The tradition of indirect indication of authorship is as old as fine art. In all eras, painters and sculptors left various hints of their identity in their works. It could be not only a signature but also a favorite animal species, flower, or symbol. The main motive was the desire, inherent in all creative people, to indicate their connection with the work on the subject level and, thus, perhaps, to find immortality. In addition, the usual signature, although telling the authorship, does not introduce the viewer to the master himself. What cannot be said about the hidden self-portrait: it shows the viewer what the artist looked like, what his face and gaze were. Only a curious viewer, attentive to details, could be honored with such an acquaintance in past eras, giving the meeting a unique charm and a flair of mystery. Of course, this tradition has its own unwritten rules. For example, to portray oneself in the foreground as a political figure or saint is considered a manifestation of vanity and sour taste. Therefore, most hidden self-portraits are usually located in the background, away from the glances of inexperienced viewers. Sometimes they are so well disguised that they even cause heated discussions among art historians.
"Feast of the rosary" ("Feast of the Rosary")
The famous altar painting by Albrecht Dürer was painted in 1506 for German customers during the master's stay on the Apennine Peninsula. According to art historians, it is from it that we can count the Renaissance in Germany. The canvas is filled with vivid images and references not only to the Gospel stories but also to the political situation on the European continent. For example, the German emperor, kneeling on one knee, receives a wreath on his head from the hands of the Virgin Mary. Behind him is the laity, and behind the Pope's back in the left part of the composition are crowded clerics. This separation of secular and political power was to establish the independence of the German emperor from the Papal See. The work's author could not but mark his presence on such an essential canvas for his country. We can see his hidden self-portrait in the upper right corner of the painting with a scroll in his hands, on which it is written that the work was completed in five months. From Durer's letters, we learn that the picture was painted later.
"Adoration of the Magi"
The painting by Sandro Botticelli was commissioned by the rich Florentine Gaspare di Zanoba del Lama for his funeral chapel. The master lived at a time when Christianity still played an essential role in the secular life of the Italians but was already too weak to protect religious art from the influence of political conjuncture. The customer was a courtier from the influential Medici family, so according to Gaspare's wishes, his benefactors were depicted as Magi. Drawing hidden portraits of so many people, Botticelli himself probably decided to include himself. We can see him in the right corner in an orange outfit, and he looks the viewer directly in the eyes. The courtier is also on the canvas in a blue dress on the right.
"Column of Vittoria"
The author of the small pencil sketch was Michelangelo Buonarroti. The portrait was not the only work dedicated to the Italian aristocrat, considered the first lady of the Renaissance. Being married to the Marquis Fernando Pescara, she wrote beautiful love poetry and, after the death of her husband, continued to remain faithful to him and even wanted to take a vow. Grief gave a powerful impetus to her creativity. According to Vittoria herself, she wrote to pour out her emotional suffering, which her heart lived with, and she did not want any other dish. The image of a sophisticated aristocrat with such a delicate soul organization could not go unnoticed. Vittoria became a symbol of purity and nobility for their contemporaries. They wrote poems to her, admired her, and placed hidden portraits on canvases. Art historians found her image in Raphael's fresco "Parnassus" and in Michelangelo's fresco "The Last Judgment" in the image of the Virgin Mary. She became for her era what Laura was for Petrarch. It is not surprising that Michelangelo desired to secretly mark his presence next to the ideal of a woman.
"Pietà for Vittoria Colonna" Michelangelo Buonarroti. Photos © dic.academic.ru
We can see the figure of the master inscribed in the folds of Vittoria's dress in one of the black and white sketches. He depicted himself bent over with a palette in his hand while working on the painting. In those days, signing your work was considered an expression of pride and vanity, so such a step was justified. It took about 500 years before Brazilian researcher Dr. Davis DeCampos discovered the hidden self-portrait in 2018.
"Still life with cheeses, almonds, and pretzels"
The painting by Dutch artist Clara Peters was painted in the XVII century. Art historians suggest that she came from a wealthy family. The plots of her still lifes may indirectly indicate this: they invariably contain expensive dishes and delicacies inaccessible to the average Dutchman of that era. Her work is of interest to researchers because of the unusual nature of her position. Women of the XVII century in Holland had few opportunities for creative self-realization. First, they suffered from social prejudice, which is why their creativity was valued less than male artists. Secondly, competition in the fine arts market, and even in such a popular genre, was unrealistic. It was necessary to be very inventive to find a way to fit yourself organically into a still life. Peters found a very original solution - we see her face on the lid of a tin bottle and her initials on a silver knife.
"Bacchus"
The painting by Caravaggio remained unknown until the early twentieth century when it was discovered in the vaults of the Uffizi Gallery in Florence. Probably, the canvas was painted during the life of the master at the court of Cardinal Francesco del Monte, known for his love of a hedonistic lifestyle. The hedonistic lifestyle attracted the master so much that he decided to leave his self-portrait hidden from the viewer, the painting glorifying Bacchus. The original manner of depicting the plots of Greek mythology is of particular value to the picture, close to the folk perception of the bacchanals. The languid look of Bacchus can be interpreted as a hint of sensual pleasures offered by the deity, along with a cup of wine. Caravaggio deliberately refused to idealize, bringing Bacchus as close as possible to that cheerful and uninhibited character as depicted in ancient folk rumors. The dirt under the fingernails finally convinces us of the fidelity of this interpretation of Caravaggio's creative intention.
"Bacchus" Caravaggio. Photos © visituffizi.org
It can be seen in the wine decanter after some effort. Details are barely visible due to the natural process of fading of paints and destruction of the canvas. After the canvas restoration, we can see the artist's facial features and pose leaning over the easel.
"David with the head of Goliath"
Another work by Caravaggio, made in his typical manner of chiaroscuro (sharp contrast of light and shadow). This time the master placed his self-portrait right in the picture's foreground. Looking closely at the head of the defeated giant, we can notice the similarity with the features of Caravaggio himself. Despite the grimace of suffering, it is obvious. Among art historians, there is an original interpretation of the plot of the canvas. It turns out that the face of David has a certain resemblance to the face of the student of master Cheko. Given the direction of the sword blade and the giant's grimace, it can be assumed that we are dealing with a hint of a completely different type of relationship that developed between Caravaggio and Checo. In any case, the hidden portrait is made in an original manner that deserves at least attention.
"School of Athens"
The famous fresco by Raphael Santi became a symbol of philosophical discussions and philosophy as a doctrine of wisdom. At the center of the composition, Plato and Aristotle argue about the nature of things. Plato points upwards, claiming that the essence of everything is in the world of ideas. His pupil Aristotle disagrees with him, lowering his hand to the ground and demonstrating that the spirit (form) exists together with things. The famous dispute has just found its solution, resuming again in one form or another.
"School of Athens" Raphael Santi. Photos © filoli.ru
On the fresco, we meet several portraits of the author's contemporaries. Leonardo da Vinci appears in the image of Plato. In the foreground, leaning on his left hand and deeply immersed in the thought process, sits Michelangelo. Raphael modestly placed his hidden portrait in the middle right.
"The Gate to Paradise"
This is the name of the eastern door of the Florentine Baptistery, considered the oldest building in the Italian city. Several masters worked on it at different times, creating magnificent gilded reliefs with scenes from Scripture. Lorenzo Ghiberti devoted 27 years of his life to working on them. The portal is decorated with ten gilded reliefs with many characters involved in complex compositions. The doors are framed with images of the Old Testament prophets, and the doorposts - with ornaments with floral motifs. Two of them were portraits of the master and his son. Between them, the master placed medallions with images of human faces. Historians say that on an opening day, all the inhabitants of Florence gathered to see the baptistery.
KyivGallery art critic