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B22, Self Portrait Drawing at a Window, 1648, 5 states. He is drawing on an etching plate, making this the least posed self-portrait etching. In state iv, a landscape is added outside. [46] The last etching but for two sketches, and one of the "official" etched self-portraits. [33]
A self-portrait of a colorless, but youthful, rounded oval face, in full-frontal view, emerges from a reddish-brown, textured, but indistinct background; the eyes of the face are open but the body belonging to the face is abstract, blurred by pencil strokes and the color of sepia ink; [1] the clothing worn by the subject is indistinguishable as it dissolves into the background with each pencil ...
This category is about Self-portraiture, or Autoportraiture: field of art theory and history that studies the history, means of production, circulation, reception, forms, and meanings of self-portraits
Kurt Schwitters, Das Undbild, 1919, Staatsgalerie Stuttgart. Collage (/ k ə ˈ l ɑː ʒ /, from the French: coller, "to glue" or "to stick together"; [1]) is a technique of art creation, primarily used in the visual arts, but in music too, by which art results from an assemblage of different forms, thus creating a new whole.
Self-portrait at an early age shows the artist in a relaxed state. With that, the portrait is clearly not a tronie, focused on the study of faces. Rembrandt, early in artistic development, concentrates mainly on the effect of light and how it falls on various materials, including the skin and the wall; practising the technique of chiaroscuro.
Las Meninas, painted in 1656, shows Diego Velázquez working at the easel to the left.. Self-portraiture has a long history. In Reynolds & Peter's analysis, the handprints that prehistoric humanity left in cave paintings can be considered precursors of the self-portrait, as they are a direct document of the author's presence in the creative act and his perception of the existence of a "self".
Nevertheless, taking into account the fact that the female self-portrait appeared more than a century after the male self-portrait, and that for a long time there were fewer female artists, it would seem quite reasonable to place the proportion at a maximum of 15-20%.
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 ...
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