How to Cite

Lampe, Moritz: The Involuntary Self-Portrait: Automimesis and Self-Referentiality in the Art Literature of the Italian Renaissance, Heidelberg: arthistoricum.net, 2022. https://doi.org/10.11588/arthistoricum.923

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Identifiers

https://doi.org/10.11588/arthistoricum.923
ISBN 978-3-98501-105-6 (PDF)
ISBN 978-3-98501-106-3 (Hardcover)

Published

11/09/2022

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Authors

Moritz Lampe

The Involuntary Self-Portrait

Automimesis and Self-Referentiality in the Art Literature of the Italian Renaissance

Automimesis or the idea that “every painter paints himself” was a notion that was frequently voiced in art literature of the Italian Renaissance. It was initially thought to be an artistic flaw which threatened the faithful imitation of nature. The corporeal or spiritual similarity between an artist and his work, however, was soon to become a facet that was regarded as positive. Considering biographies of artists, art treatises, and artworks, this book explores the reasons for this paradigmatic shift and shows how ideas from the early modern period continue to shape our modern understanding of the autonomy of the arts.

Moritz Lampe studied art history, communication science and sociology in Leipzig and Rome. He has been a doctoral fellow at the Kunsthistorisches Institut in Florenz and the Università degli Studi di Firenze, where he gained his PhD with a thesis on Renaissance art theory. Currently he is a research associate at the Universität Leipzig and works on 19th-century photography.

Media coverage

Andreas Beyer: [Rezension zu:] Moritz Lampe: The Involuntary Self-Portrait. Automimesis and Self-Referentiality in the Art Literature of the Italian Renaissance, Heidelberg 2022. In: ArtHist.net, 21.10.2024. Letzter Zugriff 22.10.2024. <https://arthist.net/reviews/42979>.

Chapters

Table of Contents
Pages
PDF
Title
Contents
7-8
Acknowledgements
9-10
Introduction
11-21
1 Early Beginnings
23-30
2 Differences in Style
31-92
3 Selective Imitation and Repetition
93-141
4 Giorgio Vasari’s Vite and Automimesis
143-187
5 Artistic Strategies Against Automimesis
189-215
6 The Harmonisation of the Arts
217-242
7 Art and Artist in the Age of the Counter-Reformation
243-261
Conclusion
263-268
List of Illustrations and Copyright Remarks
269-272
Bibliography
273-292
Index of Names
293-298

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