Much later, an artist like Urs Lüthi sets about representing the many stages of his own transformation from a young man into an old woman (Figure 14).1
What has changed most from Rembrandt to Lüthi could well be the affective tone of the portrait. In the case of Rembrandt, this tone remains in the register of an affirmation whose self-confidence is not seriously shaken by suspicions of anxiety which, whatever their possible legitimacy, are going to be sought more behind the painting than in it, in rumors about personal psychology. In the case of Lüthi, on the other hand, by going through the phases of transformation, he specifically paints a disquiet or doubt on the subject of who is seeing him- or herself being seen and who no longer recognizes him- or herself as a consequence....
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