Here are some the Self-portraits of the Greatest Master Painters.
"CRUCIFIXION OF SAINT PETER"
"THE LAST JUDGEMENT"
Michelangelo just like other artists during the Renaissance period, traditionally painted a self portrait of themselves hidden in the background of their paintings. A self-portrait by him has been discovered in his painting, the Crucifixion of Saint Peter in the Vatican's Pauline Chapel. During a major restoration, in 2004, of the Crucifixion of Saint Peter and the other Michelangelo fresco in the chapel, the Vatican concluded that the figure in the top left-hand corner is Michaelangelo. The figure identified as the artist is one of three horsemen in the picture. Michelangelo is depicted wearing a blue turban of lapis lazuli blue.
The only other self-portrait of Michelangelo appears in his most famous work, the monumental Last Judgment in the Sistine Chapel. Michelangelo painted his self portrait as the grotesque flayed skin of a man held by Saint Bartholomew.
LEONARDO DA VINCI
This self-portrait when he was 50 and living in France. Leonardo da Vinci's cast himself as a venerable old man with a long white beard, the traditional style for representing God, prophets and philosophers. There's a great myth in Turin that the chalk drawing has a mystical power. The belief that Leonardo da Vinci's self-portrait is so intense that those who observe it are imbued with great strength. The Italians believed the mythology so much that they secretly hid the drawing during the second world war to prevent the Nazi from taking it.
The controversial Self-Portrait in the Uffizi is very similar to the Blessing Christ, but its poor state of conservation has prevented critics from attributing it objectively and definitively to Raphael.
Filippino Lippi painted himself as one of the crowd in "The Dispute with Simon Magnus" one of the frescos in the Brancacci Chapel in Florence
GIAN LORENZO BERNINI
Bernini painted this self-portrait when he was 25 years old when he sculpted David, Apollo and Daphne.
Bernini tried to capture his profile transformation as he changed thru the years.
This is a one of Goya's self-portrait that was included in the preparatory sketches for "CAPRICHOS".
One of the numerous self-portraits that Goya made during the course of his life, this painting, made when he was 69 years old, is perhaps the most intimate, with the exception of the likeness on his sick bed, frail and suffering, made five years later.
REMBRANDT VAN RIJIN
Rembrandt created an autobiography through his self-portrait. There are more than 90 known Rembrandt's self-portrait. It wasn't until the nineteenth and twentieth centuries, when scholars studied Rembrandt's oeuvre as a whole, that it was discovered how very many times the artist had portrayed himself. The number is still a matter of contention, but it seems he depicted himself in approximately forty to fifty extant paintings, about thirty-two etchings, and seven drawings. It is an output unique in history; most artists produce only a handful of self-portraits, if that. And why Rembrandt did this is one of the great mysteries of art history. Most scholars up till about twenty years ago interpreted Rembrandt's remarkable series of self-portraits as a sort of visual diary, a forty-year exercise in self-examination.
Historians thinks that Rembrandt's self-portraits were means of profound self-reflection.
Rembrandt may have used his own face because the model was cheap, but perhaps he was killing two birds with one stone. By using himself as the model for these and other studies, Rembrandt was making himself into a recognizable celebrity at the same time that he gave the public strikingly original and expressive art.
At the start of his career, Degas produced some forty self-portraits in various media. The above self-portrait was painted dated 1855–56, when the young artist quit his formal training at the École des Beaux-Arts and set off for an extended sojourn in Italy. It reflects Degas's influence from the self-portraiture of Rembrandt.
VINCENT VAN GOGH
Vincent van Gogh painted over 30 self-portraits between the years 1886 and 1889. His collection of self-portraits places him among the most prolific self-portraitists of all time. Van Gogh used portrait painting as a method of introspection, a method to make money and a method of developing his skills as an artist.
When Renoir made this self-portrait in 1875, his paintings were bringing in little income. The artist presents himself with unkempt hair and beard, yet smartly dressed in a striped shirt and dark blue necktie. The textured paint—almost transparent in some places, thickly applied in others—suggests he was experimenting with technique.
Self–portraiture constituted a significant element of Gauguin's production, particularly in 1888 and 1889. Gauguin's interest was prompted in part by Vincent van Gogh's 1888 portrait series including which Gauguin knew from his correspondence with Van Gogh and his brother Theo. In addition, Van Gogh hoped to establish an artists' colony in the south that could be analogous to Gauguin's circle in Brittany and proposed an exchange of self–portraits. Gauguin's only known statements about his self–portraiture concern a work similar to the National Gallery Self–Portrait
Henri Matisse" painted only few self-portraits proper, and this is counted among the most remarkable of them. Its direct, almost confrontational feel makes it unusual. The artist portrayed himself at close range, directing a firm and confident gaze towards the spectators. No attributes speak of his profession as an artist; he is dressed in a simple, striped jersey commonly used by the fishermen of the era.
Picasso's self-portraits are so important in his work that they deserve their own category. This section of paintings spans his entire career, although for most of the post-Cubist work, his identity in his paintings was symbolized by "The Painter", or the "Minotaur" rather than a literal representation of himself. Picasso's manner of self-depiction changed, of course, to match with his current style of painting. Throughout his long career he painted various likenesses of himself that reveal his progress in life and art.
TAMARA DE LEMPICKA
"THE TWO FRIDAS (LAS DOS FRIDAS)" (1939)
This double self-portrait is one of Kahlo's most recognized works, and is symbolic of the artist's pain during her divorce from Rivera and the subsequent transitioning of her constructed identity. On the right, the artist is shown in modern European attire, wearing the costume she donned prior to her marriage to Rivera. Throughout their marriage, given Rivera's strong nationalism, Kahlo began to explore traditional Mexican costume, which she wears in the portrait on the left. It is the Mexican Kahlo that holds a locket with an image of Rivera. The stormy sky in the background, and the artist's bleeding heart - a fundamental symbol of Catholicism and also symbolic of Aztec ritual sacrifice - accentuate Kahlo's personal tribulation and physical pain. Symbolic elements frequently possess multiple layers of meaning in Kahlo's pictures; the recurrent theme of blood represents both metaphysical and physical suffering, gesturing also to the artist's ambivalent attitude toward accepted notions of womanhood and fertility.
Frida Kahlo, Mexico's greatest female artist, painted brutally honest self portraits that reveal her psychological response to adversity.
Here are some of my selfies and none of them worth anything. The first one was shot to take advantage of the lighting set up that was used from a project so I could have a nice profile pic. The other one was taken while drunk and bored and the last one was taken for hook-up apps. None of them have monetary value.