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Self-Portrait Based on Albrecht Dürer's Melancholia I
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by Dianne Martin
Retired AP Teacher
New York, New York
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This is a complex, multipart assignment that results in at least three or four drawings (and possibly many more) that are usable for the AP Studio Art: Drawing portfolio or the 2-D Design portfolio, depending on how the student interprets the assignment.
The final work is a student self-portrait using the basic compositional elements of Albrecht Dürer's well-known print Melancholia I. The medium of the final image is up to the student, who may use any color or black and white media, as well as collage and printing. The style is also up to the student. As long as the finished image is recognizably derived from the Dürer, students may go far into abstraction. While working toward a final composition, students produce studies of different parts of the composition, of objects that are important their lives, of themselves, and of other sources of inspiration.
Goals
- To introduce students to the complexities of composition of figures and objects in a three-dimensional space
- To introduce students to the various ways it is possible to use personal imagery in an imaginative and visually coherent way
- To involve students fully in the close study of one work of art as one possible template for developing their own personal imagery
Activities and Instruction
We begin with a short introduction to Dürer and his work and move quickly to looking at the complexities of Melancholia I itself. We discuss the various meanings ascribed to the different objects in the composition and the use of this image to represent the artist. We also look at interpretive images by Picasso (including his renditions of Delacroix's Women of Algiers, Velázquez's Las Meninas, and other works).
Study 1: The students quickly realize that it is impossible to interpret the image in a personal way using personal objects without first completing a close study of the composition -- a kind of "getting to know the image" study. In this study, usually in charcoal and sized 18" x 24", the emphasis is much less on individual objects than on the organization of space as a whole. Students soon learn that drawing an individual piece of the whole is unproductive and that they must approach the whole image as a sum of its parts. Although this is a direct "copy," as it were, of the Dürer, the free nature of the drawing as well as the lack of specific detail can make the drawing strong, personal, and visually expressive.
Studies 2-5 (or more): The students now begin to develop ideas for their own compositions and do studies of individual objects they are considering for inclusion in their finished composition. The media for these studies vary with the student's interest and experience; possibilities include charcoal, pencil, paint, collage, and monotype. Using different materials gives the students ideas about what to use for the final piece, as well as expanding their comfort level with various materials and processes. These object studies result in many drawings that may be suitable for the student's portfolio. We critique the drawings in class, focusing on use of space, overall composition, and quality of the image. These critiques also provide an opportunity to discuss the issue of "finish." These drawings are generally much less "finished" than some students think a drawing must be to be "good." The class critiques offer a chance to discuss the various visual components of a strong and compelling image.
Study 6 (or more): Now the students must start on the main figure in Melancholia I. For this study or studies, they must obtain photographs of themselves in the pose of the Melancholia I figure. The clothing they wear may be different from that the clothing in the print, but the pose must be recognizable. Because of the position and gesture of Dürer's figure, the emphasis is less on a facial resemblance and more on the figure's overall structure. Students also make life drawings of one another in the Melancholia I pose to use for reference, so the photographic sources become primarily useful for details of costume.
Studies involving context: As the students complete object and figure studies, they usually realize that additional studies are needed in order to examine the complex relationships of scale in Melancholia I and the ways the individual elements work in the constructed three-dimensional space of Dürer's image. The beauty of this part of the project is that each student's set of problems is unique, involving such challenges as scale, perspective, light and shadow, and color. This is the time when students learn the most and develop a respect for Dürer as a fellow artist. These more complex studies of parts of the composition are often of very high quality and are critiqued as images in their own right.
Final image: Generally, the size limitation on this image is 18" x 24", so that the piece is a candidate for the Quality section of the portfolio. (In fact, this is always a consideration -- one or more of the preliminary studies may also be suitable for that section). The medium is entirely up to the student -- color or black and white. By this time, each student has substantially improved in technical skill as well as imaginative power. Each student has an enormous personal investment in the project, while sharing a feeling of camaraderie with other students and with Dürer.
Dianne Martin taught at the Spence School in New York City for 33 years. During that time, she served as Visual Arts department head and taught Advanced Placement Studio Art along with other studio and art history courses. She served as an AP Studio Art Reader for six years and on the Development Committee for two years. Martin is an exhibiting artist and printmaker and maintains a studio in Long Island City, New York. Her work is included in many private and corporate collections. She is a member of the National Association of Women Artists and is listed in Who's Who in American Art.
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