Unknown Artist - Self-Portrait by Rubens (Author's Copy) - DMAG001

The self-portrait is a genre that has been widespread throughout the history of art up to the present day. The first examples date back to the Middle Ages, but not as an independent genre, but rather contextualized within a work. As the artist's self-awareness and his role developed, self-portraits, especially those set within other works, began to gain popularity during the Renaissance. The first examples of independent self-portraits, however, date back to the 16th century. Often, the artist's self-portrait serves as a sort of stylistic manifesto for the painter who conceived it. The present work is inspired by one of the many self-portraits by Peter Paul Rubens, likely the one painted in 1623 and held in the Royal Collection at Windsor.

As suggested by the model Rubens took in this work, a stylistic and formal analysis reveals a prevailing Baroque spirit. This work undoubtedly draws inspiration from the great naturalism of the seventeenth century, which, aiming to correct the supposed errors of Mannerism, was directly linked to the great masters of the late Renaissance. Hence, the desire to achieve a completely naturalistic rendering, which, however, is expressed in a restrained atmosphere compared to the seventeenth-century prototype. The subject interacts with the space in a balanced manner, with a light sfumato that renders its contours indefinite and the flesh soft to the touch. The light strikes the subject from the left, creating shadows on the face with perfect verisimilitude. The physiognomic connotation of the subject's face is extraordinary, just as the solemn and austere expression, which suggests profound psychological introspection, is extremely engaging. The chromatic range is typically seventeenth-century, with a prevalence of dark tones.

As we can see from an analysis of this work, the artist who created this original copy possessed an excellent painting technique that allowed him to replicate a typically seventeenth-century style. His language is characterized by excellent naturalistic rendering and a highly complex application of color. Compared to Baroque prototypes, however, he seems to maintain a more refined formal balance, avoiding excessive atmospheric effects.

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