Self-portrait

For other uses, see Self-portrait (disambiguation).

Frida Kahlo, Self-Portrait, 1940. See discussion of her works below.

Albrecht Dürer Self-portrait 1493. oil, originally on vellum Louvre, Paris. This is among the earliest known formal self-portraits. He is dressed in Italian fashion, reflecting his international success.

A self-portrait is a representation of an artist, drawn, painted, photographed, or sculpted by the artist. Although self-portraits have been made by artists since the earliest times, it is not until the Early Renaissance in the mid 1400s that artists can be frequently identified depicting themselves as either the main subject, or as important characters in their work. With better and cheaper mirrors, and the advent of the panel portrait, many painters, sculptors and printmakers tried some form of self-portraiture. The probable example by Jan van Eyck of 1433 is the earliest known panel self-portrait. He painted a separate portrait of his wife, and he belonged to the social group that had begun to commission portraits, already more common among wealthy Netherlanders than south of the Alps. The genre is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, did it become truly popular.

Types of self-portrait

A self-portrait may be a portrait of the artist, or a portrait included in a larger work, including a group portrait. Many painters are said to have included depictions of specific individuals, including themselves, in painting figures in religious or other types of composition not intended to depict the actual persons as themselves. Often these are just faces in a crowd, often at the corner of the work, but a particular hybrid genre developed where historical scenes were depicted using a number of actual persons as models, often including the artist, giving the work a double function as portrait and history painting. Rubens and Rembrandt painted such scenes This culminated in the seventeenth century with the work of Jan de Bray, and has been revived in recent years in photography by Cindy Sherman. Many artistic media have been used; apart from paintings, drawings and prints have been especially important.

Sometimes artists place their own image into group portraits, such as (probably) Jan van Eyck in the Arnolfini Portrait, who inspired Diego Velázquez in Las Meninas. Later group portraits of family, friends or professional groups became common.

Gallery: Inserted self-portraits

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  Sandro Botticelli's painting of the Adoration of the Magi has an "inserted self-portrait". The position in the (right) corner, and the gaze out to the viewer, are very typical of such self-portraits.
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  Masaccio inserted self-portrait from the Brancacci Chapel frescoes (as is the Filippino Lippi), 1424-6.
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  Piero della Francesca as a sleeping soldier in his Resurrection, 1463, fresco, Sansepolcro.
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  Filippino Lippi as a figure in his Martyrdom of Saint Peter, fresco, 1481-82, Brancacci Chapel , Florence. He is at the extreme right of a crowded composition.

Women painters

Women artists are notable producers of self-portraits; almost all significant women painters have left an example, from Caterina van Hemessen to the prolific Elisabeth Vigée-Lebrun, and Frida Kahlo, as well as Alice Neel, Paula Modersohn-Becker and Jenny Saville who painted themselves in the nude. Vigée-Lebrun painted a total of 37 self-portraits, many of which were copies of earlier ones, painted for sale. Until the 20th century women were usually unable to train in drawing the nude, which made it difficult for them to paint large figure compositions, and portraiture was a common specialism. Until the 19th century, they usually showed themselves in the act of painting, or at least holding a brush and palette. More often than with men, the viewer wonders if the clothes worn were those they normally painted in.

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  Caterina van Hemessen, 1548, perhaps the oldest self-portrait of a female oil-painter, though much earlier examples of manuscript painters exist.
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  Sofonisba Anguissola (c. 1532 - 1625) of Cremona served as court painter to the Queen of Spain, and painted several self-portraits and many images of her family. c.1556
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  Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, circa 1630, Royal collection Windsor. Note the pulled-up sleeve on the arm holding the brush.
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  Judith Leyster, a painter of genre subjects, who surely did not normally dress like this to paint. NGA, 1630.
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  Angelica Kauffmann, self-portrait, 1780-1785, a successful painter in her time, she was a great friend of Sir Joshua Reynolds.
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  Adelaide Labille-Guiard, 1785, with two pupils. A "subjects-eye" view of the painter at work. It seems likely that women society portraitists did actually paint wearing fashionable clothes like this.
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  Élisabeth Vigée-Lebrun painted several self-portraits that were hugely successful in the Paris Salons, and was influential in pioneering an "informal" fashion style at the end of the Ancien Regime. At 22, 1782.
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  Marie-Denise Villers, Young Woman Drawing, 1801, thought to be her self-portrait, and her most famous and finest painting. Originally attributed to Jacques-Louis David.
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  Marie Ellenrieder, self portrait, 1819. A German religious artist and the first woman to enter the Academy of Munich.
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  Mary Cassatt was an American portrait painter who specialised in portraits of women and children, 1878.
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  Marie Bashkirtseff self-portrait, 1880 was a Russian born artist who died at twenty-five. A large number of Bashkirtseff's works were destroyed by the Nazis during World War II
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  Gwen John (1902) also mostly painted women and children.

Antiquity

Images of artists at work are encountered in Ancient Egyptian painting, and sculpture and also on Ancient Greek vases. One of first self-portraits was made by the Pharaoh Akhenaten's chief sculptor Bak in 1365 BC. Plutarch mentions that the Ancient Greek sculptor Phidias had included a likeness of himself in a number of characters in the "Battle of the Amazons" on the Parthenon, and there are classical references to painted self-portraits, none of which have survived.

Asia

Portraits and self-portraits have a longer continuous history in Asian art than in Europe. Many in the scholar gentleman tradition are quite small, depicting the artist in a large landscape, illustrating a poem in calligraphy on his experience of the scene. Another tradition, associated with Zen Buddhism, produced lively semi-caricatured self-portraits, whilst others remain closer to the conventions of the formal portrait.

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  Miyamoto Musashi, Samurai, writer and artist, c. 1640.
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  Hakuin Ekaku was a Zen monk, who painted many self-portraits of himself as sages of the past, 1764, Tokyo.
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  Motoori Norinaga, late 18th century, Japan
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  Hokusai, early 19th century, Japan
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  Another Hokusai, Louvre
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  Kikuchi Yōsai, 1856-7, Japan.
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  Chen Hongshou, China, 1635
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  Ren Xiong, a member of the Shanghai school, c.1850

European art

Illuminated manuscripts contain a number of apparent self-portraits, notably those of Saint Dunstan and Matthew Paris. Most of these either show the artist at work, or presenting the finished book to either a donor or a sacred figure, or venerating such a figure. Orcagna is believed to have painted himself as a figure in a fresco of 1359, which became, at least according to art historians - Vasari records a number of such traditions- a common practice of artists. However for earlier artists, with no other portrait to compare to, these descriptions are necessarily rather speculative. In Italy Giotto di Bondone (1267—1337) included himself in the cycle of "eminent men" in the Castle of Naples, Masaccio (1401—1428) depicted himself as one of the apostles in the painting of the Brancacci Chapel, and Benozzo Gozzoli includes himself, with other portraits, in the Palazzo Medici Procession of the Magi (1459), with his name written on his hat. This is imitated a few years later by Sandro Botticelli, as a spectator of the Adoration of the Magi, who turns from the scene to look at us. (1475). Fourteenth century sculpted portrait busts of and by the Parler family in Prague Cathedral include self-portraits, and are among the earliest such busts of non-royal figues. Ghiberti included a small head of himself in his most famous work. Notably, the earliest self-portrait painted in England, other than in a manuscript, is the miniature painted in oils on panel by the German artist Gerlach Flicke, 1554.

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  Saint Dunstan, then artist-Abbot of Glastonbury, prostrates himself before a giant Christ. Later he became Archbishop of Canterbury. c. 950 (cropped at bottom).
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  Peter Parler, late fourteenth century, from Prague Cathedral, where he was master architect and sculptor.
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  Lorenzo Ghiberti on the Gates of Paradise, Baptisterio, Florence self portrait, early 15th century
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  Jan van Eyck, 1433, generally regarded as a self-portrait, which would make it the earliest Western panel portrait after antiquity.
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  Rogier van der Weyden, as Saint Luke, makes a drawing for his painting of the Virgin. Boston, c. 1440.
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  Jean Fouquet, c. 1450, a very early portrait miniature, and if the Van Eyck above is excluded, the oldest individual Western painted self-portrait.
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  Andrea Mantegna, c. 1474, includes himself (as himself) in his appropriate place in this fresco of the Gonzaga court.
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  Israhel van Meckenem and his wife, engraving c. 1490, the earliest portrait print.

Albrecht Dürer, 1471–1528, the first prolific self-portraitist

Albrecht Dürer was an artist highly conscious of his public image and reputation, whose main income came from his old master prints, all containing his famous monogram, which were sold throughout Europe. He probably depicted himself more often than any artist before him, producing at least twelve images, including three oil portraits, and figures in four altarpieces. The earliest is a superb silverpoint drawing created when he was thirteen years old. At twenty-two Dürer painted the Self-portrait with Carnation (1493, Louvre), probably to send to his new fiancée. The Madrid self-portrait (1498, Prado) depicts Dürer as a dandy in fashionable Italian dress, reflecting the international success he had achieved by then. In his last self-portrait, sold or given to the city of Nuremberg, and displayed publicly, which very few portraits then were, the artist depicted himself with an unmistakable resemblance to Jesus Christ (Munich, Alte Pinakothek). He later re-used the face in a religious engraving of, revealingly, the Veil of Veronica, Christ's own "self-portrait" (B.25). A self-portrait in gouache he sent to Raphael has not survived. A woodcut of a bathhouse and a drawing show virtually-nude self-portraits.

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  Dürer at thirteen, silverpoint, Albertina, 1484
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  Dürer at about twenty, 1491–92, drawing, Metropolitan
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  Dürer, 1493, oil, originally on vellum, The Louvre, Paris
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  Dürer's last self-portrait, 1500—unmistakably Christ-like

Renaissance and Baroque

The great Italian painters of the Renaissance made comparatively few formal painted self-portraits, but often included themselves in larger works. Most individual self-portraits they have left were straight-forward depictions; Dürer's showmanship was rarely followed, although a controversially attributed Self-portrait as David by Giorgione would have something of the same spirit, if it is a self-portrait. There is a portrait by Pietro Perugino of about 1500 (Collegio del Cambio of Perugia), and one by the young Parmigianino showing the view in a convex mirror. There is also a drawing by Leonardo da Vinci (1512)., and self-portraits in larger works by Michelangelo, who gave his face to the skin of St. Bartholomew in the Last Judgement of the Sistine Chapel (1536-1541), and Raphael who is seen in the characters of School of Athens 1510, or with a friend who holds his shoulder (1518). Also notable are two portraits of Titian as an old man in the 1560s. Paolo Veronese appears as a violinist clothed in white in his Marriage at Cana, accompanied by Titian on the bass viol (1562). Northern artists continued to make more individual portraits, often looking very much like their other bourgeois sitters.

Titian's Allegory of Prudence (c. 1565-70) is thought to depict Titian, his son Orazio, and a young cousin, Marco Vecellio. Titian also painted a late self-portrait in 1567; apparently his first. Caravaggio painted himself in Bacchus at the beginning of his career, then appears in the staffage of some of his larger paintings. Finally, the head of Goliath held by David (1605-10, Galleria Borghese) is Caravaggio's own.

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  Gentile Bellini, black chalk, 1496 or earlier, Berlin
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  Nuremberg sculptor Adam Kraft, self-portrait from St Lorenz Church, 1490s.
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  Probable self-portrait by Leonardo da Vinci, c. 1512-1515
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  Nicholas Hilliard, self-portrait miniature, 1577

Rembrandt and the 17th century in Northern Europe

In the 17th century, Flemish and Dutch artists painted themselves far more often; by this date most successful artists had a position in society where a member of any trade would consider having their portrait painted. Very many also painted their wives and families, again following the normal practice for the middle-classes. Anthony Van Dyck and Peter Paul Rubens gave us numerous images of themselves, the latter also often painting his family.

Rembrandt was the most frequent self-portraitist, at least until the self-obsessed modern period, also often painting his wife, son and mistress. At one time about ninety paintings were counted as Rembrandt self-portraits, but it is now known that he had his students copy his own self-portraits as part of their training. Modern scholarship has reduced the autograph count to something over forty paintings, as well as a few drawings and thirty-one etchings, which include many of the most remarkable images of the group. Many show him posing in quasi-historical fancy dress, or pulling faces at himself. His oil paintings trace the progress from an uncertain young man to the dapper and very successful portrait-painter of the 1630s to the troubled but massively powerful portraits of his old age.

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  A young Rembrandt, c. 1628, when he was 22. Partly an exercise in chiaroscuro. Rijksmuseum
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  Etching, c. 1630. Probably an exercise in capturing facial expressions for larger paintings.
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  Rembrandt in 1632, when he was enjoying great success as a fashionable portraitist in this style.
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  Role-playing in Self-portrait as an oriental Potentate with a Kris, etching, 1634.
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  1640, wearing a costume in the style of over a century earlier. National Gallery
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  Vienna c. 1655, oil on walnut, cut down in size.
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  Again in antique costume, 1658, Oil on canvas Frick Collection. His largest self-portrait, for which a new mirror may have been used.
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  Dated 1669, the year he died, though he looks much older in other portraits. National Gallery

After Rembrandt

Self-Portrait of Van Gogh with head bandaged, after he (debatedly) cut off part of his ear.

In Spain, there were self-portraits of Bartolomé Estéban Murillo and Diego Velázquez. Francisco de Zurbarán represented himself in Luke the Evangelist at the feet of Christ on the cross (around 1635). In the 1800s, Goya painted himself numerous times. French self-portraits, at least after Nicolas Poussin tend to show the social status of the artist, although Jean-Baptiste-Siméon Chardin and some other instead showed their real working costume very realistically. This was a decision all 18th century self-portraitists needed to make, although many painted themselves in both formal and informal costume in different paintings. Thereafter, one can say that most significant painters left us at least one self-portrait, even after the decline of the painted portrait with the arrival of photography. Gustave Courbet (see below) was perhaps the most creative self-portraitist of the 19th century, and The Artist's studio and Bonjour, Monsieur Courbet are perhaps the largest self-portraits ever painted. Both contain many figures, but are firmly centred on the heroic figure of the artist.

Prolific modern self-portraitists

Vincent van Gogh, Self Portrait, dedicated to Gauguin, 1888

One of the most famous and most prolific of self-portraitists was Vincent van Gogh, who painted himself thirty-seven times between 1886 and 1889. In all of these self-portraits one is struck that the gaze of the painter is seldom directed at us; even when it is a fixed gaze, he seems to look elsewhere. These paintings vary in intensity and color and some portray the artist with bandages; representing the episode in which he severed one of his ears.

The many self-portraits of Egon Schiele set new standards of openness, or perhaps exhibitionism, representing him naked in many positions, sometimes masturbating or erect as in Eros (1911), with an enormous red erect penis. Stanley Spencer was to follow somewhat in this vein. Edvard Munch made great numbers of self-portrait paintings (70), prints (20) and drawings or watercolours (over 100) throughout his life, many showing him being badly treated by life, and especially by women. Frida Kahlo, who following a terrible accident spent many years bedridden, with only herself for a model, was another painter whose self-portraits depict great pain, in her case physical as well as mental. Her 55-odd self-portraits include many of herself from the waist up, and also some nightmarish representations which symbolize her physical sufferings.

Throughout his long career Pablo Picasso often used self-portraits to depict himself in the many different guises, disguises and incarnations of his autobiographical artistic persona. From the young unknown "Yo Picasso" period to the "Minotaur in the Labyrinth" period, to the "old Cavalier" and the "lecherous old artist and model" periods. Often Picasso's self portraits depicted and revealed complicated psychological insights, both personal and profound about the inner state and well being of the artist. Another artist who painted interestingly personal and revealing self-portraits throughout his career was Pierre Bonnard. Bonnard also painted dozens of portraits of his wife Marthe throughout her life as well. Vincent van Gogh, Paul Gauguin, and Egon Schiele in particular made intense and self-revealing self-portrait paintings throughout their careers.

Self-portraits in general

Gallery:painters at work

Many of the medieval portraits show the artist at work, and Jan van Eyck (above) his chaperon hat has the parts normally hanging loose tied up on his head, giving the misleading impression he is wearing a turban, presumably for convenience whilst he paints. In the early modern period, increasingly, men as well as women who painted themselves at work had to choose whether to present themselves in their best clothes, and best room, or to depict studio practice realistically. See also the Gallery of Women painters above.

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  Pieter Brueghel the Elder, The Painter and The Buyer, c.1565, pen and ink on brown paper, presumed to be a self-portrait. Antwerp
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  Pierre Mignard, 1690, Louvre.
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  Francesco Solimena, c. 1715.
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  François Boucher, self-portrait in the studio, 1720
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  Joshua Reynolds, National Portrait Gallery, 1748. The artist as visionary. Much cut down, this originally had a vertical format.
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  George Desmarées and his daughter, 1750, Munich.
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  Jean-Honoré Fragonard, Inspiration Self-Portrait, 1769
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  Jean-Baptiste-Siméon Chardin (1771), in his painting clothes.
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  Goya, 1795,
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  The huge The Painter's Studio, A Real Allegory Summarizing My Seven years of Life as an Artist, Gustave Courbet, 1855, Louvre
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  The Danish artist Carl Ludwig Jessen, 1857
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  Jacek Malczewski, Polish Symbolist painter, 1892
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  Julian Fałat, Polish landscape painter and impressionist, 1896
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  Anders Zorn, Selfportrait with model, 1896
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  Umberto Boccioni, Self-portrait, 1906
• Jacob Lawrence, Self-portrait, 1977
  Jacob Lawrence, Self-portrait, 1977

Classification

Parmigianino, Self-portrait in a mirror is itself painted on a convex surface, like that of the mirrors of the period.

Art critic Galina Vasilyeva-Shlyapina separates two basic forms of the self-portrait: "professional" portraits, in which the artist is depicted at work, and "personal" portraits, which reveal moral and psychological features. She also proposes a more detailed taxonomy: (1) the "insertable" self-portrait, where the artist inserts his or her own portrait into, for example, a group of characters related to some subject; (2) the "prestigious, or symbolic" self-portrait, where an artist depicts him- or herself in the guise of a historical person or religious hero; (3) the "group portrait" where artist is depicted with members of family or other real persons; (4) the "separate or natural" self-portrait, where the artist is depicted alone. However it might be thought these classes are rather rigid; many portraits manage to combine several of them.

Mirrors and poses

Johannes Gumpp, 1646, shows how most self-portraits were painted

The self-portrait supposes in theory the use of a mirror; glass mirrors became available in Europe in the 15th century. The first mirrors used were convex, introducing deformations that the artist sometimes preserved. A painting by Parmigianino in 1524 Self-portrait in a mirror, demonstrates the phenomenon. Mirrors permit surprising compositions like the Triple self-portrait by Johannes Gumpp (1646), or more recently that of Salvador Dalí shown from the back painting his wife, Gala (1972-73). This use of the mirror often results in right-handed painters representing themselves as left-handed (and vice versa). Usually the face painted is therefore a mirror image of that the rest of the world saw, unless two mirrors were used. Most of Rembrandt's self-portraits before 1660 show only one hand - the painting hand is left unpainted. He appears to have bought a larger mirror in about 1652, after which his self-portraits become larger. In 1658 a large mirror in a wood frame broke whilst being transported to his house; nonetheless, in this year he completed his Frick self-portrait, his largest.

Las Meninas, painted in 1656, shows Diego Velázquez working at the easel to the left.

The size of single-sheet mirrors was restricted until technical advances made in France in 1688 by Bernard Perrot. They also remained very fragile, and large ones were much more expensive pro-rata than small ones - the breakages were recut into small pieces. About 80 cms, or two and a half feet, seems to have been the maximum size until then - roughly the size of the palace mirror in Las Meninas (the convex mirror in the Arnolfini Portrait is considered by historians impractically large, one of Van Eyck's many cunning distortions of scale). Largely for this reason, most early self-portraits show painters at no more than half-length.

Self-portraits of the artist at work were, as mentioned above, the commonest form of medieval self-portrait, and these have continued to be popular, with a specially large number from the eighteenth century on. One particular type in the medieval and Renaissance periods was the artist shown as Saint Luke (patron saint of artists) painting the Virgin Mary. Many of these were presented to the local Guild of Saint Luke, to be placed in their chapel. A famous large view of the artist in his studio is The Artist's Studio by Gustave Courbet (1855), an immense "Allegory" of objects and characters amid which the painter sits.

Gallery:Mortality in the self-portrait

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  Michelangelo Buonarroti, circa 1535-1541, Sistine Chapel: The Last Judgment, Michelangelo as a limp skin hanging from the hand of St. Bartholomew.
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  Allegory of Prudence, Titian, his son and the cousin he had virtually adopted, as Past, Present and Future. National Gallery, London, late 1560s.
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  Sofonisba Anguissola, Self-portrait, 1610, aged 78, the last of her many self-portraits, though she was painted later by Van Dyck.
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  Goliath in this late Caravaggio David with the head of Goliath is a self-portrait. 1605-10, Galleria Borghese, Rome.
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  Jan de Bray (left) and his family pose as The Banquet of Anthony and Cleopatra. By the date of this second version of 1669, most of the models had died of the plague some years before.
• Goya at the age of 74, Self-portrait with Doctor Arrieta, 1820, Minneapolis.
  Goya at the age of 74, Self-portrait with Doctor Arrieta, 1820, Minneapolis.
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  Lovis Corinth, 1896. Flesh and bone, life and death are contrasted here.
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  John Bellany Self-Portrait from 'The Addenbrookes Hospital Series', 1988, one of a series of self-portraits made after he had a liver transplant, covering his time in hospital.

Other meanings, storytelling

The self-portraits of many Contemporary artists and Modernists often are characterized by a strong sense of narrative, often but not strictly limited to vignettes from the artists life-story. Sometimes the narrative resembles fantasy, roleplaying and fiction. Besides Diego Velázquez, (in his painting Las Meninas), Rembrandt Van Rijn, Jan de Bray, Gustave Courbet, Vincent van Gogh, and Paul Gauguin other artists whose self-portraits reveal complex narratives include Pierre Bonnard, Marc Chagall, Lucian Freud, Arshile Gorky, Alice Neel, Pablo Picasso, Lucas Samaras, Jenny Saville, Cindy Sherman, Andy Warhol and Gilbert and George.

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  Cristofano Allori, Judith with the Head of Holofernes, 1613. According to his biographer, the heads were those of the painter, his ex-lover, and her mother. Compare Caravaggio above.
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  Van Dyck with sunflower, representing his patronage by Charles I, whose medal he holds up to the flower. Or is Van Dyck the sun the flower turns to? 1633 or later.
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  Johann Zoffany specialised in group portraits, often "conversation pieces" with gentle narrative content, and spent some years in India. c. 1786.
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  Gustave Courbet, 1854, Bonjour, Monsieur Courbet. The artist has travelled to the South of France (in the vanishing coach), to meet the collector Alfred Bruyas, for whom this was painted.<ref>Virginia MFA

Self-promotion

The self-portrait can be a very effective form of advertising for an artist, especially of course for a portrait painter. Dürer was not really interested in portraits commercially, but made good use of his extraordinary self-portraits to advertise himself as an artist, something he was very sophisticated in doing. Rembrandt made his living principally from portrait-painting during his most successful period, and like Van Dyck and Joshua Reynolds, many of his portraits were certainly intended to advertise his skills. With the advent of regular Academy shows, many artists tried to produce memorable self-portraits to make an impression on the artistic stage. A recent exhibition at the National Gallery, London, Rebels and Martyrs, did not shrink from the comic bathos that sometimes resulted. An example from the 21st century is Arnaud Prinstet, an otherwise little-known contemporary artist who has generated good amounts of publicity by undertaking to paint his self portrait every day. On the other hand, some artists depicted themselves very much as they did other clients.

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  François Desportes, a specialist animal painter, Self-portrait as Hunter, 1699.
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  Maurice Quentin de La Tour, pastel, 1750-60.
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  Gustave Courbet, Self Portrait (The Desperate Man), c. 1843.
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  William Orpen, c. 1910

Diagnosing the self-portrait

Self-portrait of Egon Schiele 1911, depicting masturbation.

Some artists who suffered neurological or physical diseases have left self-portraits of themselves that have allowed later physicians to attempt to analyze disruptions of mental processes; and many of these analyses have entered into the textbooks of neurology.

The self-portraits of artists who suffered mental illnesses, give a unique possibility to physicians for investigating self-perception in people with psychological, psychiatric or neurologic disturbances.

Russian sexologist Igor Kon in his article about masturbation notes that a habit of masturbating may be depicted in works of art, particularly paintings. So Austrian artist Egon Schiele depicted himself so occupied in one of his self-portraits. Kon observes that this painting does not portray pleasure from the masturbation, but a feeling of solitude. Creations of Schiele are analyzed by other researchers in terms of sexuality, and particularly pedophilia.

Collections

One of the most distinguished, and oldest, collections of self-portraits is in the Vasari Corridor of the Uffizi Gallery in Florence. It was originally the collection by the Cardinal Leopoldo de' Medici in the second part of the 17th century and has been maintained and expanded until the present time. It is mostly not on view for general visitors, although some paintings are shown in the main galleries. Many famous artists have not been able to resist an invitation to donate a self-portrait to the collection. It comprises more than 200 portraits, in particular those of Pietro da Cortona, Charles Le Brun, Jean-Baptiste Camille Corot, and Marc Chagall. Other important collections are housed at the National Portrait Gallery (United Kingdom) in London (with various satellite outstations elsewhere), and the National Portrait Gallery in Washington, D.C..

Gallery

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  Pietro Perugino (c. 1500)
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  Raphael (c. 1517-1518)
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  Hans Baldung (1526)
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  Lucas Cranach the Elder (1550)
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  Titian seems to have painted no self-portraits until he was in old age, 1567
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  Probable self-portrait by El Greco, 1604.
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  Peter Paul Rubens (1623)
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  Rubens with his (first) wife, Munich, c. 1609
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  Self-portrait of Francisco Zurbarán, as Saint Luke.
  Detail of Saint Luke as a Painter Before the Crucifixion
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  Salvator Rosa, 1640. "Of Silence and Speech, Silence is better" says the inscription.
• Diego Velazquez, Self-Portrait, 1643
  Diego Velazquez, Self-Portrait, 1643
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  Nicolas Poussin, Self-Portrait, 1650
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  Jan de Bray and his wife as Ulysses and Penelope, 1668, a typical portrait historié.
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  Joshua Reynolds, presented to the Royal Academy, of which he was first President. Rather like Rembrandt, but more successful. 1773
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  Francisco Goya, 1815 Oil on panel, Museo de la Real Academia de San Fernando, Madrid
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  The Artist in His Museum, American artist Charles Willson Peale, 1822.
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  Eugène Delacroix, 1837
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  Gustave Courbet (1842)
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  James McNeill Whistler, self-portrait, 1872
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  Camille Pissarro, Self-portrait, 1873
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  Édouard Manet, Self-portrait with palette, 1879
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  Paul Cézanne, 1880-1881 National Gallery, London
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  Henri de Toulouse-Lautrec, self portrait, 1882-1883
• Édouard Vuillard, self-portrait, 1889
  Édouard Vuillard, self-portrait, 1889
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  Vincent Van Gogh, 1889 Musée d'Orsay Paris
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  Paul Gauguin, 1889 National Gallery of Art, Washington DC
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  Vincent Van Gogh (1889)
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  Paul Gauguin (1893)
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  Henri Rousseau, (1890)
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  Thomas Eakins, National Academy of Design, 1902.
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  Stanisław Wyspiański (1869–1907), Polish playwright, poet, architect, painter, prolific self-portraitist (1902)
• Henri Matisse, Self-Portrait in a Striped T-shirt 1906, Statens Museum for Kunst, Copenhagen, Denmark
  Henri Matisse, Self-Portrait in a Striped T-shirt 1906, Statens Museum for Kunst, Copenhagen, Denmark
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  Paula Modersohn-Becker 1906
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  John Singer Sargent,
  self-portrait, 1907
• 
  Pierre-Auguste Renoir (1910)
• 
  Marc Chagall (1910)
• 
  Egon Schiele (1910)
• 
  Egon Schiele, 1912
• Kazimir Malevich (1912)
  Kazimir Malevich (1912)
• 
  J.B. Manson, Self-Portrait, c.(1912)
• 
  William Merritt Chase, 1915.
• 
  Charles Demuth, Turkish Bath with Self Portrait, 1918
• 
  Kaita Murayama, self portrait, 1918, Japanese writer, poet
• 
  Lovis Corinth, 1924
• 
  Chen Cheng-po, self-portrait, 1930
• Max Beckmann (1938-1940)
  Max Beckmann (1938-1940)
• Jenny Saville, Closed Contact #10, 1996 [26]
  Jenny Saville, Closed Contact #10, 1996
• Yan Pei-Ming, self portrait, (2000)
  Yan Pei-Ming, self portrait, (2000)
• Pantea Rahmani, Exposed # 6,2008
  Pantea Rahmani, Exposed # 6,2008

Photo-portraits

Eleazar Langman, Self-portrait,1935

See also: Francesca Woodman

Two methods of obtaining photographic self-portraits are widespread. One is photographing a reflection in the mirror, and the other photographing one's self with the camera in an outstretched hand. Eleazar Langman photographed his reflection on the surface of a nickel-plated teapot.

Another method involves setting the camera or capture device upon a tripod, or surface. One might then set the camera's timer, or use a remote controlled shutter release.

Finally, setting up the camera, entering the scene and having an assistant release the shutter (i.e., if the presence of a cable release is unwanted in the photo) can arguably be regarded as a photographic self-portrait, as well.

• 
  Mathew Brady, self-portrait, circa 1875
• 
  Nadar, the leading French portrait photographer, c.1870s
• 
  Arthur Rimbaud, Self-portrait in Harar, Ethiopia, 1883,
• 
  Thomas Eakins, Self portrait with John Laurie Wallace, circa 1883
• 
  Eadweard Muybridge Self-portrait as man throwing, climbing and walking, circa 1893
• 
  Edward S. Curtis, self-portrait, 1898
• 
  August Strindberg, self-portrait, c. 1900
• 
  Ernst Kirchner, self-portrait, 1919
• 
  El Lissitsky self-portrait, 1924
• 
  Carl Van Vechten portrait photographer, self-portrait, 1934
• 
  Lucas Samaras (1973)
• Yasumasa Morimura Self Portrait, After Marilyn Monroe, 1996
  Yasumasa Morimura Self Portrait, After Marilyn Monroe, 1996

Drawings, prints and engravings

• 
  Giuseppe Arcimboldo, self portrait, c. 1577
• 
  Peter Paul Rubens, self portrait, c. 1634
• 
  Francisco de Goya, self portrait, print, 1795
• 
  John Constable self portrait, 1806
• 
  Caspar David Friedrich, self portrait, age thirty-six, 1810
• 
  Dante Gabriel Rossetti, poet and artist, self portrait, 1847
• 
  Jean-François Millet, self portrait, c. 1850
• 
  Max Liebermann, self portrait, 1922

See also

• Hockney-Falco thesis
• Portrait
• The Portrait Now
• Portrait painting
• Self-Portraits by Vincent van Gogh

Notes and references

Further reading

• John J. Ciofalo, Self-Portraits of Francisco Goya. Cambridge University Press, 2001
• Edward Lucie-Smith with Sean Kelly, The Self Portrait: A Modern View. (1987)
• Ernst van de Wetering and others; Rembrandt by himself, 1999, National Gallery, London / Mauritshuis, The Hague, ISBN 1857092708
• Joseph Leo Koerner, The Moment of Self-Portraiture in German Renaissance Art, Chicago/London, 1993
• Jonathan Miller, On Reflection, 1998, National Gallery, ISBN 857092376.
• Belle, Julian (Ed.): Five Hundred Self-Portraits. Phaidon Press, London/New York, 2000 (pb 2004), ISBN 0-7148-4384-9 Self-Portraits in chronological order from ancient Egypt to the present.

Not in English

• Joëlle Moulin, L'autoportrait au XXe siècle, éd. Adam Biro, Paris, 1999
• Pascal Bonafoux, Les peintres et l'autoportrait, 1984
• Bernard Auriol, L'image préalable, l'expression impressive et l'autoportrait, Psychologie Médicale, 19, 9, 1543-1547, 1987
• Bonafoux, Pascal / Rosenberg, David: Moi! Autoportraits du XXe siècle. Musée du Luxembourg (Paris) / Skira Editore (Milano), Exhibition catalogue. 2004, Text French, Paris 2004, ISBN 88-8491-854-5 The book presents 155 artist (fine art) of the 20th century by showing their self-portraits added by informative texts.
• Borzello, Frances: Wie Frauen sich sehen  –  Selbstbildnisse aus fünf Jahrhunderten. Karl Blessing Verlag, München 1998, ISBN 3-89667-052-2
• Calabrese, Omar: Die Geschichte des Selbstporträts. Deutscher Kunstverlag, München 2006, ISBN 3-7774-2955-4
• Pfisterer, Ulrich / Rosen, Valeska von ~ (Hrsg.): Der Künstler als Kunstwerk. Selbstporträts vom Mittelalter bis zur Gegenwart. Reclam, Stuttgart 2005, ISBN 3-15-010571-4 (Rezension)
• Jeancolas, Claude. (1998). Passion Rimbaud: L'Album d'une vie. Template:Fr Paris: Textuel. ISBN 978-2909317663

Self-portrait in neurology

• Tielsch AH, Allen PJ (2005) Listen to them draw: screening children in primary care through the use of human figure drawings. Pediatr Nurs 31(4): 320—327. This survey of literature is focused on the method of drawing people as the method of diagnostics. Children's figures can recognize mental disorders. The authors describe the use of self-portraits for diagnostics of emotional disorders in children from 6 to 12 years. Although this procedure does not make it possible to place final diagnosis, it is useful for the recognition of problems.
• Morin C, Pradat-Diehl P, Robain G, Bensalah Y, Perrigot M (2003) Stroke hemiplegia and specular image: lessons from self-portraits. Int J Aging Hum Dev 56(1): 1-41. Patients with hemiplegia have diverse problems of self-perception, which are caused by neurological defeats of the idea of body, or by psychological problems with the perception their own self.

Psychology of self-perception

• Wegner DM (2003) The mind's self-portrait. Ann N Y Acad Sci 1001: 212—225. Psychology and neuroscience approach understanding of reason and consciousness. Meanwhile each human reason contains the self-portrait, which contains the self-appraisal of cognitive processes. This self-portrait assumes that the actions of man are governed by thoughts and, thus, the body is governed by consciousness. Self-portrait leads to the persuasion, that we consciously desire to make something. Studies show that self-portraiture is a caricature on the function of the brain, but at the same time it is the basis of the sensation of authorship and responsibility of one's own actions.

External links

• National Portrait Gallery - Official web site
• "The Exploration of Self: What Artists Find When They Search in the Mirror" by Jeanne Ivy.
• "Creating Self-Portraits" - a method of self-examination.
• UMBC, research related to The Self Portrait: A Modern View. (1987), Edward Lucie-Smith with Sean Kelly and other books

One can also use the term "autoportrait" in the search engine of the Joconde database, which describes the works of 84 French museums, including the Louvre:

• 52 self-portraits from the National Galleries of Scotland

Other links :

• Frida Kahlo at Artcyclopedia
• Egon Schiele at Artcyclopedia
• Joshua Reynolds self-portraits, from the Tate
• All 37 Elizabeth Vigee-Lebrun self-portraits