Self-P, part three

From the copy to Omar Calabrese's Artists' Self-Portraits:

"At first a self-portrait was hidden in a narrative painting: an artist would paint his image as part of a crowd scene, for example, or as a mythological figure. On the other extreme, once the genre was accepted, it was practiced by some artists—Rembrandt, van Gogh, Munch, and Dali, for instance—as almost an obsession."
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For these comic book book jackets, hiding is not an option. These artists, no matter what measure of control they assert in their portraits, are winners in the publishing world: a-mythological, unflayed, nowhere near a crowd. The book precedes the self-portrait; the self-portrait is the book's penultimate manifestation. Joe Schmoe gets no. Zinesters give only the ghostly fingers of their email addresses. Drawing obsessive autobiography is perhaps the compromise, the build-up, but the surrogate self as a narrative subject opposes the typical self-portrait. Crumb and Spiegelman have the obsession, and have achieved both surrogate and self. Joe Sacco's obsession, however, netted him a real life photo to bolster his real life reporter credentials.
--Ho ho: Norman Rockwell's Triple Self-Portrait (from Autoritratti).