Dürer's Self-Portrait of 1500 Visual & Performing Arts

In class on 8 October, we will look at some works by Albrecht Dürer. This week, the New York Times published an article on his Self-Portrait of 1500. Please look: https://www(dot)nytimes(dot)com/interactive/2020/09/25/arts/durer-self-portrait.html
In a concise, well-written paragraph, comment on this article. You are free to take any approach you wish. This assignment is an opportunity for you to explain to others what you think about or what you got out of this article, particularly since we will be considering Dürer in class.
POST your comments on the Forum by 9:00 a.m Tuesday, 6 October.
COMMENT or ask questions of at least two classmates by 9:00 a.m. on Thursday, 8 October.
*** Remember that the Forum is intended to bring together multiple perspectives, foster thought, and stimulate discussion. You will learn not only by writing your posts, but by reading the posts of others, posing constructive questions, and contributing thoughtful comments. Your posts and responses must be polite, professional, and in the spirit of collaboration. ***
pls also write a comment , here is the another student answer
answer 1
Dürer was ahead of his time, making himself the center of attention in his portraits beside the fact he monogrammed his paintings which were not common in his time. In his self-portrait 1500, he represents himself as an icon with too many similarities to how Jesus has been represented throughout history, front-facing portrait, and the position of his hand gesture. The richness of his portrait does not just defy the custom of not drawing too much attention to themselves(painters) but even how he represented himself, the fur to show that he is more than a plain painter, he has affluence. This opens the door to future artists to present themselves through portraits like Frida Kahlo, Andy Warhol, and Sarah Lucas.
answer 2
I have seen this self portrait by Albrecht Dürer before but did not know much about him. This article gave me a new found appreciation for Dürer. Not only for Dürer painting abilities but also for his use of a monogram to distinguish his work form other artists and counterfeit right reproduction of his prints. Signing one's work was not a common practice for artists during the early 16th century, I believe he was influenced by the ideas of individuality that were spurred from the humanists movement and the reservation of the prdastant church. Another example of Dürer’s expressions of individuality is the way he depicted himself in on his selfie portrait. Artists would rarely paint themselves and when they did, the painter would be hidden in a crowd of people. quite the opposite of Dürer who would depict himself in a front-facing the position reserved for mainly for Jesus.
answer3
What parallels can we draw between Dürer's 1500 self-portrait and the modern selfie? One is obvious: a fixation on an idealized vision of oneself, manicured and highly presentable to an audience of hypothetically limitless range. Dürer used tropes of Christ to establish a sense of self that seemed indelible, seemingly both internally and to his audience, while contemporary selfie-takers might base their self-conception off of epochal conventions of beauty and taste; they boil down to very similar approaches. Dürer was also lucky enough to have a countenance not entirely dissimilar from that of Christ, which in pre-reformation Germany was likely quite a feather in his cap. That fact leads us, albeit somewhat tangentially, to another intersection highlighted by the Times: worthiness. It is a curious idea to consider and contrast self-worth between contemporary times and the late 15th and early 16th centuries. We can presume that at the time self-worth had much more to do with piety than any of the moral and psychological benchmarks in play today, but Dürer offers a glimpse into a perennial concern, one that was almost always out of sight but never out of mind: vanity. The vanity of others could be seen to an extent in works they commissioned, but the artist's ability and intent to capture themselves, and thus amend another layer into Michelangelo's conception of beauty as something which is filtered through the eye and mind of the artist, was just beginning to emerge. In an era where everyone is furnished with sets of editing tools to alter and enhance their image on platforms defined by those images, thinking of how Dürer and others might've conceived and conveyed themselves is a curious exercise with more relevance to how we see ourselves now than maybe is initially obvious.