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Self-portraiture, or Autoportraiture is the field of art theory and history that studies the history, means of production, circulation, reception, forms, and meanings of self-portraits. [ 1 ] [ 2 ] [ 3 ] Emerging in Antiquity and becoming popular from the Renaissance as an artistic practice, as a specific field of study, self-portraiture is ...
Self-portraits may have a longer continuous history in Asian (mainly Chinese) 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.
The Nightmare (1781), by Johann Heinrich Füssli, Detroit Institute of Arts, Detroit. Symbolism, understood as a means of expression of the "symbol", that is, of a type of content, whether written, sonorous or plastic, whose purpose is to transcend matter to signify a superior order of intangible elements, has always existed in art as a human manifestation, one of whose qualities has always ...
Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply La Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi. The oil-on-canvas painting measures 98.6 by 75.2 centimetres (38.8 in × 29.6 in) and was probably produced during Gentileschi's stay in England between 1638 and 1639.
Dürer was an outstanding draftsman and one of the first major artists to make a sequence of self-portraits, including a full-face painting. He also placed his self-portrait figure (as an onlooker) in several of his religious paintings. [35] Dürer began making self-portraits at the age of thirteen. [36] Later, Rembrandt would amplify that ...
The self-portrait collection will go on show at The Courtauld Gallery in London on Thursday.
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 ...
Self-Portrait Dedicated to Carrière (1888 or 1889) Jirat-Wasiutyński notes that art historian Denys Sutton was the first critic to interpret Gauguin's self-portrait as "demonic". [11] This interpretation is illustrated by the pendant, the companion piece Portrait of Jacob Meyer de Haan (1889), which visually complements the Self-Portrait.