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Self-Portraits

Since the introduction of the mirror in the 15th century, many artists have created independent self-portraitsa portrait that an artist makes using himself or herself as its subject, typically created from a reflection in a mirror. Most painters have painted a self-portrait, and some artists, such as Rembrandt Harmenszoon van Rijn, have intensely practiced this form of self-study throughout their careers. There are generally six types of self-portraits: the self-portrait used as a signature, the self-portrait as a projection of self, the self-portrait as a self-study, the self-portrait as fantasy, the narrative self-portrait, and the metaphorical self-portrait. This entry first places these types in historical context and then discusses the concept of self in relation to self-portraits. Finally, the entry examines the psychological meaning of self-portraits.

History and Types

When and in which culture the first self-portrait appeared is difficult to answer with certainty. Self-portraits painted in burial scenes in ancient Egyptian temples and pyramids have been discovered as far back as 1365 BCE and can be categorized as self-portraits that function as a signature. However, the self-portrait as a signature was most prevalent during the Middle Ages and the Renaissance period. The emergence of the self-portrait as an independent genre of artistic expression, regardless of the medium, has been attributed to the invention of the flat, nondistorting mirror. The first independent self-portrait (a sketch) or self-portrait as a projection of the self may have been created by Filippino Lippi at the end of 15th century. However, many scholars identify Jean Fouquet's self-portrait (c. 1470) as the earliest surviving example. Even though self-portraits as a projection of self may have begun with Fouquet, artists such as Albrecht Durer who painted several self-portraits reflected the detailed exploration of their own images. Rembrandt is attributed as the first artist to create self-portraits as a study of the self. He created 60 autobiographical self-portraits.

The fourth type of self-portrait attempts to break away from the traditional depiction of the face and attempts to reveal the character of the artist. For example, Gustave Courbet created self-portraits that depicted fantasy by adding an environment to symbolize social status or mental state. The fifth type is the narrative self-portrait, painted by such notable artists as Pablo Picasso and Marc Chagall. Abstractionism led to a shift away from representational painting to painting that allowed colors, shapes, and patterns to represent the inner life of the artist and the world around the artist. This led to the final type, the metaphorical self-portrait pioneered by the abstract expressionists, notably Mark Rothko and Jackson Pollock, who infused their identities into abstract images by conveying their emotions as artists.

The Concept of Self and Self-Portraiture

Since the end of the 15th century, it has become somewhat of an unwritten rule that artists of Western origin paint a self-portrait. Before photography was invented, the portrait was the only means (with the exception of sculpture) for a person to possess an image of himself or herself. Historically, most artists have created at least one self-portrait as a potential memorial. Most artists have sought to present themselves in the best possible light when painting a self-portrait. Whether an artist paints a self-portrait as a projection of self or a self-study, the artist must study his or her own image and consequently explore his or her own persona. For some artists, the self-portrait is cathartic, for others the process is insightful. The self-portrait allows the artist to create characters and myths of himself or herself as the portrait becomes a mask. Despite their vain intentions, self-portraits are still informative. In many self-portraits, the facial features offer limited hints to character. The setting, costume, body language, hands, and overall composition must also be considered. Attributes and symbols are used to reveal the subject's traits and qualities through nonnarrative self-description.

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