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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".
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 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 ...
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. [47] The last etching but for two sketches, and one of the "official" etched self-portraits. [34]
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; Self-Portrait at 69 years; Self-Portrait at a Spinet ...
Self-Portrait with Two Pupils, Marie-Gabrielle Capet and Marie Marguerite Carreaux de Rosemond is a 1785 self-portrait painting by Adélaïde Labille-Guiard depicting the artist with two of her pupils, Marie-Gabrielle Capet and Marie-Marguerite Carreaux de Rosemond. It is in the collection of the Metropolitan Museum of Art. [1]
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 ...
It was exhibited in Florence as a Rembrandt self-portrait in 1724, and so described in the published illustrated catalogue of the Gerini collection in 1759. In the Palazzo Gerini an allegory of the arts in fresco by Giuseppe Zocchi (1711–67) shows the personification of "Painting" looking at the catalogue, held by two putti , open to the page ...
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