Who painted Selbstbildnis (nach)?

Selbstbildnis (nach) was painted by Adriaen van der Werff in 1696.

Where can I see Selbstbildnis (nach)?

Selbstbildnis (nach) is held by Bavarian State Painting Collections.

What movement is Selbstbildnis (nach)?

Selbstbildnis (nach) is associated with Dutch Golden Age.

Artwork

Selbstbildnis (nach)

Adriaen van der Werff , 1696

Selbstbildnis (nach) is an unspecified painting by the Dutch Golden Age artist Adriaen van der Werff. It dates from 1696 and is held in the collection of the Bavarian State Painting Collections.

About this work

Overview

Adriaen van der Werff’s self‑portrait, dated 1696, is an oil painting that now resides in the Alte Pinakothek. Executed during the artist’s mature phase, it reflects the refined portraiture for which the Dutch painter was celebrated in the late seventeenth century.

Subject & Meaning

The canvas depicts a gentleman in a vivid red coat edged with gold, his white cravat neatly knotted and a decorative medal suspended at his throat. The sitter’s face, illuminated from one side, reveals a composed, dignified expression, while a glimpse of another arm in the shadowed background hints at a possible companion or narrative context.

Technique & Style

Van der Werff employs a pronounced chiaroscuro, using strong side lighting to model the facial features and the folds of the costume. The smooth brushwork and meticulous rendering of textures—particularly the sheen of the coat and the delicate curls of the wig—exemplify the polished aesthetic typical of his late‑Golden‑Age portraiture.

History & Provenance

Created while van der Werff was active in the Dutch art market, the portrait later entered the collection of the Alte Pinakothek in Munich. The work forms part of the museum’s holdings of Dutch Baroque painting, acquired through 19th‑century purchases that expanded its representation of Northern European art.

Context

During the 1690s van der Werff enjoyed commissions from aristocratic patrons, including the Medici family, and his portraits often conveyed an elevated social status. The formal attire and medal in this self‑portrait align with the conventions of elite portraiture, reflecting both personal ambition and the expectations of his elite clientele.