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A, mostly of., 1630. In reality she probably did not paint wearing expensive clothes like these.A self-portrait is a representation of an artist that is drawn, painted, photographed, or sculpted by that artist. Although self-portraits have been made since the earliest times, it is not until the in the mid-15th century that artists can be frequently identified depicting themselves as either the main subject, or as important characters in their work. With better and cheaper, and the advent of the portrait, many painters, sculptors and printmakers tried some form of self-portraiture. By of 1433 may well be 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, with increased wealth and interest in the individual as a subject, did it become truly popular.
Vanitas with Violin and Glass Ball (detail), the artist is visible in the reflection, 1625.A self-portrait may be a 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.
Such paintings were not intended publicly to depict the actual persons as themselves, but the facts would have been known at the time to artist and, creating a talking point as well as a public test of the artist's skill.In the earliest surviving examples of medieval and self-portraiture, historical or mythical scenes (from the or ) were depicted using a number of actual persons as models, often including the artist, giving the work a multiple function as portraiture, self-portraiture and history/myth painting. In these works, the artist usually appears as a face in the crowd or group, often towards the edges or corner of the work and behind the main participants.
's The Four Philosophers (1611–12) is a good example. This culminated in the 17th century with the work of. Many artistic media have been used; apart from paintings, drawings and have been especially important.In the famous (1434), is probably one of two figures glimpsed in a mirror – a surprisingly modern conceit. The Van Eyck painting may have inspired to depict himself in full view as the painter creating (1656), as the Van Eyck hung in the palace in Madrid where he worked. This was another modern flourish, given that he appears as the painter (previously unseen in official royal portraiture) and standing close to the King's family group who were the supposed main subjects of the painting.In what may be one of the earliest childhood self-portraits now surviving, depicts himself as in naturalistic style as a 13-year-old boy in 1484.
In later years he appears variously as a merchant in the background of scenes and as.may have drawn a at the age of 60, in around 1512. The picture is often straightforwardly reproduced as Da Vinci's appearance, although this is not certain.In the 17th century, painted a range of self-portraits. In (c1637), one of the earliest self-portraits with family, the painting probably includes Saskia, Rembrandt's wife, one of the earliest depictions of a family member by a famous artist. Family and professional group paintings, including the artist's depiction, became increasingly common from the 17th century on. From the later 20th century on, video plays an increasing part in self-portraiture, and adds the dimension of audio as well, allowing the person to speak to us in their own voice.Gallery: Inserted self-portraits.
At the Dressing-Table (1909), was among the first female Russian painters of distinction.Antiquity Images of artists at work are encountered in painting, and sculpture and also on. One of the first self-portraits was made by the Pharaoh 's chief sculptor Bak in 1365 BC. Mentions that the Ancient Greek sculptor had included a likeness of himself in a number of characters in the ' on the, 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 tradition are quite small, depicting the artist in a large landscape, illustrating a poem in on his experience of the scene. Another tradition, associated with, produced lively semi-caricatured self-portraits, whilst others remain closer to the conventions of the formal portrait. Self-portrait (1765-1768)contain a number of apparent self-portraits, notably those of Saint.
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.is believed to have painted himself as a figure in a of 1359which became, at least according to — 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. Among the earliest self-portraits are also two frescos by, one in (1378), western Hungary, and one in (1392), northeastern Slovenia. In Italy (1267–1337) included himself in the cycle of 'eminent men' in the Castle of Naples, (1401–1428) depicted himself as one of the in the painting of the, and includes himself, with other portraits, in the Procession of the Magi (1459), with his name written on his hat. This is imitated a few years later by, as a spectator of the (1475), who turns from the scene to look at us.Fourteenth-century sculpted portrait busts of and by the in include self-portraits, and are among the earliest such busts of non-royal figures. Included a small head of himself in his.Notably, the earliest self-portrait painted in England, other than in a, is the miniature painted in oils on panel by the German artist, 1554. Self-, 1577Rembrandt and the 17th century in Northern Europe In the 17th century, 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.
Many also included their families, again following the normal practice for the middle-classes., and produced numerous images of themselves, the latter also often painting his family. This practice was especially common for female artists, whose inclusion of their families was often a deliberate attempt to mitigate criticism of their profession causing distraction from their 'natural role' as mothers.was the most frequent self-portraitist, 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. 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.
Self-Portrait of with head bandaged, after he (debatedly) cut off part of his ear.In Spain, there were self-portraits of. Represented himself in at the feet of Christ on the cross (around 1635). In the 19th century, Goya painted himself numerous times. French self-portraits, at least after tend to show the social status of the artist, although 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. (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. Self Portrait, dedicated to Gauguin, 1888One of the most famous and most prolific of self-portraitists was, who drew and painted himself more than between 1886 and 1889.
In all of these self-portraits one is struck that the gaze of the painter is seldom directed at the viewer; 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 set new standards of openness, or perhaps, representing him naked in many positions, sometimes masturbating or with an erection, as in Eros (1911). Was to follow somewhat in this vein.
Was a prolific painter of self-portraits as was who 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.Obsessively using the self-portrait as a personal and introspective artistic expression was, who produced hundreds of self-portraits depicting him a wide range of contexts most notably in relation to sickness, moodiness and death. The 2004 exhibition 'Schiele, Janssen. Selbstinszenierung, Eros, Tod' (Schiele, Janssen: Self-dramatisation, Eros, Death) at the Leopold Museum in Vienna paralleled the works of and, both heavily drawing on sujets of erotica and death in combination with relentless self-portraiture., 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, 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 ' period to the ' in the ' period, to the 'old ' 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.
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Another artist who painted personal and revealing self-portraits throughout his career was. Bonnard also painted dozens of portraits of his wife Marthe throughout her life as well., and in particular made intense (at times disturbingly so) and self-revealing self-portraits throughout their careers.Self-portraits in general Gallery: painters at work. The Artist in his Studio, 1628,Many of the medieval portraits show the artist at work, and Jan van Eyck (above) his 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, 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.
Self-portrait with brushes, oil on canvas, 1961Classification 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.With new media came a chance to create different kinds of self-portraits besides simply static painting or photographs. Many people, especially teens, use social networking sites to form their own personal identity on the internet.
Still others use blogs or create personal web pages to create a space for self-expression and self-portraiture.Mirrors and poses. Painted in 1656, shows working at the easel to the left.The self-portrait supposes in theory the use of a; 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 in 1524 Self-portrait in a mirror, demonstrates the phenomenon. Mirrors permit surprising compositions like the Triple self-portrait by (1646), or more recently that of shown from the back painting his wife, (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. The painter and Jo, 1928. Selfportrait and portraitThe size of single-sheet mirrors was restricted until technical advances made in France in 1688. 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 cm, 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 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 18th century on.
One particular type in the medieval and Renaissance periods was the artist shown as Saint (patron saint of artists) painting the. Many of these were presented to the local, to be placed in their chapel. A famous large view of the artist in his studio is by (1855), an immense 'Allegory' of objects and characters amid which the painter sits.Gallery: mortality in the self-portrait. See also:, andTwo 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. 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. The speed of creating photographic self-portraits allowed for a range of images with more of a 'play' atmosphere than traditional methods. One such example is 's Self-Portrait, c.
1896, an image which demonstrates the photo-portrait's ability to play with gender roles.