Self/Image: The Artist’s Self-portrait in 16th-17th Century Europe

    One of the biggest shifts in the cultural heritage of European philosophy was the shift towards humanism during the Renaissance. This belief emphasizes the role of reason to unlock human potential. The renewed interest in Classical antiquity through the rediscovery of ancient artifacts and texts further invigorated this. This change not only prompted a change in European scholarship and ideas, but also affected the whole of society, causing massive changes in the culture and values of the day. One notable change was the role of the arts in envisioning humanist thought, elevating the painter to the role of an academic. 

    Though self-portraiture has existed in Western art since ancient times, artists in this period began to portray themselves as intellectuals capable of speaking into, and participating in, the effort to further human achievements. With this increased emphasis on the genius of the artist comes a rise in the capacity of the artist to assert their individual identity as visionaries and creators. Though many of these images do not give an exhaustive explanation of the painter’s view of what an artist is, they do give a better understanding of how different artists envisioned themselves in 16th and 17th century art. This specific collection attempts to portray this developing identity. These choices of paintings span from 1546 to 1639. To best capture this trend, a wide variety of artists is chosen, each exemplifying his or her unique experience during this crucial period in human history.

 

Titian (Tiziano Vecellio), Self-Portrait

ca. 1546-1547, oil on canvas, Gemäldegalerie, Berlin

This painting shows Titian, sporting a chain received from Charles V, the Holy Roman Emperor in recognition of his artistic prowess. This honor is further underlined by its being central to the composition, standing out on his white shirt. His brushstrokes are thick and painterly, drawing attention to his unique style and skill. To be distinguished both as a court painter and as a knight is done in a way that honors his king and draws attention to his own accomplishments as an artist and a man of genius.

Catharina van Hemessen, Self-Portrait

1548, oil on panel, Kunstmuseum Basel, Basel

This self-portrait portrays van Hemessen at working assiduously at her easel, perhaps the first time that this was ever done in the history of art. This self-portrait portrays two representations of her one as the artist the second as the subject. She is portrayed in shallow space, pushing her form right up to the edge of the frame. The inscription hovering above her can be translated to “I Caterina van Hemessen have painted myself / 1548 / Her age 20.” By this statement she both signs her work and asserts her right to be regarded as an artist.

Sofonisba Anguissola, Bernardino Campi Painting Sofonisba Anguissola

1559, oil on canvas, Pinacoteca Nazionale, Siena

Sofonisba Anguissola as a court painter to Philip II of Spain portrays herself as a painting by her teacher, Bernardino Campi. This painting was executed a few years after a spectator attributed her skill to that of her master saying that she was his creation and a reflection of his intellect. In response to this, though her teacher renders her in detailed (albeit idealized) proportions, she portrays him in a highly naturalistic manner, drawing a comparison between their respective skills in a way that displays her superior craftsmanship. In this work she is the focal point, standing out from the sombre colors of the composition in her rich red gown. 

Caravaggio (Michelangelo Merisi), The Musicians

1597, oil on canvas, 52.81

In this image, a commission from his patron Cardinal Francesco Maria del Monte, portrays a band of musicians preparing for a performance. The sheet music studied by the violinist (indicated by the violin that lies near him) has been connected with the song “Ben può di sua runia”, a nostalgic madrigal that would traditionally sung in pastoral costume, connecting the moment to Classical antiquity. The section that is specifically portrayed in this image is an excerpt from a sonnet by Iacopo Sannazaro referencing the fall of Icarus. Caravaggio sets his own self portrait to the back of the composition, framing his head between the lutist and the violinist, looking directly out at the viewer. This scene lamenting the ambitious Icarus paired with an Eros-like figure fetching grapes from the bottom left corner, seems to advocate the virtues of moderation, something that would have been received well by a humanist audience.

Anthony van Dyck, Self-portrait with Sir Endymion Porter, ca. 1633, oil on canvas, Museo del Prado, Madrid

In this composition, Van Dyck portrays himself with his patron, Sir Endymion Porter. This image, though acknowledging a distinction between the artist and patron, does serve to elevate Van Dyck’s status to that of a gentleman and a man of the court. Through this connection, though they are distinct in their social roles, they are portrayed equally as men of culture and intelligence. Van Dyck’s gloved hand further underscores this point, drawing more attention to his silk robes and aristocratic bearing than to the physical exertions that obtained him this honored position.

Artemisia Gentileschi, Self-portrait as the Allegory of Painting

1638-39, oil on canvas, Royal Collection

Portrayed in the traditional iconography of Pittura, the female personification of painting, Artemisia Gentileschi chooses to portray herself allegorically. This underscores her status as a creative visionary, accessing something beyond mere representation. Her body faces the light with arms active and outstretched, a pose that carries with it religious connotations, connecting her with a deeper spiritual reality. This self-portrait carries with it a sense of timelessness that pushes her artistic identity towards a sense of transcendence.