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1787
Oil on canvas
Royal Academy of Arts, London
January 12, 2010
Thomas Gainsborough’s Painting–Self-Portrait
December 23, 2009
Eugene Delacroix’s Self-Portrait
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c. 1837
Oil on canvas, 65 x 54,5 cm
Musée du Louvre, Paris
December 11, 2009
da Vinci Leonardo’s Painting–Self Portrait
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c. 1512
Red chalk on paper, 333 x 213 mm
Biblioteca Reale, Turin
A hand-written note from the 16th century titles the drawing “Leonardus Vincius (in red chalk) self-portrait at an advanced age (in charcoal),” so that its interpretation as Leonardo’s self-portrait during the last years of his life is generally accepted nowadays. It is reminiscent of Gianpaolo Lomazzo’s words from the late 16th century:
“Leonardo’s hair and beard were so long, and his eyebrows were so bushy, that he appeared to be the sheer idea of noble wisdom.” In stylistic terms, however, including the use of parallel hatchings, the drawing could date from before 1500, which would mean that this could not be a self-portrait.
November 3, 2009
Self-Portrait Painted by Benjamin West
Self-Portrait by Benjamin West
1770
Oil on canvas
Baltimore Museum of Art, Baltimore
West began his career as a portrait painter in Philadelphia and New York. Patrons enabled him to visit Rome by granting him a scholarship, the first American artist to be helped in this way.
Self Portrait Painted by Elisabeth Vigee-Lebrun
Self Portrait by Elisabeth Vigee-Lebrun
1800
Oil on canvas, 79 x 68 cm
The Hermitage, St. Petersburg
October 30, 2009
Self Portrait at Sainte-Pélagie Painted by Gustave Courbet
Self Portrait by Gustave Courbet
c. 1872
Oil on canvas, 92 x 72 cm
Musee Courbet, Ornans
Courbet’s commitment to politics led to a period of imprisonment. He immortalized this part of his life in Self-Portrait at Sainte-P閘agie. Immediately after his arrest in June 1871, he was accused of having taken part in the Paris Commune, the last of the nineteenth-century revolutions in France. During his trial, Courbet was accused of having taken part in the destruction of the colonne Vend鬽e, which had been erected by Napoleon I to commemorate the victories of the Grande Arm閑. Found guilty in 1871, Courbet found himself worse off again after his appeal in 1874.
In Self-Portrait at Sainte-P閘agie, Courbet presents himself in the cell of his Paris prison, seated on a table, near a half-open window somewhat obstructed by the solid prison bars. He is simply dressed, wearing a chestnut suit and a beret, his red neck-scarf the only note of colour in this dark-toned painting. His pipe is, as always, in his mouth and his mainly impassive stare is directed, with perhaps a touch of nostalgia, toward the prison yard.
Self Portrait Painted by Gustave Courbet
Self Portrait by Gustave Courbet
1848-49
Oil on canvas, 45 x 37 cm
Musee Fabre, Montpellier
Among the paintings Courbet exhibited in the 1851 Salon was a self-portrait in which he seems to be judiciously eyeing the spectator. Man with Pipe represented the first important stage in his awareness of the direction that his artistic maturity would take. We note that this was the first self-portrait that Courbet parted with; he had kept all the others and even of this one made a copy that never left his studio.
Man with Pipe was the last in a long series of self-portrait undertaken in the 1840s. Courbet wrote: “It is the portrait of a fanatic, an ascetic. It is the portrait of a man who, disillusioned by the nonsense that made up his education, seeks to live by his own principles.”
October 28, 2009
Self-Portrait Painted by Jean-Baptiste Simeon Chardin
Self-Portrait by Jean-Baptiste Simeon Chardin
1771
Pastel, 46 x 38 cm
Musee du Louvre, Paris
Failing eyesight and poor health in his last years led Chardin to change his medium to pastel, but he continued to work and exhibit. He first exhibited pastel heads in 1771, and for the rest of his life he continued to produce similar heads, several of which are lost or unidentified. What he could achieve in the medium, however, remains memorably, movingly clear in the well-known portrait of himself. It owes little to La Tour or Perronneau. Instead, pastel is made to conform to Chardin’s ever-recognizable technique: hatching, inlaying of colour, tonal sensitivity without illusionistic tricks, marvellous firmness of forms - utter unsentimentality of vision - such are the qualities of the pastel portraits. Chardin had indeed always possessed them, and was triumphantly in his late seventies to prove that he retained them.