Karl's Perspective on Parmigianino's Self-Portrait in a Convex Mirror

Parmigianino. Self-Portrait in a Convex Mirror. 1523.

1. How does form (the technical construction of the piece) underscore or challenge narrative and/or content?

The picture frame is circular in shape and curved outwards on the edge, create a bowl-like shape. It is very antique looking, with ornate designs and a gold-black color scheme. The design of the frame itself helps to emphasize the painting, enhancing the curved perspective.

The painting itself is supposed to be a "self-portrait in a convex mirror". Since it is meant to be convex in shape, the edges of the painting are depicted larger than the center. The formally dressed young man in the center is relatively small compared to his right hand which is placed a the bottom edge of the frame.

Parmigianino takes advantage of the corner of the room in emphasizing his perspective. In normal perspective drawings, the Y shape of the corner of the room shows the three-dimensional aspect of the painting. In this one, the top-left corner of the room is placed near the edge of the frame, causing it to become curved in almost an upside-down U-shape. Also adding to the perspective is the parted hair of the subject, which aligns with the top of the frame along with the corner of the room. The subject's collar is in a V-shape, the top-most element that is aligned with the bottom of the frame rather than the top. The same upright-U curvature is used for both of the subject's arms. Both the left wall and the subject's garments are dark. These dark areas, following the curvature of the elements involved, create a black crescent-moon shape at the bottom left of the painting. In contrast, the top-right of the painting is very light in color. The only things breaking this darkness are the subject's pale right hand and the bright window on the wall to the left. This creates a sharp contrast in the form of a curve down the center of the painting, further emphasizing the curved nature of the painting. This curve and color balance works out rather well.

The focal point of the painting is at the front-center of the subject's collar. This gives the impression that the subject is looking down upon the viewer. Along with the positioning of the subject's eyes, this gives an almost haunting looking. Although the head isn't the center of the painting, the lightness of the skin is enough to cause the viewer to focus upon it.

Interesting to note is that there is the edge of a mirror depicted near the subject's left hand. Paying attention to the right hand, the subject appears to be holding a brush towards the viewer. This allows for the realization that the painter is in fact depicting himself painting a self-portrait of himself in a convex mirror, with the painting shown from a convex perspective. Considering the way the subject is looking, this either means there is another convex mirror where the viewer is looking at the subject, or the artist look a few liberties when creating his "self-portrait", as if it is actually from the perspective of the mirror depicting in the painting we would not be able to see the mirror.

If there are weaknesses in the painting, it would be the different levels of curvature in the painting and in the frame. While both are "convex", the painting itself is much more curved than the frame, giving a slight sensation of dizziness. In addition, I'm sure that Parmigianino wasn't a young boy when painting this, but the depiction of himself in this "self-portrait" is exceedingly young looking.

My impression of this work of art is generally good. Parmigianino took the otherwise formulaic style of perspective art and made it interesting by created a curved perspective. By making the elements of the painting curve as well, and attaching a round, curved frame around the painting, the artist managed to create a very focused work of art.