Compare Albrecht Dürer’s self-portrait, dated 1500, with the self-portrait by the female painter Caterina van Hemessen, dated 1548.

Result #1

The exhibition is a case of the arrival of the post-Modern, of the collapse of Modernism, of the old order. The reconstruction of the self is a matter of course, but in the end, the reconstruction is more a matter of denial than a return of the real.

Result #2

Compare Albrecht Dürer’s self-portrait, dated 1500, with the self-portrait by the female painter Caterina van Hemessen, dated 1548. This exhibition was also an overview of the work of the two artists together, since both have been living and working in Berlin for more than twenty years. Van Hemessen has had a retrospective in her hometown in Berlin. The exhibition was also a tribute to her, a way of saying that she has played a major role in the development of the city and its art. The exhibition also brought to the fore the fact that the artist herself, who has lived in Berlin since 1975, is also a part of the citys art scene, and that she is also a member of the Berlin-based collective Höfte, which has collaborated with the artist.The show also included Van Hemess works on paper, which she has been making for almost twenty years. These consist of a variety of visual images, mostly in black-and-white, but occasionally in color. The artist uses the materials that she has gathered over time, such as scraps of paper, dust from her studio, and found objects. Van Hemessen has been using black-and-white in a number of ways, as a way to focus on an object or a surface that is already present in her mind. For example, the black-and-white paintings of a few years ago were made by placing paper on the canvas and painting it. The result was a very deliberate, controlled, and precise application of color. In the drawings, the black-and-white images were often in the middle of the picture, like the surface on a television screen. Van Hemessen has also been using the black-and-white images of the street, which are the most common in her work. She has also been using this image in a number of works, such as the recent series of photographs of the Berlin train station, also titled Black-and-white. In these images, the image of the station, which Van Hemessen took from the top of the station, is also the image of the train.

Result #3

These works are both in the museum and in the flesh, and the fact that they are both here and there is a reminder of how much art must be present to realize the potential of art, and that is why this exhibition of the works of Albrecht Dürer and van Hemessen—which was curated by Maria Gómez-Peña and Francisco Zagora and was opened by a contemporary art historian, Mario Pedro Speranza—had a tremendous impact.

Result #4

Compare Albrecht Dürer’s self-portrait, dated 1500, with the self-portrait by the female painter Caterina van Hemessen, dated 1548. The show had to include both of these women, and both of them were depicted as male. Thus, the painter Ernst Ludwig Kirchner was represented by his self-portrait, while the self-portrait of a young man by the German artist Otto Mühlmann was shown in a private gallery. The images and the artists names were arranged in the order of the artist, but the point was to see how the two sides of the portrait corresponded. The self-portrait, for example, showed a headless female torso, which had been painted with the mask of a devil, and a headless female torso, which had been painted with the mask of a human. The headless woman, however, was not the same as the head of a devil, but rather a female figure with a mask. The devil was depicted in the same way in the self-portrait, but the devil, it turned out, was the artist himself. The artist was, in a sense, his own devil.The artist Ernst Ludwig Kirchner, whose career spanned almost fifty years, was represented by a self-portrait and a self-portrait. Ernst Ludwig Kirchner, whose career spanned almost fifty years, was represented by a self-portrait and a self-portrait. Ernst Ludwig Kirchner, whose career spanned almost fifty years, was represented by a self-portrait and a self-portrait. Ernst Ludwig Kirchner, whose career spanned almost fifty years, was represented by a self-portrait and a self-portrait. Ernst Ludwig Kirchner, whose career spanned almost fifty years, was represented by a self-portrait and a self-portrait. Ernst Ludwig Kirchner, whose career spanned almost fifty years, was represented by a self-portrait and a self-portrait.

Result #5

Compare Albrecht Dürer’s self-portrait, dated 1500, with the self-portrait by the female painter Caterina van Hemessen, dated 1548. . . . As for the works of the early Renaissance—the Renaissance master, the Renaissance painter, the Renaissance woman—they are all part of the same genre, and they all seem to be about the same subject: the self. The Renaissance painter is the self in all its complexity and fullness, as Dürer’s self-portrait shows. The Renaissance woman, as Dürer’s self-portrait shows, is the self in a variety of different ways. This is the self of the Renaissance painter who was, as the self-portrait shows, a self-portrait by the Renaissance woman. The self-portrait of the Renaissance painter is, by the Renaissance woman, a self-portrait by the Renaissance woman. The self-portrait of the Renaissance woman is, as the self-portrait shows, a self-portrait by the Renaissance woman. The self-portrait of the Renaissance woman is, as the self-portrait shows, a self-portrait by the Renaissance woman. The self-portrait of the Renaissance woman is, as the self-portrait shows, a self-portrait by the Renaissance woman. The self-portrait of the Renaissance woman is, as the self-portrait shows, a self-portrait by the Renaissance woman. The self-portrait of the Renaissance woman is, as the self-portrait shows, a self-portrait by the Renaissance woman. The self-portrait of the Renaissance woman is, as the self-portrait shows, a self-portrait by the Renaissance woman. The self-portrait of the Renaissance woman is, as the self-portrait shows, a self-portrait by the Renaissance woman.