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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".
A self-portrait is a portrait of an artist made by themselves. ... a group of characters related to some subject; (2) the "prestigious, or symbolic" self-portrait ...
Self-Portrait (or Self-Portrait at Twenty-Eight) is a panel painting by the German Renaissance artist Albrecht Dürer. Completed early in 1500, just before his 29th birthday, it is the last of his three painted self-portraits. Art historians consider it the most personal, iconic and complex of these. [1]
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
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 ...
The first known self-portrait was made in 1839 -- and with the introduction of social media, the art of the selfie has changed drastically.
Frida Kahlo was a Mexican painter active between 1925 and 1954. She began painting while bedridden due to a bus accident that left her seriously injured. Most of her work consists of self-portraits, which deal directly with her struggle with medical issues, infertility, and her troubeparate Frida on which to project her anguish and pain. [2]
Getty curator Scott C. Allan has argued that Arii Matamoe is both a "symbolic self-portrait" and a "self-mythologizing work", which serves both to fetishize Gauguin's fantasies of cultural estrangement and martyrdom while hinting of possible redemption and renewal. [4]