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Self-portrait; Self-Portrait in a Convex Mirror by John Ashbery: the portrait is the subject of a long poem in a poetry collection by Ashbery, both the poem and the collection of the same name. The book won all three of the major prizes awarded to collections by American poets.
Circumcision of Jesus (c. 1523) – Oil on wood, 42 x 31.4 cm; Detroit Institute of Arts; Saint Barbara (c. 1522) Self-portrait in a Convex Mirror (c. 1524) – Oil on wood, diameter 24.4 cm; Kunsthistorisches Museum, Vienna; Portrait of a Collector (c. 1524) – Oil on panel, 86 x 94 cm, National Gallery, London
Portrait of a Man (Parmigianino) P. ... Self-portrait in a Convex Mirror This page was last edited on 27 June 2022, at 19:13 (UTC). Text ...
Self-Portrait in a Convex Mirror is a 1975 poetry collection by the American writer John Ashbery. The title, shared with its final poem, comes from the painting of the same name by the Late Renaissance artist Parmigianino .
They compare the painting with drawings which are probable self-portraits, particularly n. 790A in the Devonshire Collection at Chatsworth House (Self-Portrait and Study for the Frescoes at La Steccata), n. 2623 in the Albertina in Vienna (probably the source for the print of Vita di Francesco Mazzuoli by Vasari) and catalogue number 1858-7-24 ...
Lambert was influenced in the creation of this work by the late-Renaissance artist Parmigianino's 1520s painting Self-portrait in a Convex Mirror. [ 1 ] It is a jewel-like piece of painting, with the lustre of a looking-glass, in which Lambert explored the distinction between how things appear in the picture or in a mirror, or how they are in ...
The painting arrived in England in the early 19th century, in the collections of Lord Radstock, and was later auctioned at Christie's as Parmigianino's self-portrait. In 1857 it became part of the collections of Lord Strafford at Wrotham Park , being acquired by the National Gallery in 1977.
Jan van Eyck's 1434 Arnolfini Portrait contains a convex mirror with reflections of the people in the scene, [35] while Parmigianino's Self-portrait in a Convex Mirror, c. 1523–1524, shows the artist's largely undistorted face at the centre, with a strongly curved background and artist's hand around the edge. [36]
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