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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".
Ivan Le Lorraine Albright (February 20, 1897 – November 18, 1983) was an American painter, sculptor and print-maker most renowned for his self-portraits, character studies, and still lifes. [1] Due to his technique and dark subject matter, he is often categorized among the Magic Realists and is sometimes referred to as the "master of the ...
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 ...
Self-Portrait (Dou, New York) Self-Portrait (Ellen Thesleff) Self-Portrait (Ingres) Self-Portrait (Lampi) Self-Portrait Aged 24; Self-Portrait Aged 71; Self-Portrait as a Female Martyr; Self-Portrait as a Soldier; Self-Portrait as a Tahitian; Self-portrait as David; Self-Portrait as the Allegory of Painting; Self-Portrait at 6th Wedding Anniversary
[3] In 1923 she won a prize for best figure-painting for her work Self-Portrait in the spring exhibition at the Los Angeles Museum. [4] In the 1920s and 30s, her works were heavily influenced by the Synchromist Movement’s Stanton Macdonald-Wright and Morgan Russell, [2] who would remain her teacher for over 20 years.
Self-Portrait Painting Marie Antoinette is an oil on canvas painting by Élisabeth Vigée Le Brun, from 1790. It is held in the collection of the Uffizi , in Florence . Le Brun painted the work in Rome after fleeing France to escape the French Revolution in 1789.
It therefore appears that, depending on the era and the gender of the authors or curators of the exhibitions, the share of the female self-portrait in painting is evaluated in a very variable way; the recent increase is not the consequence of a renewed activity of the artists concerned, but that of a positive re-evaluation, from the 1970s, of ...
On the whole, Leyster's painting is similar to self-portraits by other women artists. In depicting herself at her easel with an unfinished painting, holding both a palette and a paintbrush, she creates a self-portrait that recalls Catharina van Hemessen 's 1546 self-portrait , as well as a self-portrait by Sofonisba Anguissola that dates to c ...