analysis: Byen Ung-Pil

Fig. 2

Fig. 26

Fig. 34

Fig. 2. Ung-Pil, Byen. Selbstportraet als ein Mensch-Spiegel. 2004, Oil on canvas, Private collection, http://www.ungpil.com/250404.jpg. Fig. 26. Byen, Ung-Pil. Selbstportraet als ein Mensch17. 2004, Oil on canvas, Private collection, http://www.ungpil.com/selbstportraet17.htm Fig. 34. Byen, Ung-Pil. Selbstportraet als ein Mensch17 (Close up 1). 2004, Oil on canvas, Private collection, http://www.ungpil.com/selbstportraet17.htm

Self-Portrait: Purpose

All four portraits make use of self-image to deliver their message through highly realistic artistic expression. These paintings express sorrow or discontent than a positive message.

Rembrandt and Frida Kahlo’s portraits are very personal, and they express their identity or narrate their life story through these self portraits. They both make use of objects and setting to emphasize their identity. The two artists are going through hard time in their lives, therefore both of them use these paintings to express their pain or suffering. These portraits serve as a record of the artists’ lives, expressing their life events both implicitly and explicitly through artistic expression.

However, Byen uses his self-portrait in an opposite, non-personal way. Through this self-portrait, Byen tries to challenge social issues such as discrimination against race. This painting is a social commentary than a traditional portrait on identity like the ones on the left.

Frida uses imaginary composition or objects although her paintings are still based on realistic observation paintings. Frida uses symbols in her paintings to express her identity and suffering which made some critics consider her work as surrealistic paintings.

These two paintings are strictly observational. The two painters are realist painters who expressed their identity/message through a realistic expression based on their observation.

Frida uses background to express her mood or to create a certain atmosphere to the painting. The dark grey background in the “Two Fridas” shows her suffering going through the divorce with Diego Rivera, and in “Self-portrait with Thorn Necklace and Humming Bird,” she fills in the background with animals and plants to create a claustrophobic space.

Both Rembrandt and Byen does not put much emphasis on the background of the painting, usually keeping it in one, simple tone. Byen fills most of the canvas with his face, and the small portion of the background is colored with pale olive green. Rembrandt puts much emphasis on his face, and the rest fades out. However, this painting is an exception in that Rembrandt did put some features in to the background—two circles.

Comparison: Purpose

Fig. 1 Fig. 2Fig. 3Fig. 4

Fig. 1. Rembrandt, Van Rijin. Self-portrait with Two Circles. 1556-1669, Oil on canvas, Kenwood house, London, http://www.wsj.com/articles/masterpiece-rembrandts-self-portrait-with-two-circles-1414187690 Fig. 2. Ung-Pil, Byen. Selbstportraet als ein Mensch-Spiegel. 2004, Oil on canvas, Private collection, http://www.ungpil.com/250404.jpg. Fig. 3. Kahlo, Frida. Self-portrait with Thorn Necklaces and Humming Bird. 1940, Oil on canvas, Nikolas Muray Collection, Harry Ransom Center, The University of Texas at Austin, http://www.hrc.utexas.edu/exhibitions/2014/kahlo/ Fig. 4. Kahlo, Frida. The Two Fridas. 1939, Oil on canvas, Museo de Arte Moderno, Mexico City, http://www.museoartemoderno.com/colecciones/

Using the brush and the back of the brush he leaves texture and distinct strokes to make his painting descriptive.

All three oil paintings are very similar in their texture. The brushstrokes are very minimal, often very smooth, allowing for an undivided attention to the figure as a whole, rather than details.

Frida Kahlo depicts much details using small brush stroke. The intricate laces in Frida’s white dress or the detailed hair on Frida Kahlo’s face show her great attention to details.

Rembrandt uses wide range of colors to express his complexion—green, orange, pink, and even white. He uses various textures using brushstrokes.

Byen uses similar shades of colors, and there is not much variability in hue. The strokes and the color add to realistic features of the painting.

Comparison of Artistic Techniques:

All four paintings are very realistic, and very skillful in techniques—realistic expression of self.

Comparison: Artistic Expression

Fig. 1 Fig. 2 Fig. 3 Fig. 4

Fig. 1. Rembrandt, Van Rijin. Self-portrait with Two Circles. 1556-1669, Oil on canvas, Kenwood house, London, http://www.wsj.com/articles/masterpiece-rembrandts-self-portrait-with-two-circles-1414187690 Fig. 2. Ung-Pil, Byen. Selbstportraet als ein Mensch-Spiegel. 2004, Oil on canvas, Private collection, http://www.ungpil.com/250404.jpg. Fig. 3. Kahlo, Frida. Self-portrait with Thorn Necklaces and Humming Bird. 1940, Oil on canvas, Nikolas Muray Collection, Harry Ransom Center, The University of Texas at Austin, http://www.hrc.utexas.edu/exhibitions/2014/kahlo/ Fig. 4. Kahlo, Frida. The Two Fridas. 1939, Oil on canvas, Museo de Arte Moderno, Mexico City, http://www.museoartemoderno.com/colecciones/ Fig. 35. Rembrandt, Van Rijin. Self-portrait with Two Circles (Close up 3). 1556-1669, Oil on canvas, Kenwood house, London, http://www.wsj.com/articles/masterpiece-rembrandts-self-portrait-with-two-circles-1414187690 Fig. 36. Ung-Pil, Byen. Selbstportraet als ein Mensch-Spiegel (Close up 1). 2004, Oil on canvas, Private collection, http://www.ungpil.com/250404.jpg. Fig. 37. Kahlo, Frida. The Two Fridas (Close up 1). 1939, Oil on canvas, Museo de Arte Moderno, Mexico City, http://www.museoartemoderno.com/colecciones/ Fig. 38. Kahlo, Frida. Self-portrait with Thorn Necklaces and Humming Bird (Close up 3). 1940, Oil on canvas, Nikolas Muray Collection, Harry Ransom Center, The University of Texas at Austin, http://www.hrc.utexas.edu/exhibitions/2014/kahlo/

Fig. 35 Fig. 36 Fig. 37 Fig. 38

Rembrandt Lighting

This painting’s composition is commonly seen throughout Rembrandt’s series of self-portraits. The lighting from the side emphasizes the structure of his face, and the painting gets darker along the sides of the canvas.

He is sitting slightly off the center, but balances this out using the lighting and other objects in the painting.

Symmetrical composition

The two Fridas reflected create a contrast between the two identities. The changes in Frida’s identity are highlighted through a decalcomanie image of the Two Fridas.

The contrast in Kahlo’s appearance shows the change in her cultural identity.

Symmetrical composition

The painting is well balanced with symmetrical composition. The image of Frida is dominating the whole painting, with the balance of other subjects in the mid ground and background. Two animals alongside her shoulders create balance in the composition of the painting, along with the background filled with leaves.

Mirror Image

Byen fills the whole canvas with his face by doubling the image of his crumpled face. He uses mirror images of his face, and this symmetry creates an interesting composition. The conflicting gazes of the two portraits demonstrate Byen’s exceptional artistic techniques.

Comparison: Composition

Fig. 1 Fig. 4

Fig. 2 Fig. 3

Fig. 1. Rembrandt, Van Rijin. Self-portrait with Two Circles. 1556-1669, Oil on canvas, Kenwood house, London, http://www.wsj.com/articles/masterpiece-rembrandts-self-portrait-with-two-circles-1414187690 Fig. 2. Ung-Pil, Byen. Selbstportraet als ein Mensch-Spiegel. 2004, Oil on canvas, Private collection, http://www.ungpil.com/250404.jpg. Fig. 3. Kahlo, Frida. Self-portrait with Thorn Necklaces and Humming Bird. 1940, Oil on canvas, Nikolas Muray Collection, Harry Ransom Center, The University of Texas at Austin, http://www.hrc.utexas.edu/exhibitions/2014/kahlo/ Fig. 4. Kahlo, Frida. The Two Fridas. 1939, Oil on canvas, Museo de Arte Moderno, Mexico City, http://www.museoartemoderno.com/colecciones/

This work was based on Rembrandt’s self-portrait, “Self Portrait with Two Circles.” The style of this painting was inspired by the series of portraits Rembrandt painted throughout his life. His use of dark background and strong contrast created by light striking from the side of the face were all used in the painting to emphasize the volume of the face. The dark space around the around the edges of the canvas and the background created a sharp contrast with the face, bringing focus to the face and expression, as it does in Rembrandt’s self-portraits. The use of objects to hint my identity could have been useful as Rembrandt uses paint brush and palette to identify himself as an artist in the portrait “Self Portrait with Two Circles.” The use of material in this painting was also significant since I tried using oil painting for the first time for this painting.

Fig. 40 shows the progress in the beginning stages of the painting. Since this was my first time using oil paint, I was very much focused on the mixture of color and wasn’t used to the medium. Fig. 41 shows another progress of building depth. I brought back the focus into the lighting and contrast and started building up depth and volume. Strong contrast and texture were made rather than a smooth mixture of colors. Fig. 39 is the final piece Gaze, a self-portrait inspired by Rembrandt.

Using a strong contrast between light and dark, I emphasized my face, especially its structure. Rather than sitting, I pictured myself comfortably on my bed. This created a different mood to the painting—a bit dreamy and dark.

Gaze:

Connection: Rembrandt

Fig. 1

Fig. 39

Fig. 40

Fig. 41

Fig. 1. Rembrandt, Van Rijin. Self-portrait with Two Circles. 1556-1669, Oil on canvas, Kenwood house, London, http://www.wsj.com/articles/masterpiece-rembrandts-self-portrait-with-two-circles-1414187690. Fig. 39. Park, Min Suh. Gaze. 2016, Oil on canvas, Chadwick International School, South Korea, minsuhpark.com. Fig. 40. Park, Min Suh. Gaze (ver 1). 2016, Oil on canvas, Chadwick International School, South Korea, minsuhpark.com. Fig. 41. Park, Min Suh. Gaze (ver 2). 2016, Oil on canvas, Chadwick International School, South Korea, minsuhpark.com.

This painting was inspired by Frida Kahlo’s “The Two Fridas.” The composition of the painting was directly inspired by the mirror image of the two Fridas in her painting about the change in her life and identity. The two figures on the left show the conflict within a person’s identity. The extended mirror strips are cut in a shape like a root or a human vein, which are often used as a metaphor in Kahlo’s paintings. Though my paintings are more general in the story it’s trying to narrate and less explicit compare to Frida Kahlo’s “The Two Fridas,” the composition and the form was definitely inspired by Kahlo’s style of painting.

This work is inspired by Frida Kahlo’s “The Two Fridas.” Using the symmetrical composition, Frida Kahlo addresses the change in her conflicting identity.The composition of this work was inspired by Frida Kahlo’s work, showing symmetrical, yet different images to show connection and contrast at the same time. The crossing gazes show the disagreement between the two figures, emphasized using the impossible rectangle in the middle. Using the mirrors and cutting them into a “web,” I connected the theme of reflection and identity, especially the conflicting nature of identity.

Two Dimensions:

Connection: Frida Kahlo

Fig. 4

Fig. 42

Fig. 4. Kahlo, Frida. The Two Fridas. 1939, Oil on canvas, Museo de Arte Moderno, Mexico City, http://www.museoartemoderno.com/colecciones/. Fig. 42. Park, Min Suh. Web. 2016, Mixed media, Chadwick International School, South Korea, minsuhpark.com.

Frida’s work also inspired me to think about my identity, and led me to paint a portrait of a paradoxic self.

Connection: Frida Kahlo

Fig. 3 Fig. 43 Fig. 44

Fig. 3. Kahlo, Frida. Self-portrait with Thorn Necklaces and Humming Bird. 1940, Oil on canvas, Nikolas Muray Collection, Harry Ransom Center, The University of Texas at Austin, http://www.hrc.utexas.edu/exhibitions/2014/kahlo/. Fig. 43. Kahlo, Frida. A Few Small Nips. 1935, Oil on metal, Museo Dolores Olmedo, Mexico, https://www.google.com/culturalinstitute/beta/u/0/asset/a-few-small-nips/oQG_590SEeTDaw?hl=en. Fig. 44. Kahlo, Frida. Self-Portrait with Cropped Hair. 1940, Oil on canvas, Museum of Modern Art, New York, https://www.moma.org/collection/works/78333. Fig. 45. Park, Min Suh. Traces. 2016, Mixed media, Chadwick International School, South Korea, minsuhpark.com. Fig. 47. Park, Min Suh. Traces (Close-up). 2016, Mixed media, Chadwick International School, South Korea, minsuhpark.com.

Just like Frida’s Self Portrait with Thorn Necklaces and Humming Bird (Fig. 3), many of her works are symbolic and a reflection of her life and situation. She often implicitly delivers such message through symbols and text. In A Few Small Nips (FIg. 43) or Self-Portrait with Cropped Hair (Fig. 44) Frida delivers her story through both visual representation and words. Frida Kahlo inspired me to incorporate words into my artwork to comment on issues that are dealt socially especially within my culture. Traces (Fig. 45 and 47) is the outcome, an installation piece using acrylic mirrors.

Fig. 45Fig. 47

In Fig. 47, a close up of Traces, the lines and the reflections are clearly shown. I believe that things people say to us influence and trace our lives in many different ways. I used sentences and phrases from my own experience or from other people’s experience and wrote them along the lines. In a sense this whole piece became like a map, complicated interaction of lines, words, and the reflected image.

This self-portrait was done using Photoshop, focusing on the use of color. I experimented with Photoshop and different color schemes, and later added layers and broke down the image. Just like Byen Ung-Pil’s self portraits, I used series of portraits to show different perspectives and experiment with the image. The variety of colors in this portrait symbolize the diversity in people. Using simple images of self, I wanted to express myself through various colors.

Colors:

Connection: Byen Ung-Pil

Fig. 2. Ung-Pil, Byen. Selbstportraet als ein Mensch-Spiegel. 2004, Oil on canvas, Private collection, http://www.ungpil.com/250404.jpg. Fig. 46. Park, Min Suh. Colors. 2016, Digital media, Chadwick International School, South Korea, minsuhpark.com.

Fig. 2

Fig. 46

Byen Ung-Pil used a series of self-portraits to express his statement about individuality and a person’s appearance. In Colors (Fig. 46), I used versions of my self portrait and explored with color and identity. I believe that everyone has their own color just like they have personality. By using a monochromatic color scheme and breaking down image, I wanted to express the uniqueness and individuality of each and every person. Rather than a perfect photo of myself, I distorted the image into pieces and gave a poster-like effect to reduce the features of traditional self-portrait about myself only but rather an artistic statement for the public.

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