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Self-Portrait
French Neoclassical Painter, 1767-1824 oil on canvas, The Hermitage, St. Petersburg
Painting ID:: 19051
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Self-Portrait
Dutch Baroque Era Painter, 1627-ca.1683
Studied under Otto Marseus van Schrieck.
Students included Rachel Ruysch.
1803, oil on canvas, National Gallery of Ireland at Dublin
Painting ID:: 10717
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Self-Portrait
American Neoclassical Painter, 1738-1820 1770
Oil on canvas
Baltimore Museum of Art, Baltimore
Painting ID:: 7222
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Self-Portrait
Dutch Baroque Era Painter, 1613-1675
1635-38
Oil on panel
Cheltenham Art Gallery and Museums.
Painting ID:: 18995
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Self-Portrait
Flemish Baroque Era Painter, 1599-1641 Approx. 1622
oil on canvas
The Hermitage, St. Petersburg
Painting ID:: 19018
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Self-Portrait
Dutch Baroque Era Painter, 1627-1678 oil on canvas, The Hermitage, St. Petersburg
Painting ID:: 19088
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Self-Portrait
1712-1787
English 1850-51
Oil on board
National Portrait Gallery.
Painting ID:: 19090
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Self-Portrait
Spanish, 1842-1920 1884
Oil on canvas
Museo del Prado, Madrid.
Painting ID:: 19299
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Self-Portrait
French Post-Impressionist Painter, 1860-1943 1912
Mus??e d'Orsay, Paris.
Painting ID:: 19321
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Self-Portrait
German Neoclassical Painter, 1728-1779
1779
Oil on panel
Gemäldegalerie, Berlin.
Painting ID:: 19378
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Self-Portrait
German
1876-1907 1906
Haags Gemeentemuseum.
Painting ID:: 19459
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Self-Portrait
French
1826-1898 1850
oil on canvas
Mus??e Gustave Moreau, Paris.
Painting ID:: 19529
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Self-Portrait
Flemish, 1472-1533 1533
Oil on panel
Rijksmuseum, Amsterdam.
Painting ID:: 19679
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Self-Portrait
American, 1865-1944 1909
Oil on canvas
National Academy of Design, New York.
Painting ID:: 19939
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Self-Portrait
French Realist/Impressionist Painter and Sculptor, 1834-1917
French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues. ca.1855
1' 8 3/4'' x 1' 4 1/4''(53 x 41 cm)
Gift of Societe des Amis du Louvre,1932
Painting ID:: 11332
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Self-Portrait
7 1/2 '' x 5 1/2''(19 x 14 cm)Gift of Daniel Guerin,1952
Painting ID:: 11404
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Self-Portrait
Caribbean-born French Pointillist/Impressionist Painter, ca.1830-1903 1873
1' 10'' x 1' 6 1/4''(56 x 46.5 cm)Gift of PaulEmile Pissarro,1930
Painting ID:: 11429
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Self-Portrait
French Impressionist Painter, 1848-1894
Gustave Caillebotte was born on August 19, 1848 to an upper-class Parisian family. His father, Martial Caillebotte (1799-1874), was the inheritor of the family textile industry and was also a judge at the Seine Tribunal de Commerce. Caillebotte father had been twice widowed before marrying Caillebotte mother, C??leste Daufresne (1819-1878), who had two more sons after Gustave, Rene (1851-1876) and Martial (1853-1910). 1' 4'' x 1' 1''(40.5 x 32.5 cm)
Painting ID:: 11439
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Self-Portrait
French Post-Impressionist Painter, 1839-1906
During the second half of the 19th century French impressionism created a dramatic break with the art of the past. In conception and appearance the style was radically new and, although it initially inspired public ridicule, it soon affected nearly every ambitious artist in western Europe. The new vision emerged during the 1870s, chiefly in the art of Claude Monet, Auguste Renoir, and Camille Pissarro. For each of these artists impressionism was an illusionistic style which differed from the tradition of Renaissance illusionism in its greater emphasis upon vibrant, natural color and on an immediate confrontation with the phenomena of the visible world.
As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic. In other words, the impressionists insistence upon a direct application of pigment to canvas resulted in surfaces which declared themselves first of all as surfaces - and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out upon the natural world.
The tendency toward flatness persisted into the last years of the 19th century, its pervasiveness giving the impression that illusionistic space - fought for, won, and defended since the very beginning of the Renaissance - had finally been sacrificed by the medium of painting. Paul C??zanne worked within and finally emerged from this trend. As a painter, he matured slowly, his greatest works coming during the last 25 years of his life. During this period he scored a remarkable and heroic achievement: he restored to painting the space and volume that had seemingly been lost to it. But he did it in a totally unprecedented way: not by return to the illusionism of the past but by the creation of a spatial illusionism that did not violate flatness.
C??zanne was born on Jan. 19, 1839, in Aix-en-Provence. His father, Philippe Auguste, was the cofounder of a banking firm which prospered throughout the artist life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. In 1852 C??zanne entered the Coll??ge Bourbon, where he met and became friends with Émile Zola. This friendship was decisive for both men: with youthful romanticism they envisioned successful careers in the Paris art world, C??zanne as a painter and Zola as a writer. Consequently, C??zanne began to study painting and drawing at the École des Beaux-Arts in Aix in 1856. His father opposed the pursuit of an artistic career, and in 1858 he persuaded C??zanne to enter law school at the University of Aix. Although C??zanne continued his law studies for several years, he was simultaneously enrolled in the School of Design in Aix, where he remained until 1861.
In 1861 C??zanne finally convinced his father to allow him to go to Paris. He planned to join Zola there and to enroll in the École des Beaux-Arts. But his application was rejected and, although he had gained inspiration from visits to the Louvre, particularly from the study of Diego Vel??zquez and Caravaggio, C??zanne experienced self-doubt and returned to Aix within the year. He entered his father banking house but continued to study at the School of Design.
The remainder of the decade was a period of flux and uncertainty for C??zanne. His attempt to work in his father business was abortive, and he returned to Paris in 1862 and stayed for a year and a half. During this period he met Monet and Pissarro and became acquainted with the revolutionary work of Gustave Courbet and Édouard Manet. C??zanne also admired the fiery romanticism of Eug??ne Delacroix paintings. But he was never entirely comfortable with Parisian life and periodically returned to Aix, where he could work in relative isolation. He retreated there, for instance, during the Franco-Prussian War (1870-1871). ca.1877-1880
10''x 5 3/4''(25.5 x 14.5 cm)
Painting ID:: 11464
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Self-Portrait
French Post-Impressionist Painter, 1839-1906
During the second half of the 19th century French impressionism created a dramatic break with the art of the past. In conception and appearance the style was radically new and, although it initially inspired public ridicule, it soon affected nearly every ambitious artist in western Europe. The new vision emerged during the 1870s, chiefly in the art of Claude Monet, Auguste Renoir, and Camille Pissarro. For each of these artists impressionism was an illusionistic style which differed from the tradition of Renaissance illusionism in its greater emphasis upon vibrant, natural color and on an immediate confrontation with the phenomena of the visible world.
As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic. In other words, the impressionists insistence upon a direct application of pigment to canvas resulted in surfaces which declared themselves first of all as surfaces - and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out upon the natural world.
The tendency toward flatness persisted into the last years of the 19th century, its pervasiveness giving the impression that illusionistic space - fought for, won, and defended since the very beginning of the Renaissance - had finally been sacrificed by the medium of painting. Paul C??zanne worked within and finally emerged from this trend. As a painter, he matured slowly, his greatest works coming during the last 25 years of his life. During this period he scored a remarkable and heroic achievement: he restored to painting the space and volume that had seemingly been lost to it. But he did it in a totally unprecedented way: not by return to the illusionism of the past but by the creation of a spatial illusionism that did not violate flatness.
C??zanne was born on Jan. 19, 1839, in Aix-en-Provence. His father, Philippe Auguste, was the cofounder of a banking firm which prospered throughout the artist life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. In 1852 C??zanne entered the Coll??ge Bourbon, where he met and became friends with Émile Zola. This friendship was decisive for both men: with youthful romanticism they envisioned successful careers in the Paris art world, C??zanne as a painter and Zola as a writer. Consequently, C??zanne began to study painting and drawing at the École des Beaux-Arts in Aix in 1856. His father opposed the pursuit of an artistic career, and in 1858 he persuaded C??zanne to enter law school at the University of Aix. Although C??zanne continued his law studies for several years, he was simultaneously enrolled in the School of Design in Aix, where he remained until 1861.
In 1861 C??zanne finally convinced his father to allow him to go to Paris. He planned to join Zola there and to enroll in the École des Beaux-Arts. But his application was rejected and, although he had gained inspiration from visits to the Louvre, particularly from the study of Diego Vel??zquez and Caravaggio, C??zanne experienced self-doubt and returned to Aix within the year. He entered his father banking house but continued to study at the School of Design.
The remainder of the decade was a period of flux and uncertainty for C??zanne. His attempt to work in his father business was abortive, and he returned to Paris in 1862 and stayed for a year and a half. During this period he met Monet and Pissarro and became acquainted with the revolutionary work of Gustave Courbet and Édouard Manet. C??zanne also admired the fiery romanticism of Eug??ne Delacroix paintings. But he was never entirely comfortable with Parisian life and periodically returned to Aix, where he could work in relative isolation. He retreated there, for instance, during the Franco-Prussian War (1870-1871). ca.1873-1876
2' 1 1/4'' x 1' 8 3/4''(64 x 53 cm)
Gift of Jacques Laroche,1947
Painting ID:: 11465
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Self-Portrait
Lyons 1815 - Paris 1891.
French Academic Painter, 1815-1891. 1889
7 1/2'' x 5 1/4''(19 x 13.5 cm)
Painting ID:: 11515
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Self-Portrait
French Impressionist Painter, 1840-1926 1917
2' 3 1/2'' x 1' 9 3/4''(70 x 55 cm)Gift of Georges Clemenceau,1927
Painting ID:: 11548
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Self-Portrait
Dutch Post-Impressionist Painter, 1853-1890 1887
1' 5 1/4'' x 1' 1 3/4''(44 x 35 cm)Gift of Mr.Jacques Laroche,1947
Painting ID:: 11614
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Self-Portrait
Dutch Post-Impressionist Painter, 1853-1890 1889
2' 1 1/2'' x 1' 5 3/4''(65 x 45 cm)Gift of Paul and Marguerite Gachet,1949
Painting ID:: 11616
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