Parmigianino "Self Portrait in a Convex Mirror"

Painted in 1523, Parmigianino’s “Self Portrait in a Convex Mirror” was created in a period highly influenced by Cartesian Perspectivalism. However, Parmigianino’s painting takes on a much different geometrical configuration than its Renaissance counterparts. Unlike the perspectivalists, who used square pyramids to create an illusion of infinite space, Parmigianino’s work appears to be created in the image of a sphere. The enlarged hand in the foreground and the distorted window in the background show this spherical representation of space. Such dimensions clearly do not follow the Renaissance perspective standards for geometric accuracy, and actually engage the viewer in a casual form of mockery. Titled “Self Portrait in a Convex Mirror”, Parmigianino challenges the representations of the “self-portrait” and the reflection of a mirror. Both a self-portrait and a mirror are assumed to be objects of realistic representation. One looks in a mirror to see an accurate image of oneself, similarly a self-portrait usually connotes a likeness to its subject. However, Parmigianino’s painting displays a fun house-like effect, with its modulated, distorted view of reality crafted by the hand of the artist. The subject of the painting also aids in the satirical quality of the portrait. Although meant to be Parmigianino, the long hair and youthful, soft features make the subject look quite feminine. The direct eye contact of the subject also creates an automatic engagement with the viewer; Parmigianino appears to be staring at you with a cynical smirk. In combination, these characteristics make Parmigianino’s “portrait” appear to be more of a mockery than an accurate representation of a figure in a convex mirror