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Portraits of horses, and of large- headed babies were other favorite motifs. His dark style was particularly inspired by Rembrandt van Rijn. Painting was a way for him to work with his own psyche, with frequent bouts of depression and mania. In 1983 Trampedach's studio in Copenhagen was set on fire destroying many paintings.
Three Studies for a Self-Portrait, 1979–80, 37.5 x 31.8cm. Metropolitan Museum of Art. Three Studies for a Self-Portrait is an oil-on-canvas triptych painting by the Irish-born English artist Francis Bacon. Two of paintings are signed and dated 1979, and the third signed and dated 1979–1980.
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 last self portrait that Utermohlen used a mirror for, [95] Self Portrait (With Easel) (1998) uses the same pose as a 1955 self-portrait. Polini states that this was his desire to "experience again the old motions of painting". [96] Erased Self Portrait (1999) [e] was his last self-portrait using a paint brush. [98]
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 ...
The "Oslo self-portrait", (Nasjonalmuseet) Another self-portrait from 1889, often called the Oslo self-portrait because it is owned by the Nasjonalmuseet in Norway, [12] was authenticated in 2020 by the Van Gogh Museum. [13] This painting, with the artist looking sideways, was painted while the artist was in the asylum in Saint-Rémy and is ...
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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 ...