Top 100 - The 100 most famous self-portraits in painting
The 100 most famous self-portraits in painting
From Dürer to Frida Kahlo: one hundred works that transform the artist's face into a manifesto, memory and laboratory
This ranking brings together one hundred self-portraits of 97 artists from European and American traditions.
One hundred faces facing the mirror
The self-portrait, between affirmation and introspection
During the Renaissance, the self-portrait accompanied the social recognition of the painter. Dürer, Raphael, Titian, Sofonisba Anguissola and Lavinia Fontana not only show their features: they declare a new profession, culture and dignity for the author of the image.
To paint oneself is to be at the same time model, director and witness. The mirror provides the face; the painting decides what will become of it.Switch to images
Classification in images
Dürer, Van Gogh, Kahlo, Rembrandt, Gentileschi, Schiele and Munch open the route with the most instantly recognizable self-portraits.
#1
Self-portrait with fur
In rank 1, "Self-portrait with fur" by Albrecht Dürer belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in it the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#2
Self-portrait with bandaged ear
In rank 2, "Self-portrait with a bandaged ear" by Vincent van Gogh belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#3
Self-portrait with a necklace of thorns and hummingbird
In rank 3, "Self-portrait with a necklace of thorns and hummingbird" by Frida Kahlo belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#4
Self-portrait with two circles
In rank 4, Rembrandt's "Self-portrait with two circles" belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in it the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#5
Self-portrait in allegory of painting
In rank 5, "Self-portrait as an allegory of painting" by Artemisia Gentileschi belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#6
Self-portrait in Sainte-Pélagie
In rank 6, "Self-portrait in Sainte-Pélagie" by Gustave Courbet belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits by another artist and Asian works were excluded.
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#7
Self-portrait with straw hat
In rank 7, "Self-portrait with a straw hat" by Élisabeth Vigée Le Brun belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#8
Self-portrait in a convex mirror
In rank 8, "Self-portrait in a convex mirror" by Parmigianino belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#9
Self-portrait with Physalis
In rank 9, "Self-portrait with Physalis" by Egon Schiele belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in it the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#10
Self-portrait. Between the clock and the bed
In row 10, "Self-portrait. Between the clock and the bed" by Edvard Munch belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#11
Self-portrait with sunflower
In rank 11, "Sunflower Self-Portrait" by Antoine van Dyck belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#12
Self-portrait with easel
In row 12, "Self-portrait on the easel" by Sofonisba Anguissola belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits by another artist and Asian works were excluded.
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#13
Self-portrait in the workshop
In rank 13, "Self-portrait in the studio" by Francisco de Goya belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits by another artist and Asian works were excluded.
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#14
Self-portrait in Nimbus
In rank 14, "Self-portrait with the Nimbus" by Paul Gauguin belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in it the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits by another artist and Asian works were excluded.
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#15
Self-portrait in a tuxedo
In rank 15, "Self-portrait in a tuxedo" by Max Beckmann belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in it the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits by another artist and Asian works were excluded.
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#16
Self-portrait
In rank 16, "Self-portrait" by Raphaël Sanzio belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits by another artist and Asian works were excluded.
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#17
Self-portrait
In rank 17, Titian's "Self-portrait" belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#18
Self-portrait as a young man
In rank 18, "Self-portrait as a young man" by Jacopo Tintoretto belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#19
Self-portrait
In rank 19, "Self-portrait" by Diego Velázquez belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#20
Self-portrait
In rank 20, "Self-portrait" by Nicolas Poussin belongs to the chapter "the twenty icons of self-portraiture". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits by another artist and Asian works were excluded.
View product →Easel, book, palette, costume and frontal gaze gradually assert the author as an autonomous subject.
#21
Self-portrait with a virginal with a servant
In rank 21, "Virginal self-portrait with a servant" by Lavinia Fontana belongs to the chapter "Renaissance, Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for singularity from its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works were excluded.
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#22
Self-portrait
In rank 22, "Self-portrait" by Judith Leyster belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, studio, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#23
Self-portrait with two students
In row 23, "Self-portrait with two students" by Adélaïde Labille-Guiard belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#24
Self-portrait with the portrait of his sister
In rank 24, "Self-portrait with the portrait of his sister" by Rosalba Carriera belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#25
Self-portrait of the artist as a young man
In rank 25, "Self-portrait of the artist as a young man" by Peter Paul Rubens belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, studio, palette and framing construct a public identity as much as an intimate presence. This work was chosen for singularity from its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works were excluded.
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#26
Self-portrait.
In rank 26, "Self-portrait." by Bartolomé Esteban Murillo belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The ranking relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works were excluded.
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#27
Self-portrait at twenty-four
In rank 27, "Self-portrait at twenty-four" by Jean-Auguste-Dominique Ingres belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and works asians were excluded.
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#28
Self-portrait
In rank 28, "Self-portrait" by Jacques-Louis David belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, studio, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#29
Self-portrait
In rank 29, "Self-portrait" by JMW Turner belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, studio, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. MW Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#30
Self-portrait, Corot at his easel
In row 30, "Self-portrait, Corot on his easel" by Jean-Baptiste Camille Corot belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and works asians were excluded.
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#31
Self-portrait with palette
In rank 31, "Self-portrait with palette" by Édouard Manet belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The ranking relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#32
Self-portrait wearing a beret
In rank 32, "Self-portrait wearing a beret" by Claude Monet belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The ranking relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#33
Self-portrait with white hat
In rank 33, "Self-portrait with a white hat" by Pierre-Auguste Renoir belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#34
Degas in the black frock coat (Self-portrait)
In rank 34, "Degas in the Black frock coat (Self-portrait)" by Edgar Degas belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#35
Self-portrait with palette
In rank 35, "Self-portrait with palette" by Paul Cézanne belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#36
Self-portrait with hat
In rank 36, "Self-portrait in the hat" by Camille Pissarro belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#37
Self-portrait in front of a mirror
In row 37, "Self-portrait in front of a mirror" by Henri de Toulouse-Lautrec belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#38
Topless self-portrait
In rank 38, "Toteless Self-Portrait" by Suzanne Valadon belongs to the chapter "The Renaissance, the Baroque and the Affirmation of the Status of Artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, studio, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The ranking relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#39
Self-portrait
In rank 39, "Self-portrait" by Berthe Morisot belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#40
Self-portrait with palette
In rank 40, "Self-portrait with palette" by Frédéric Bazille belongs to the chapter "the Renaissance, the Baroque and the affirmation of the status of artist". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The ranking relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
View product →Workshop, outdoors, ordinary clothing and visible touch bring the self-portrait closer to the lived experience.
#41
Self-portrait seated, palette in hand"
In row 41, "Sitting self-portrait, palette in hand"" by Henri Fantin-Latour belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and works asians were excluded.
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#42
Self-portrait
In rank 42, "Self-portrait" by Henri Matisse belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#43
Self-portrait
In rank 43, "Self-portrait" by Amedeo Modigliani belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits by another artist and Asian works were excluded.
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#44
Self-portrait
In rank 44, "Self-portrait" by Chaïm Soutine belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#45
Self-portrait in the mirror of the bathroom
In row 45, "Self-portrait in the mirror of the bathroom" by Pierre Bonnard belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and works asians were excluded.
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#46
Self-portrait with bamboo mirror
In rank 46, "Self-portrait with a bamboo mirror" by Édouard Vuillard belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#47
Self-portrait
In rank 47, "Self-portrait" by Robert Delaunay belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#48
Self-portrait
In rank 48, "Self-portrait" by Piet Mondrian belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#49
Malevich's self-portrait from 1933
In rank 49, "Self-portrait of Malevich from 1933" by Kazimir Malevich belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#50
Self-portrait as a soldier
At rank 50, "Self-portrait as a soldier" by Ernst Ludwig Kirchner belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#51
Self-portrait, 1907
In rank 51, "Self-portrait, 1907" by August Macke belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#52
Self-portrait in Breton costume
In rank 52, "Self-portrait in Breton costume" by Franz Marc belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works were excluded.
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#53
Self-portrait 1912
In rank 53, "Self-portrait 1912" by Alexej von Jawlensky belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works were excluded.
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#54
Half-naked self-portrait
In rank 54, "Half-naked self-portrait" by Richard Gerstl belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#55
Self-portrait on the sixth wedding anniversary
In rank 55, "Self-portrait on the sixth wedding anniversary" by Paula Modersohn-Becker belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and asian works were excluded.
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#56
Self-portrait
In rank 56, "Self-portrait" by Marianne von Werefkin belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#57
Self-portrait
In rank 57, "Self-portrait" by Käthe Kollwitz belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#58
Self-portrait (1878-1879)
In rank 58, "Self-portrait (1878-1879)" by Anna Ancher belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#59
Self-portrait
In rank 59, "Self-portrait" by Olga Boznaÿska belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#60
Self-portrait
At rank 60, "Self-portrait" by Cecilia Beaux belongs to the chapter "the 19th century, the workshop and the construction of modern identity". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
View product →Labille-Guiard, Leyster, Morisot, Valadon, Modersohn-Becker and their sisters build their presence against the imposed roles.
#61
Self-portrait
In rank 61, "Self-portrait" by Elizabeth Nourse belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#62
Self-portrait
At rank 62, "Self-portrait" by Lilla Cabot Perry belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#63
Self-portrait
In rank 63, "Self-portrait" by Marie Bashkirtseff belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#64
Self-portrait of the artist in an armchair with Bob, his French bulldog
In row 64, "Self-portrait of the artist in an armchair in the company of Bob, his French bulldog" by Marie Bracquemond belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was selected for the singularity of its pictorial solution and for its place in the history of the genre. The classification links the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits taken by another artist and Asian works were excluded.
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#65
Self-portrait with a harp
In rank 65, "Self-portrait with a harp" by Rose Adélaïde Ducreux belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#66
Self-portrait in wolf skin
In rank 66, "Self-portrait in wolf skin" by Anders Zorn belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#67
Self-portrait
In rank 67, "Self-portrait" by John Singer Sargent belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#68
Gold and Brown: Self-portrait
At rank 68, "Gold and Brown: Self-portrait" by James Abbott McNeill Whistler belongs to the chapter "Women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#69
Self-portrait
In rank 69, "Self-portrait" by Thomas Eakins belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#70
Self-portrait
At rank 70, "Self-portrait" by William Merritt Chase belongs to the chapter "Women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#71
Self-portrait
In rank 71, Grant Wood's "Self-portrait" belongs to the chapter "Women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#72
Self-portrait
In rank 72, "Self-portrait" by John Everett Millais belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#73
Self-portrait at the age of 14
In rank 73, "Self-portrait at the age of 14" by William Holman Hunt belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#74
Self-portrait
In rank 74, "Self-portrait" by Lawrence Alma-Tadema belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#75
Self-portrait
At rank 75, "Self-portrait" by Frederic Leighton belongs to the chapter "Women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#76
Self-portrait with Death playing the violin
In rank 76, "Self-portrait with Death playing the violin" by Arnold Böcklin belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#77
Self-portrait
In rank 77, "Self-portrait" by Ferdinand Hodler belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#78
Self-portrait in the studio
At rank 78, "Self-portrait in the studio" by Franz Von Stuck belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#79
Self-portrait with skeleton
In rank 79, "Skeleton Self-Portrait" by Lovis Corinth belongs to the chapter "Women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#80
Self-portrait with brush
At rank 80, "Self-portrait with a brush" by Max Liebermann belongs to the chapter "women artists and the conquest of their own image". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
View product →Expressionism, cubism, futurism and modern color transform the face into a field of psychological and formal experimentation.
#81
Self-portrait of the artist with his brother
In rank 81, "Self-portrait of the artist with his brother" by Franz Xaver Winterhalter belongs to the chapter "modernities of distortion, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and works asians were excluded.
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#82
Self-portrait painting The Ball Player
In row 82, "Self-portrait painting La Joueuse de boules" by Jean-Léon Gérôme belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and works asians were excluded.
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#83
Self-portrait with palette (1895, catalog 1895/01)
In rank 83, "Self-portrait with palette (1895, catalog 1895/01)" by Bouguereau belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another artist and works asians were excluded.
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#84
Self-portrait (1909)
In rank 84, "Self-portrait (1909)" by Joaquin Sorolla belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The ranking relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works were excluded.
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#85
Self-portrait, 1897
In rank 85, "Self-portrait, 1897" by Félix Vallotton belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The ranking relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works were excluded.
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#86
Self-portrait in front of the Priory
In row 86, "Self-portrait in front of the Priory" by Maurice Denis belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#87
Symbolic self-portrait
In rank 87, "Symbolic self-portrait" by Émile Bernard belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The ranking relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works were excluded.
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#88
Self-portrait with cap
In rank 88, "Self-portrait with a cap" by André Derain belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#89
Self-portrait
In rank 89, "Self-portrait" by Umberto Boccioni belongs to the chapter "modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#90
Self-portrait with beard
At rank 90, "Self-portrait with beard" by Theo van Doesburg belongs to the chapter "modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#91
Self-portrait with palette
In rank 91, "Self-portrait with palette" by Théo van Rysselberghe belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
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#92
Self-portrait
In rank 92, "Self-portrait" by Ilya Repin belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#93
Self-portrait
In rank 93, "Self-portrait" by Ivan Kramskoy belongs to the chapter "modernities of distortion, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#94
Self-portrait
In rank 94, "Self-portrait" by Valentin Serov belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#95
Self-portrait
In rank 95, "Self-portrait" by Boris Kustodiev belongs to the chapter "modernities of distortion, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits by another artist and Asian works were excluded.
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#96
Self-portrait, sitting near his easel at Skagen beach
In row 96, "Self-portrait, seated near his easel at Skagen beach" by Peder Severin Krøyer belongs to the chapter "modernities of distortion, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was selected for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits taken by another asian artist and works were excluded.
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#97
Self-portrait
In rank 97, "Self-portrait" by Jan Toorop belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The ranking relates Renaissance assertions, Baroque status games, 19th century introspection and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#98
Self-portrait on the border between Mexico and the United States
In rank 98, "Self-portrait on the border between Mexico and the United States" by Frida Kahlo belongs to the chapter "modernities of distortion, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was selected for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits taken by another artist and Asian works were excluded.
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#99
Self-portrait at the age of 63
In rank 99, Rembrandt's "Self-portrait at the age of 63" belongs to the chapter "modernities of distortion, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its solution pictorial and for its place in the history of the genre. The classification relates the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Double visuals, photographs, prints, sculptures, portraits made by another artist and Asian works were excluded.
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#100
Self-portrait as a painter
At rank 100, "Self-portrait as a painter" by Vincent van Gogh belongs to the chapter "the modernities of deformation, color and psychology". The self-portrait is never a simple copy of the face: pose, look, costume, mirror, workshop, palette and framing construct a public identity as much as an intimate presence. This work was chosen for the singularity of its pictorial solution and for its place in the history of the genre. The classification connects the assertions of the Renaissance, the status games of the Baroque, the introspection of the 19th century and modern distortions without treating the whole as a single progression. Visual duplicates, photographs, prints, sculptures, portraits made by another Asian artist and works have been excluded.
View product →What the ranking reveals
One hundred self-portraits, three superimposed identities
Each self-portrait combines a real person, a social role and a pictorial construction. Similarity matters, but it is never alone in deciding what the viewer encounters.
The look establishes the contract
Frontal, diverted or surprised in the mirror, it immediately adjusts the distance between the artist and the spectator.
Attributes declare a status
Palette, brush, book, clothing or workshop say how the painter wants to be recognized.
Matter transforms the face
Smooth touch, impasto, nervous line or flat colored color make the skin a language specific to each era.
A Western history of self-portraiture
Five landmarks to follow the artist's face
The self-portrait with fur gives the painter a solemn frontality formerly reserved for sacred figures.
Rembrandt multiplies paintings, drawings and engravings of his own face and transforms aging into a subject.
Labille-Guiard and Vigée Le Brun use self-portraits to assert their profession, clientele and transmission.
Color, touch and look condense the inner state without reducing the image to a documentary confession.
Line, thinness and pose break the conventions of dignity to make self-portraiture a physical experience.
The self-portrait in depth
Why do painters represent themselves?
During the Renaissance, the self-portrait accompanied the social recognition of the painter. Dürer, Raphael, Titian, Sofonisba Anguissola and Lavinia Fontana not only show their features: they declare a new profession, culture and dignity for the author of the image.
In the 17th century, Rembrandt made his own face an exceptional chronicle of time. Van Dyck, Rubens, Murillo, Leyster and Poussin use costume, attributes, framing and gaze to negotiate between intimacy, reputation and public status.
In the 19th century, the self-portrait was closer to the studio, daily life and psychological experience. Goya, Courbet, Manet, Degas, Cézanne, Morisot and Van Gogh made the material of the painting visible as much as their appearance.
For women artists, representing themselves often constitutes a position. Labille-Guiard, Vigée Le Brun, Valadon, Modersohn-Becker, Kollwitz and Kahlo regain control of their image while affirming work, desire, motherhood, body, illness or independence.
The modernities of the 20th century finally transformed the face into a field of experimentation. Schiele, Munch, Kirchner, Beckmann, Jawlensky, Boccioni, Malevich and their contemporaries shift resemblance through line, color, fragmentation and physical intensity.
Four reading keys
How to watch a self-portrait
Gaze, mirror, attributes and material make it possible to distinguish the person represented from the identity constructed by the painting.
Measure distance
The eyes may seek recognition, challenge the viewer, or remain absorbed in observing the mirror.
Understanding inversion
The device explains certain poses and reminds us that the artist always works from an already reflected image.
Identify the role
Palette, easel, clothing, book or animal transform the face into a professional or symbolic declaration.
Monitor the transformation
The way of painting the skin reveals an era and a style as much as the features of the model.
Paints, products and references
Continue in the Famous Portraits collection
Frequently asked questions
Self-portrait without identity confusion
The essential benchmarks for understanding the scope, classification, artists represented and links to reproductions.
How were the hundred self-portraits classified?
The first twenty bring together the most recognized images. The following four chapters organize a historical and critical journey: status of artist, 19th century, women painters and modernities. Rank serves to guide reading; it does not measure an absolute value.
What distinguishes a self-portrait from an ordinary portrait?
In a self-portrait, the artist is also the model of the work. The painting can be painted in a mirror, from memory or from studies, but the identity of the painter and that of the person represented must coincide.
Does the classification only contain paintings?
Yes. Prints, stand-alone drawings, photographs, sculptures and works only attributed to another medium were excluded from the corpus.
Are there any Asian works?
No. The perimeter follows only European and American traditions, in accordance with the Asian exclusion order.
Are multiple works by the same artist permitted?
Yes, but very little. Rembrandt, Van Gogh and Frida Kahlo appear twice to show truly different moments. The corpus represents a total of 97 artists.
Do the images exactly match the products?
Yes. The hundred images and the hundred links are unique.
How were the images controlled?
The public page is then browsed on computer and mobile in order to trigger and control the actual loading of the hundred visuals.
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