Who painted Self-portrait?

Self-portrait was painted by Gerard de Lairesse in 1670.

Where can I see Self-portrait?

Self-portrait is held by Uffizi Gallery.

What movement is Self-portrait?

Self-portrait is associated with Dutch Golden Age.

Artwork

Self-portrait

Gerard de Lairesse , 1670

Self-portrait is an oil painting by the Dutch Golden Age artist Gerard de Lairesse. It dates from 1670 and is held in the collection of the Uffizi Gallery.

About this work

Overview

Created in 1670, this oil on canvas is a self‑portrait by the Dutch painter Gerard de Lairesse. The work presents the artist in a dark robe, his curly hair framing a solemn face that meets the viewer’s gaze. It is part of the Uffizi Gallery’s collection and exemplifies the portrait genre of the late Dutch Golden Age.

Subject & Meaning

The sitter, de Lairesse himself, is depicted with a serious expression and a subtle gesture of the right hand, suggesting confidence and intellectual engagement. The focus on the face and the restrained pose convey the artist’s self‑presentation as a learned and composed figure, aligning with his reputation as a theorist and multidisciplinary creator.

Technique & Style

Employing chiaroscuro, de Lairesse contrasts a deep, almost black background with illuminated facial features, creating a three‑dimensional effect. The brushwork is precise, rendering the curls of hair and the texture of the robe with realism. The composition reflects the influence of French classicism and the formal conventions promoted by contemporary theorists.

History & Provenance

After its completion, the portrait entered various collections before being acquired by the Uffizi Gallery, where it remains on display. Its presence in a major Italian institution highlights the cross‑national appreciation of Dutch artists in the 17th and 18th centuries.

Context

De Lairesse’s career rose as the popularity of Rembrandt waned, and his work was shaped by the teachings of Cesare Ripa and the French classicist Charles le Brun. The self‑portrait predates his later theoretical publications—*Grondlegginge Ter Teekenkonst* (1701) and *Groot Schilderboek* (1707)—which advocated a geometric, orderly approach to painting.