Self-Portrait as an Experience of “I-for-Myself” and “I-for-Another” in the Work of A. I. Kiyaikin

Introduction. The relevance of the study stems from the need to understand the contemporary artistic process in Russia and in Mordovia. The article examines the work of A. I. Kiyaikin, a Saransk painter and graphic artist who passed away prematurely. It examines for the first time a series of his graphic and painted self-portraits, which became known only after his death. The author arranges these works in a chronological and substantive sequence, clearly demonstrating the development of the artist’s creative personality and position. The objective of this study is to introduce Kiyaikin’s series of self-portraits into scholarly circulation, situating them within the general context of Russian art from the late 20th to the first quarter of the 21st century, and identifying typical and individual traits in the development of the personality of a contemporary Russian artist. Materials and Methods. The study focuses on Kiyaikin’s graphic and painted self-portraits. Art history (formal and iconographic) and cultural studies (cultural hermeneutics) methods are employed. The study is embedded within the framework of M. M. Bakhtin’s conceptual understanding of the self-portrait phenomenon, ranging from “self-for-myself” to “self-for-others”. Results and Discussion. The self-portrait (the artist’s self-created image) is one of the most complex and profound genres in the visual arts. Immersion in its space (that of the artist themselves and the viewer perceiving the work) depends on many factors related to understanding or deciphering the meanings expressed by the artist. Artists turn to the self-portrait genre to define their place in culture. At different stages of their lives, they see themselves differently, and a changing world alters their worldview. The artist immerses themselves in their inner experiences, reflecting on their purpose and the nature of their creativity, attempting to find the optimal balance between subjectivity and objectivity. Self-portraits do not occupy a central place in A. I. Kiyaikin’s work; however, they help us understand the artist, his inner creative principles and positions, and discover the unique structure of his art. While analyzing A. I. Kiyaikin’s self-portraits, the author concludes that they fit logically into a comprehensive series of self-images by artists from different periods in the development of Russian art. Conclusion. This article introduces a significant series of previously unknown graphic and pictorial self-portraits by A. I. Kiyaikin to scholarly circulation. These works not only represent important facts about his creative biography but also reveal his civic positions and help us better understand his creative and human potential. This article contributes to the study of contemporary fine art in Mordovia and Russia as a whole, and to the exploration of self-portraiture as a genre of fine art. It may be useful to art historians and cultural scholars, in examining the work of A. I. Kiyaikin and in understanding the current stage of Russian artistic development.