The paper analyses Iberê Camargo's self-portraits, in particular his 1943 and 1984 paintings, in which the issue of time manifests itself both in the chronology which distinguishes the two conceptions of painting and in action which marks the rhythm and pace as enunciative categories of painting. In the self-portrait of 1943 the rhythm is soft, almost ethereal; in the 1984 painting, the abrupt action accelerates and disarrays the time of the painting, resulting in a fast pace and an effect of unfinishness and imperfection. It is the inscription of time in the pictorial matter which transforms representation, altering, in this way, the intersubjective relationship between the painter and the observer.
self portrait; Iberê Camargo; time in painting
