• Philip AKKERMAN
• details: No. 1, 2006, tempera and oil paint on wooden panel, 40 x 34 cm
• source: https://www.derekeller.com/artists/philip-akkerman?view=slider#3
• https://philipakkerman.com/

"For the first five years, he painted his self-portraits within the classic triangle of painter-mirror-easel. After that, he no longer needed the mirror. 'I knew that I didn’t so much want to paint a self-portrait as I wanted to make a beautiful painting. So it’s not about painting yourself exactly. Sometimes I still use the mirror, just to refresh my memory, and only as a drawn study for the painting.' 'In some way or another, we are all occupied with the mystery of existence. But where is that more potently present than in one's own physicality? There, you are both the viewer and the viewed.'"

• Sofonisba ANGUISSOLA
• details: Sofonisba Anguissola, Self-Portrait at the Easel, 1556, oil on canvas, 66 x 57 cm (Łańcut Castle, Poland)
• source: Dr. Lauren Kilroy-Ewbank, "Sofonisba Anguissola," in Smarthistory, May 3, 2016, accessed October 28, 2024, https://smarthistory.org/sofonisba-anguissola/.
• Sir Anthony Van Dyck, Sofonisba Anguissola, 1624, oil on panel, 41.6 x 33.7 cm (Knole, Kent)

• Francis BACON
• details: 1973
• source: read more at www.artquotes.net

Irish born English artist. Francis Bacon was no easier on himself as a subject, as he was with others. He depicted himself just as he did with his sitters. In this self portrait the artist be suffering from a hangover. He could also be referring to time and death. Is the artist simply suffering from a headache or is his hidden wrist bleeding into the sink? "My painting is a representation of life, my own life above all, which has been very difficult. So perhaps my painting is very violent, but this is natural to me." Francis Bacon Quote

LINKS:
- Image Gallery
- Detroit Institute of Arts
- WebMuseum

• François-Emile BARRAUD
• details: 1931
• François Barraud painted mainly still lifes, female nudes and portraits, including several double portraits of himself and his wife, Marie.
• Credit line: Передано в дар Мари Бюиссон-Барро в 1977 году

When I look at the available reproductions on the internet, they all have the same glittering of the oilpaint in the top left. So, presumably, they all come from the same source. The format in the picture above looks exaggerated, elongated. May I propose a corrected version as in the second picture? contact me

link: https://garystockbridge617.getarchive.net/amp/topics/20th+century+three+quarter+view+portrait+paintings+of+men+facing+right+and+looking+at+viewer

• Aubrey Vincent BEARDSLEY
• details: c. 1892 Pen and black ink, with black wash
• source: https://historia-arte.com/artistas/aubrey-beardsley
• Link: https://www.britishmuseum.org/collection/search?keyword=PDB15703

Aubrey Vincent Beardsley was one of the most interesting artists of the Victorian era in the United Kingdom. The perfect son of the fin-de-siècle. He died at the tender age of 25, but he had time to shock, fascinate and influence the artists of the time. His modernist style, mixed with his critical and incisive humour, gave rise to a satirical, aesthetic, modern, hypnotic... wonderful artistic work. Beardsley stood out very early as a "child prodigy" in music and later in other creative fields. He looked like he was going to be an architect, but the plastic arts entered his life and everything went down the drain. He entered the Westminster School of Art and that's where his adventure began. His illustrations began to gain fame for their innovative style. Books and magazines wanted to be illustrated with his art. Of course, he also illustrated the work of his friend Oscar Wilde. Beardsley had a modernist style, based on nature, with organic forms and great decorativeness. With all due respect, he was a younger and more radical Alfons Mucha. He used a lot of ink (black and white) and his work was greatly influenced by Japanese engraving. He touched on a variety of themes: religious, mythological, historical, caricature… And in all of them there is a charge of eroticism (let us highlight his scandalous illustrations for Lysistrata and Salome). In his life, he was a dandy. A decadent like Wilde, an eccentric, a Tristram Shandy. “I only have one goal – the grotesque. If I am not grotesque I am nothing,” he once said. Tuberculosis, a most romantic disease, killed him when he was only 25 years old. (CC) Miguel Calvo Santos, 08-31-2017

• Ernest BIELER
• details: 1911
• web: www.ernest-bieler.ch/

"Born in 1863 in Rolle, Ernest Biéler left for Paris at the age of seventeen to study in the city’s art schools. He works under the influence of impressionism at first and paints an initial masterpiece that causes quite a stir at the 1889 World’s Fair (Pendant la messe à Saint-Germain en Savièse – During the Mass in Saint-Gemain in Savièse, 1886), the picture’s subject being inspired by a stay in the Canton of Valais. Illustrating the novels of Emile Zola, Alphonse Daudet and Victor Hugo – over and above the few portrait commissions that come in – makes it possible for him to live in the French capital. "
"A painter and illustrator, he also makes a name for himself working in stained glass and mosaic. In 1917 he sets up shop in a vast studio in Montellier near Rivaz and begins producing the great decorative works that will ensure him lasting fame. He creates stained-glass windows for churches (Saint Francis, Lausanne; Saint Martin, Vevey; Saint Germain, Savièse), mounted-canvas ceilings (Victoria Hall, Geneva; Theatre of Bern) and frescoes (Jenisch Museum, Vevey; the main hall of the Greater Council, Sion). "
https://www.collection.pictet/artist/bieler

• Peter BLAKE
• details: 1961, Oil on canvas, Pop Art, 174 × 122 cm, Private Collection
• source: wikiart © fair use
• Link: https://en.wikipedia.org/wiki/Peter_Blake_(artist)

(Sir) Peter Blake has a fascination with collecting and incorporating found objects into his artwork. He often includes vintage toys, badges, and other memorabilia in his collages and assemblages, creating richly layered compositions that evoke nostalgia and whimsy.
text from: www.singulart.com

teach tip: explore how to use objects on pictures or paintings

• Loréne BOURGUIGNON
• details (1): 'Zelfportret (Self-portrait)', 1994 43 × 41 cm oil on canvas (private collection)
• details (2): 'Androgyn (7)', 2002 43 × 41 cm oil on canvas (private collection):
• http://www.lorenebourguignon.nl/fine-art/

"The Polaroids are usually taken at random: coincidence plays a significant role. This entails that there is considerable distance between myself and the portrait. My aim in making self portraits is not to document the overly personal. At first, the portrait is virtually “empty”, the distance between it and myself is as large as it can be. By painting in thin layers on top of one another, such distance is maintained, while the portrait at the same time nonetheless acquires its own appearance. I recreate my own face, as it were."
http://www.lorenebourguignon.nl/fine-art/text-english/

"..been implicating portraits of my father in my self portraits. Self portraits generally do not allow for the emergence of new images. And yet, in drawing on portraits of my father in addition to my own, I found myself confronted with new, manipulated, almost androgynous faces.."

• Theodor de BRY
• details:
• source:
• LINK: 11-06-de Bry

• Marc CHAGALL
• details: (1887-1985)
• source:

Chagall grew up in the Belarusian village of Vitebsk, the eldest son of a Hassidic laborer. While he spent most of his life in France, he never stopped returning to Vitebsk in his mind and in his art. In Self-Portrait with Seven Fingers two landscapes hover above the painter, the modernity of Paris meeting the timelessness of Vitebsk. In Study for Self Portrait with Seven Fingers, Chagall presents us with the Jewish fascination with numbers. Art historian Sandor Kuthy suggests that the Yiddish folk expression Mit alle zibn finger, used to indicate the entirety of energy used in completion of a task, explains this strange physical anomaly in the painting. Self-Portrait with Seven Fingers was Chagall's first self-portrait. It was painted in his first Paris studio at La Ruche, Montparnasse where he and 200 fellow artists lived in total squalor. The painting is now shown in the Stedelijk Museum, Amsterdam. (www.jhom.com = defunct)

• Ulpiano CHECA
• details: "COCA MARIANI" Photoengraving on paper. 18.8 x 26 cm. Ulpiano Checa. 1903 Plate included in the eighth volume of the famous 'Album Mariani' by Angela Mariani, (Corsica 1838. Paris 1914).
• source: Ulpiano Checa Museum

This is a self portrait in the sense of what the artist want to say about himself
The use of the word redskin would bring a blush to many faces now but, hey, I grew up with Winnetoe and Old Shatterhand.
Besides that, it is one of my fasfourite artists and I wish all musea were like this one

Angela Mariani became immensely rich with her "medicinal wines": especially with coca wine, which was said to have qualities for stomach and respiratory illnesses, insomnia and melancholy. Angela Mariani was also an art lover and had a great sense of publicity. She thought that she could promote her products by sending a sumptuous gift of bottles to people of great renown, to obtain a handwritten note of thanks in response. This is how the "Mariani Albums" were gradually formed. They include kings, popes, princes, presidents, writers... Names such as Thomas A. Edison, Pétain, Emile Zola or Ulpiano Checa himself alternate. In each case, these albums contain a biographical sketch of the character and an engraving with his portrait, as well as his signature and a few lines of prose, or short poems, sheet music, etc. music, drawings, anagrams, all in the color of the wonderful wine, which received a special blessing from Pope Leo XIII. The Albums were published in Paris by the Libraire Henri Fleuri, between 1894 and 1906, in exquisite editions, coveted by bibliophiles from all over the world.
text is from the Ulpiano Checa Museum

• Chuck CLOSE
• source: https://www.artsy.net/artwork/chuck-close-study-for-self-portrait (Parish art Museum)
• Many of his self portraits are gigantic:1967-1968 Medium: Acrylic on Canvas, Photorealism, Dimensions: 107 1/2 x 83 1/2"

But this is much more than just the story of a local boy who made good. On Dec. 7, 1988, at the age of 49, Close was at the height of his career as a portrait painter when he was stricken with a spinal blood clot that left him a quadriplegic.
https://magazine.washington.edu/feature/chuck-close-overcame-struggles-to-become-a-renowned-artist/

He also suffers from prosopagnosia, or face blindness, where he can't recognize faces.
see also: 02-01-how-well-do-artists-see

The National Gallery of Art in Washington has canceled a Chuck Close exhibition, planned for May, because of accusations of sexual misconduct that have engulfed the artist in controversy.

Chuck Close, Creator Of Gigantic Portraits, Has Died At 81. Artist Chuck Close at a 2019 exhibition of his work in Ravenna, Italy. Chuck Close's face made him famous — his face on canvas, that is. Gigantic, up close and personal, his black and white 1968 Big Self-Portrait leaves nothing to the imagination. 19 Aug 2021

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• Edgar DEGAS
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• Eugène Delacroix
• details: 1816
• source: https://mbarouen.fr/en/oeuvres/self-portrait

• Marcel DUCHAMP
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• Albrecht DUERER
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• James Montgomery FLAGG
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• Jean FOUQUET
• details: 1450
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• Paul GAUGUIN, 'Self-Portrait with Halo and Snake'
• details: 1889, oil painting on wood, 79 cm × 51 cm (31.2 in × 20.2 in,
• source:
• National Gallery of Art, Washington, D.C.

Self-Portrait with Halo and Snake, also known as Self-Portrait, is an 1889 oil-on-wood painting by French artist Paul Gauguin, which represents his late Brittany period in the fishing village of Le Pouldu in northwestern France. No longer comfortable with Pont-Aven, Gauguin moved on to Le Pouldu with his friend and student Meijer de Haan and a small group of artists. He stayed for several months in the autumn of 1889 and the summer of 1890, where the group spent their time decorating the interior of Marie Henry's inn with every major type of art work. Gauguin painted his Self-Portrait in the dining room with its companion piece, Portrait of Jacob Meyer de Haan (1889)

• Théodore GÉRICAULT
• details:
• source:
• Link: https://mydailyartdisplay.uk/2014/09/19/theodore-gericault-and-monomania/

• Alberto GIACOMETTI
• details: Date circa 1954, Pencil and eraser on paper, 19,44 x 12,59 in., Private collection
• source: https://www.fondation-giacometti.fr/en/database/171392/self-portrait

• GILBERT & GEORGE
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• John HEARTFIELD
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• Tim HAWKINSON
• details: 1960 -
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Balloon Self-Portrait, 2004?, latex sculpture, life size cast from the artist's body, turned inside out, then inflated by an air compressor, Ace Gallery, NYC.

• Caterina van HEMESSEN (1528 – after 1587)
• details: 1548, mixed media: tempera on oak wood (Gefirnißte Tempera), Dimensions: height: 32 cm (12.5 in) width: 25 cm (9.8 in), Collection Kunstmuseum Basel
• source: wikimedia.org

Her father, Jan Sanders van Hemessen was a well-known painter in Antwerp and presumably her teacher. She was a highly successful painter. Her paintings have a quiet dignity to them, the sitters eyes never meet the viewer's. Her pictures also tend to be small with plain dark backgrounds that give no sense of location or extended space.
^{https://www.wga.hu/frames-e.html?/html/h/hemessen/caterina/selfport.html}

• Rosemin HENDRIKS
• details:
• source:
• www.roseminhendriks.nl/

Sinds 1993 maakt Rosemin Hendriks (Velp 1968) tekeningen van zichzelf. Wat opvalt in haar werk is dat ze de werkelijkheid niet kopieert, maar details weglaat en veel suggereert met een enkele houtskool of conté streep. De afbeelding wordt als het ware ontdaan van alle ballast.
Voor Rosemin Hendriks vormt een gezicht, meestal dat van haar zelf, het uitgangspunt voor een werk. Dit gegeven werkt zij vooral lineair uit in houtskool en conté op grote vellen papier. Het grote formaat verleent de beelden een wonderlijke spanning tussen intimiteit en herkenning enerzijds en afstand en vervreemding anderzijds. De kunstenaar duidt haar werken bij voorkeur niet aan als zelfportretten, voor haar is het wezenlijker dat het tekeningen zijn.

• HOFMANN
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• Frida KAHLO
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• Paul KLEE
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• Clemens KRAUSS (1979- )
• details:
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• LINKS:
  - www.hausamwaldsee.de
  - www.galeries.nl
  - www.artfacts.net
  

The works of Clemens Krauss refer to experiences offered and created by the mass media and the ensuing questions of dislocation and mobility – both as cultural and artistic practice – and the individual’s notion of identity. Krauss transfers the situation and appropriation of media perception into a painterly process. read more at DNA-galerie, Berlin

• KUHN
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• LEMPICKA
• details: Autoportrait (Tamara in a Green Bugatti), self portrait by Tamara de Lempicka
• source: https://www.wikiart.org/en/tamara-de-lempicka/portrait-in-the-green-bugatti-1925
• Link: https://culture.pl/en/work/self-portrait-tamara-in-a-green-bugatti-tamara-lempicka

Autoportrait (Tamara in a Green Bugatti) is a self-portrait by the Polish artist Tamara de Lempicka, which she painted in Paris in 1928. It was commissioned by the German fashion magazine Die Dame for the cover of the magazine, to celebrate the independence of women. It is one of the best-known examples of Art Deco portrait painting.

• Al LISSITSKY
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• Ivan LORRAINE ALBRIGHT
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• Henri MATISSE
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• Piet MONDRIAAN (Mondrian) (1872 - 1944)
• details:
• source: wikipedia.org
• source _b: research.rkd.nl
• source_c: Kunstmuseum, The Hague

The artist made famous by his 'Boogie Woogie'. Your students may not expect Mondrian to be such an excellent and versatile artist

Edvard MUNCH
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• Tony OURSLER (1957 - )
• details: MMPI (Self-Portrait in Yellow), 1996, video installation with video projector, VCR, video tape, small cloth figure and metal chair, Milwaukee Art Museum, WI.
• source:

New York video artist Tony Oursler is best known for projecting video images of faces on dolls, mannequins, and disembodied heads, thereby bringing to life these otherwise inanimate objects.
The Minnesota Multiphasic Personality Inventory (MMPI), a diagnostic tool developed in the 1950s as a test for mental health, is based on the discovery that individuals with similar mental disorders frequently answer the same questions in similar ways.
In MMPI (Self-Portrait in Yellow), the projected image shows the artist reciting the test questions. Trapping the head under a folding chair adds to the psychological tension of the work.

read more at Milwaukee Art Museum