Metapainting: A Picture within a Picture as a Form of Artistic Self-Reference

Abstract

The purpose of the article is a comprehensive analysis of the phenomenon of metapainting, in particular the technique of ‘picture within a picture’, as a form of artistic self-reference aimed at understanding painting’s own nature, mechanisms of representation and interaction between the author, the work and the viewer in various historical and cultural contexts. The research methodology is based on the research of A. Chastel and J. Gallego, who considered ‘picture within a picture’ as a method of metarepresentation in painting, as well as on the work of R. Reed, who analyses historical examples and mechanisms of depicting paintings within paintings. Scientific novelty. It is emphasised that the technique of ‘picture within a picture’ performs a multi-level function: metareflection, citation of tradition, playful composition and symbolic load, combining historical analysis and the theory of artistic self-reflection. Conclusions. Metapainting or painting within a painting is not a secondary compositional element, but a conscious artistic strategy of self-reference aimed at understanding the nature of painting, its functions and the limits of representation. The theoretical concepts of metapainting and mise en abyme allow us to consider this phenomenon as a form of metarepresentation, in which painting turns to itself, creating a multi-level structure of visual meaning. The term metapainting (metapintura) emphasises the self-awareness of painting as art, when an image includes another image or the process of artistic creation, forming an act of self-reflection. In the works of A. Chastel and J. Gallego, metapainting is interpreted as a recursive structure that combines the main level of the image and the internal level of reflection, within which the painting becomes both the object and the subject of analysis. The concept of mise en abyme, borrowed from the literary tradition, is realised in painting through images within images, mirror reflections, citations and allusions, creating the effect of an endless return to the act of depiction. The functions of the reception of the picture within a picture are multifaceted: it serves as a means of metareflection of painting, a tool for quoting artistic tradition, a mechanism for compositional play and a carrier of symbolic and semantic meanings. Internal canvases can serve as a commentary on the main plot, a marker of social status, a religious symbol or an allusion to authoritative examples of art of the past.