Behold the Man: Self-Portraits of Albrecht Dürer & Adamo Macri
by Kenneth Radu. Narrator: Marco Girgenti
by Kenneth Radu. Narrator: Marco Girgenti
After long perusal of Adamo Macri’s fascinating self-portrait entitled Pinus Attis, I have become aware of having seen something similar before. To be sure, this is merely my own casual and arguably eccentric response to the multi-layered meanings of a Macri picture. The artist has produced many images of his face which arouse distinct and varied reactions. Mine is also that of a generally interested viewer and not an art critic.
In the Pinus Attis portrait, Macri evokes the mythological story of Attis, a god of vegetation associated with the mother goddess Cybele, not only through the descriptive title, but also through the sprigs of pine needles and cones arranged in a wheel, almost like a verdant halo or fascinator attached to the side of his head. As in so many of his self-portraits, Macri’s eyes are closed. The palette is one of sombre hues of browns and deep green with highlighted flesh tones of beige, subdued rose and dull gold, colours, if you will, of the forest through which now and then streams of sunlight slip among the trees.
His expression is serene. The face with moustache and signs of a beard betrays nothing in its composure. It may nonetheless be a mask over powerful yet controlled emotions, something viewers may intuit or project into the portrait. I like to think of the expression as containing all I wish to see in it, for that is the particular gift of Macri in his portraits. He allows us to complete the image, as it were, with our own emotions, fantasies and cultural histories, so that his portrait like all great self-portraits also becomes an aspect of our own autobiography.
I keep returning to this particular picture, wondering why it attracts and rivets my attention. I read Catullus’s gripping poem of the story (#63), and even went back to the indispensable Ovid to check out the brief mention of Attis in Book X of The Metamorphoses:
… and the pine which tucks its boughs
up high to form its shaggy crown – the tree
dear to the mother of the gods, Cybele,
if it be true that Attis, for her sake,
shed his own human form, that he might take
the stiff trunk of that pine as his new shape (tr. Mandelbaum).
The salient and harrowing fact of this narrative is the self-emasculation of Attis after which he is associated with or changed into the aromatic pine, having become a sacrificial youth common to pagan and Christian lore. It’s a story of gender transmogrification, of male-female melding and merging into nature and divinity, of blood fertilizing the earth, of erotic complications, of Dionysian revelry. Macri’s portrait with its head decoration and luxurious curls suggests a sexual ambiguity, the facial hair giving the self-portrait its masculine allure even as it subtly incorporates the feminine.
Studying the portrait, I see iconic significance, not only pagan, but also Christian, a facet mentioned by other viewers who sense something more going on besides the picture of a handsome man with a symbolic hat. A startling comparison occurs to me: startling because it comes unbidden, and may either be stretching a point or egregious chutzpah, but clearly the reason for the portrait’s apparent familiarity. The more I study this recent manifestation of a Macri face, the more I recall another distinct image rendered centuries ago and techniques apart. Out of the treasure chest of cultural memories, from the warehouse of images we all carry with us, one other self-portrait presents itself and asks to be looked at again.
Given Macri’s own deep knowledge of art and his predilection to recast elements of the great tradition of portraiture, as well as the mythological Greek stories, into modern relevance, the similarity may not surprise. Whether Macri intends such a comparison is neither here nor there, and we have to be wary of falling into the trap of intentional fallacy. As an innovative multi-media artist, he’d be the first to say that his specific intentions are guides, not absolute definitions, and his titles do not determine the only or final meaning of any work of art. His portraits on Facebook present a fluid oeuvre, ever-changing, and presupposes the participation and explication of viewers, many of whom offer intriguing interpretations and insights of their own, some of which about this particular portrait have stimulated my own thinking. They complete what the artist offers on the basis of what they know or wish or seek.
And so I speak of Albrecht Dürer’s Self-Portrait at Twenty-Eight Years, painted in 1500, the one wherein he is wearing a fur-collared coat and a hand held in front of his chest like a blessing. It doesn’t matter to me if Macri had Dürer’s painting on wood in mind when he created his Pinus Attis portrait. Offering directions and a large field of interpretation, this artist of rich and varied imagination provokes, engages and presents himself in a multiplicity of views which modern technology enables him to do.
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| Albrecht Dürer Self Portrait Twenty Eight Years |
The religious iconography or conventions of Dürer’s portrait are the stuff of art criticism and history, and need not be repeated here. Suffice it to say that most commentators speak of the portrait’s affinities with traditional images of Christ and various aspects of religious art of the early Renaissance. Indeed, given the spray of pine sprigs on the head in Macri’s portrait, one may be forgiven for thinking of a crown of thorns symbolic of suffering, or a wreath of laurel rewarded for victory. His shut eyes are reminiscent of paintings on the theme of Ecco Homo, Caravaggio’s for example, with his close-eyed Christ. My point is simply that Macri’s portrait like Dürer’s, given the adroit handling of pose, colour, light, style, accoutrements and associations, conveys a complex narrative that blends pagan and Christian lore, even as it may arouse humour and point to carnival and play.
In a sense, Macri’s face like Dürer’s is also the picture of calm after great passion or turbulence presented as outward peace, the quiescence that comes with exalted experience or recognition of inexorable truth, the slumber after sensual excess or the inwardness of spiritual meditation. Both portraits present an impassive visage, Dürer’s eyes open but revealing as little and containing as much as Macri’s closed eyes. I am reminded of Emily Dickinson’s superb verse, “After great pain, a formal feeling comes.”
Dürer’s curled hair is similar to Macri’s, and the central cone in the spray of pine sprigs is similar in colour and texture to Dürer’s locks. Brown hues are predominant in both portraits, the background dark. The Christ-like associations are evident in the utter stillness and quasi-mystical aura in both works as well. To be sure, Macri deliberately draws our attention to pagan or pre-Christian motifs in the sexual pun of the title, but adding another dimension to a work does not invalidate the other elements. Unlike Dürer, Macri does not present his hands in any kind of symbolic motion. He appears to be naked, in counter distinction to Dürer’s enfolding robes, and therefore stepping out of his previous self and exposing a new identity, the nakedness, aside from erotic intimations, a possible metaphor of birth and change.
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| Pinus Attis |
Despite these few parallels, my comparison, however, is not based upon a point-by-point analysis, but on general colour, pose, atmosphere, and mythological suggestiveness. In any case, these observations arise out of admiration for the portrait and not expertise in the art. Given its time, Dürer’s profound portrait also exemplifies the great shift in the early Renaissance to human psychology whereby portraits more and more represent an individual person rather than a generic type.
In our contemporary electronic age, Macri presents many personae in his series of fascinating self-portraits. Set off from the dark with the warmth of complex renderings, the face in both portraits are loaded with narrative and symbolic meaning, whether Christian or pagan or a mingling of both. The emphasis in Macri’s Pinus Attis may be more pagan than Christian, and the reverse may be true in Dürer’s. Each portrait, however, attracts and keeps our gaze because of this multiplicity of significance. Dürer gazes outward, Macri inward; both artists see more than they depict, and through the means of our own gazing, both portraits offer revelations.
Kenneth Radu has published books of fiction, poetry and non-fiction, including The Cost of Living, shortlisted for the Governor General's Award. His collection of stories A Private Performance and his first novel Distant Relations both received the Quebec Writers' Federation Award for best English-language fiction. He is also the author of the novel Flesh and Blood (HarperCollins Canada), Sex in Russia: New & Selected Stories, Earthbound and Net Worth (DC Books Canada).
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"This is one of the most awesome paintings I have seen Adamo."
~ Dick Dakessian
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"A wonderful critical analysis of the masterpiece of Adamo, I agree!"
~ Marco Coraggio (Digital mixed-media artist, Salerno Italy)
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"I have to reflect on Duane Michals, though his photo-real-stories were of a different perspective, you are telling stories as well which have the same reference of face in place/time + space.. mythic and real.
Love it in all it's wonderful many layers of interest and seduction. Good work by both of you! I read Kenneth's article and think he really made a beautiful integrated commentary that I agree with very well. He writes on many layers at the same time, and also brings in the mythology just enough to make it one comment. I enjoyed reading it!
And, you did inspire me with Pinus a few months ago and encouraged some of the references in this year's project, including Prometheus, Zeus and Ulysses. Yes my friend, you did inspire me at the beginning of the project and it led the way through the project until I introduced Alice in Wonderland characters commingling with the gods.. just keep this baby moving.. I understand where you are coming from much clearer with the Pinus intro. Who knows who will pop up next, but one god usually leads to another and on we go down the yellow brick road to the Oz in all of us, your friend always."
~ John Felice Ceprano (Ottawa rock sculptor, painter)
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"I especially appreciate this translation of Ovid:
… and the pine which tucks its boughs
up high to form its shaggy crown – the tree
dear to the mother of the gods, Cybele,
if it be true that Attis, for her sake,
shed his own human form, that he might take
the stiff trunk of that pine as his new shape (tr. Mandelbaum).
Rather than Christ, I think of Shakespeare's The Tempest, and Prospero reminding Ariel of how he rescued him (her?): Thou best know'st
What torment I did find thee in; thy groans
Did make wolves howl and penetrate the breasts
Of ever angry bears: it was a torment
To lay upon the damn'd, which Sycorax
Could not again undo: it was mine art,
When I arrived and heard thee, that made gape
The pine and let thee out. In Julie Taymor's version it appears that Ariel easily transforms from male to female as necessary. And this parallels many remarks already made about the male/female sense inherent in the image.
The moment when Pilate sees Jesus and says, Behold the Man, we understand that the denial of the supernatural is always at odds with the fear that actually the being before us is more than a man, a god in fact. In comparing your portrait to the Durer, there is a similar sense that we can read into the multiple meanings of behold the man: a comment that all men have the capacity for both the feminine and the masculine, but often deny it - your portrait clearly demonstrates this ambiguity. The denial of where the spirit lives or if it lives, is also inherent in your portrait. Hope this makes sense! I have often thought all of your self-portraits suggested the british "green man." And I should say your sensual lips are a mirror image of Durer's - a feminine softness surrounded by that masculine moustache in each case."
~ Jan Kather (American media artist at Elmira College)
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"Excellent article. It definitely made me curious about the motives or message of the artist when creating that image.. and how far off the mark Kenneth Radu might be in his perception, even though he is clear and generous in his comments. I am not sure I agree that the audience completes what the artist offers- I think the core of the work remains integral. How fluid can it become before losing meaning? And would the piece be more satisfying if we knew the answers to all these questions? In all likelihood- it would not!"
~ Elena Kirschenbaum (Mosaika Art & Design, Journalism Communications Concordia University)
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"You get the detailed analysis your work deserves."
~ Phil Smith (Artist, Live Action, Performance Now, Plymouth UK)
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"I am not a noted critique nor do I know all of the art language like most of you here. I do know how things make me feel and how they touch my heart. I find your picture to be very touching Adamo. I like it very much. It is moving."
~ Deby Callihan (Elementary Education, Oklahoma State University)
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"Adamo, after a second reading, I must admit that this is an outstanding article.. capturing the spirit of your magnificent work. J'adore ta photo.. et c'est une article fantastique! You are one of the GODS of the 21st century. I salute you with lots of love and pride from Florida! I must say you inspire me and many... many others!"
~ Matti Kniva Spencer
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"This is not a bad thing to be alongside Al "Dürer gazes outward, Macri inward; both artists see more than they depict, and through the means of our own gazing, both portraits offer revelations." c'est formidable Adamo!"
~ Don Porcella (Artist, musician, New York City)
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"Adamo, an interesting take on your work. I like the way the writer takes us with him on the journey that your art has inspired."
~ Curtis Craven (Video professional, University of Texas Austin)
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"That was great Adamo! Even when he said that he is not an expert on Art the piece is a profound analysis of your work. I think it shows that what you do is both good and significative. My congratulations and wishes of a further path of creation."
~ Alexander Fredés
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"In ancient Roman mythology Pines were sacred to Attis, the lover of the earth goddess Cybele. An outstanding article with your parallelism in history bringing out the best! Great and unique work. Adamo, this is Awesome!."
~ Gala Dali
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"Adamo, you have a kindred spirit in Kenneth. He understands you as I feel you would wish to be understood (or even misunderstood) yourself, perhaps almost too personally - yes? He recognizes the shaman in you and you complement each other well. It has been said that the entire history of humankind is housed in every single human embryo. It is true. You embrace everything from the primitive to the present and of what is yet to be. You are raw and real.
All fiction is fact as through any misunderstanding are we understood more - yes? Fellini's correct. We are our own eternity. Marcel Marceau once said that in order for him to mime picking a flower, he must become the flower. Where the truth of that flower might be stranger than any piece of fiction, Marceau's "fictionalisation" of it becomes something more true than the already existing fact of it because he has made it more of what it already is. To that, we are all what we create without what we create necessarily being anything or all of who we are.
What we choose has also chosen us - yes? From there, it's merely a matter of aligning the many traits of one's character with the properties of one's craft, which is no mere matter at all, and bringing the thing into being. I'm drawn to life's dichotomies, to reciprocity and all that is happening "in between". As Blake said - to see the world in a grain of sand. That's it - yes? Blessings Adamo."
~ Phillip Wilcher (Australian composer and pianist)
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"It's a great comparison which gives good impulses. Also made me go have a look at Albrecht Dürer - and it's fascinating to find the quiet, subtle, similar things - he was living in a completely different time. Such a holy image from you and Pinus Attis is one of my favourites."
~ Jackie Stella MO (Freischaffende Künstlerin, Friedensaktivistin und Transformerin)
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"As a fan of Adamo for a few years now I find it hard not to be bias. I think Adamo generates so much beauty and life with his pieces. Great comparison visually, I get it, but I feel more energy from Adamo's portrait than from Durer's."
~ Arron Sans (Musician, The Arts University College Bournemouth, London UK)
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"Powerful commentary - great image! A possible metaphor of birth and change."
~ Bill Rabinovitch (Artist, painter, filmmaker, videographer, New York NY)
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"Awesome you could have been a classic model for him, you adapt so well as yourself to the time and place. As you know he was a childhood hero of mine, I admired his work. He is timeless, curious about life. In this piece Adamo you are a time traveler. The pine is an ancient hair product from Gaul, it suits you. When I was young I was a copyest and The Four Horsemen was one of my projects for silk screening."
~ Brad Fahlman (Kootenay School of Art, Victoria BC)
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"Bel article sur une oeuvre qui interpelle et un chef-d'oeuvre qui fascine toujours autant!"
~ Florent Lion (Teacher, Université Paul-Valéry, Montpellier France)
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"This is an astounding article. It really illustrates a portrait of Adamo's mysterious and beautiful artistic way! I love all the layers to Adamo's work. Magnifico! "He allows us to complete the image, as it were, with our own emotions, fantasies and cultural histories, so that his portrait like all great self-portraits also becomes an aspect of our own autobiography".. wonderful!"
~ Jordi Rosen
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"This is a roaring summation of the illustrious portrayal that Adamo has deemed to share from his repertoire of innate creativity. Brilliantly written and really does Damo TRUE JUSTICE!"
~ लॉरेंट रहस्यवादी
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"This was a very interesting article. I particularly loved the various descriptions of your face. I kept waiting for him to mention your lips because, like Mona Lisa, they are most mysterious. Maybe its just me but my attention is drawn to their feminine sensuality."
~ Mick Conway
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"Brilliant and passionate! Bravo - it helped clarify what I found so mesmerizing about your images. Respect!."
~ Anna Van Cutsem Smith (Visual Arts Educator, University of Calgary)
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"Sing the song and join the rite
Praise the day and bless the night
Thank the gods for what they bear
Earth and water, fire and air
Your work is a Pagan masterpiece Adamo. Symbolizing the human's return to nature after a historical long journey running far away from nature under the concept called civilization. Now we wanna get closer to nature again while preserving the built-up wisdom which has been gained throughout the years/ages.. And thank you for Kenneth Radu's elaborate and strong article as well. It was really enjoyable to read."
~ Altug Celik
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"Extraordinary article, on a not less extraordinary self-portrait of an amazing artist. Great parallels Kenneth uses as references, beautiful text. Congratulations!."
~ Teresa Costa (Arte de Reciclar - Teresa Costa, Lisbon Portugal)
Behold the Man: Self-Portraits of Albrecht Dürer & Adamo Macri
