Why paint a self-portrait? There are many reasons to do so, and it's rarely out of vanity.
First, there's a practical aspect to the exercise. The artist is his most readily available model. Also, this type of work gives the artist a freedom that creating someone else's portrait does not. The aim of that portrait is, most of the time, to depict the person with his or her best attributes.
Self-portraits allows the artist to experiment with different techniques and expressions without restriction. For many, it's an opportunity to indulge in some introspection, to document one's physical appearance and emotional state, in a specific place and time.
Rembrandt painted dozens of self-portraits documenting different stages of his life. These paintings reflect the evolution of his profoundly human condition. He had an exceptional talent for capturing his physical state and, above all, for exploring his identity and feelings. In his early paintings, he portrayed himself as a young man with disheveled hair. As he gained experience, he presented himself as an artist of high social status, and towards the end of his life as an old man worn down by bereavements and financial setbacks. In each of his paintings, we can appreciate his research into the light effects and the evolution of his chiaroscuro technique.
Vincent van Gogh represented himself in some forty works, experimenting with different styles, techniques and colors. Those showing him with a bandaged ear are well known. However, one of the most striking was painted a few months before his suicide, around 1889-1890. Tormented by his bouts of madness, he depicts himself as a tortured man with hollow features and a stoic gaze.
Pablo Picasso, always in search of innovation, painted himself in the various styles that have marked his artistic evolution. He created his first self-portrait in oils at the age of twenty, in Paris. His sunken features attest to his hard bohemian life at the time. In another, painted at the age of 25, we see that he was beginning to forge a new visual vocabulary, through the use of simplified masses of color. In 1929, he introduces his smooth profile behind an abstract head with a frightening toothy grin. He juxtaposes calm and violence, a duality reflecting his state of mind during that periode of his life.
Emily Carr, a renowned Canadian artist, painted only a few self-portraits. In them, she portrayed herself in direct, determined poses, testifying to her strength of character.
In a self-portrait dating from 1919, F.H. Varley (Canadian painter and founding member of the Group of Seven) confronts the viewer with an aggressive air, pursed lips, furrowed brows and penetrating gaze. The tight framing and broad brushstrokes accentuate the massive, imposing aspect of his stature. He uses the chiaroscuro technique to display his inner struggles, as he sought to strike a balance between his restless imaginative spirit and the mundane demands of everyday life.
The challenge
The idea of producing a self-portrait would never have occurred to me on my own. I'm more inspired by the atmosphere and colors of nature around me. Portraiture is a genre that greatly intimidates me. I embarked on this exercise in response to a challenge from the virtual community of painters of which I've been a member since 2022. To get used to the idea, I first practiced by making drawings. It took a few attempts before I achieved a certain resemblance.
In tackling this project, in which I embarked with some apprehension, my intention was not to lay bare my deepest feelings! My aim was to develop the technical skills needed to achieve a somewhat realistic portrait. Consequently, I strove to sharpen my observational skills, so that I could see shapes without focusing on each specific part of the anatomy. For example, I didn't paint a nose, I painted a line according to the hue and shape I observed.
My process
The challenge being daunting enough, I didn't want to paint my reflection in a mirror. For reference, I used a photo taken by my husband on a trip to Prince Edward Island. On a canvas panel, previously covered with a diluted sienna tint, I used pencil to reproduce the main features of my physiognomy, paying careful attention to proportions to achieve a minimum of realism
I'm often asked why I apply a thin layer of color to the canvas before tackling my subject. This practice prevents the appearance of small white spots where the paint has not covered the entire surface. Above all, it allows me to soften the contrast of the color against the white of the canvas, so I can better assess the nuances of tone I'm looking for.
I began by painting the contours of my face and body, i.e. the background, applying the darkest tones first. I proceeded in the same way with the clothes, going from darkest to lightest. This way, it's easier to calibrate the skin tones to the environment. And, I confess, I was “beating around the bush”, reluctant to get to the heart of the matter!
First applications to define the background and the clothing
At this stage, there was no escaping it - I had to start working on my distinctive features! I used the same gradual approach to painting the skin, starting with the hand to find the appropriate shades. Satisfied with the tones, I applied the foundation colour to the face before working on the curves and hollows, a little darker here, a little lighter there. If the brushstroke ran a little over the shape of accessories or clothes, I didn't worry about it. It will be easy to correct before adding my signature.
Gradual application of the skin tones
The canvas was now covered. I put it aside to have a fresh look at it later. The skin tones were not to my liking, it lacked warmth, which I fixed by lightly tanning the hue of the face. I was still questioning the color of the scarf around the neck, so I added tints of yellow to bring a bit more light to the whole piece.
The end result isn't perfect, but for my first experience with self-portraiture, I'm satisfied. The whole thing is believable. I'm in my element, in the great outdoors, enjoying the landscapes around me, camera in hand, as always.
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