Self-portrait Aliejinis paveikslas, sumalbuotas rankomis tik jums vienam

Identification of the Self-portrait by Antonio Laccabue

The artwork titled Self-portrait was created by the artist Antonio Laccabue in 1954. This specific piece is a representation of the artist himself, captured during a period of his life marked by significant personal movement and transition. The work exists as a physical record of the artist's presence and his relationship to the surrounding environment.

This painting is currently held within a permanent collection. The specific location and repository for this work are as follows:

• Title: Self-portrait
• Artist: Antonio Laccabue
• Date: 1954
• Museum: Fondazione - Archivio Antonio Ligabue di Parma
• Location: Parma, Italy

The provenance of the work links it directly to the archives of the Fondazione - Archivio Antonio Ligabue di Parma. This institution maintains the historical record of the artist's output in Parma, Italy. The 1954 date marks a specific point in the chronology of Laccabue's career, distinguishing this particular composition from his other self-portraits produced in different years.

Visual Composition and Subject Matter

The composition is centered on a portrait of a man. This central figure is characterized by a furrowed brow and an intense gaze directed toward the viewer. The subject's facial features are set against a background that integrates elements of a landscape. This setting includes trees and buildings, which are rendered with simplified and geometric shapes. The arrangement combines the human form with these environmental components, merging portraiture and landscape into a single field of view.

The spatial organization of the work follows these specific structural elements:

• A central portrait of a man acting as the primary focal point.
• A background composed of trees and architectural structures.
• Simplified, geometric forms used to define the landscape elements.
• A combination of portraiture and natural scenery.

The arrangement of the man within the landscape creates a sense of integration between the subject and the surroundings. The background elements, such as the buildings and trees, lack traditional depth cues, resulting in a flattened perspective. This approach emphasizes the relationship between the figure and the simplified shapes of the environment.

Technical Execution and Artistic Style

The execution of this 1954 work relies on a heavy, tactile impasto technique. Thick, gestural brushstrokes define the surface, creating a rugged terrain of ridges and valleys across the canvas. This physical depth results in a highly textured surface that catches light unevenly. The application of paint is vigorous, giving the work a sculptural quality that emphasizes the materiality of the medium.

The stylistic approach leans towards Expressionism and Abstract Expressionism. Rather than adhering to realistic color representation, the artist employs colors expressively to define form and mood. The visual language is characterized by:

• Thick, gestural brushwork
• Heavy impasto texture
• Expressive, non-realistic color application
• Fragmented, geometric shapes in the background

The composition utilizes a flattened perspective. Traditional depth cues are absent, which directs attention toward the raw use of line and the physical texture of the oil paint. The style is reminiscent of the textured grit found in the works of Antoni Tàpies, prioritizing the physical presence of the paint over precise anatomical or environmental realism.

Related Works and Artist Legacy

Antonio Laccabue produced several other works that explore the theme of self-representation. These include Self-portrait with a fly (1960) and another Self-portrait from 1960. His output also features Self-portrait with dog (1957). These pieces demonstrate his continued interest in the intersection of the human figure and specific subjects.

The artist's broader body of work is defined by specific subject matter and color application. His paintings often feature depictions of animals and landscapes. These subjects are rendered with a focus on color and form. His reputation is built upon these colorful depictions of the natural world.

• Self-portrait with a fly (1960)
• Self-portrait (1960)
• Self-portrait with dog (1957)