Self-portrait as David with the head of Goliath

The canvas is dominated by a dark, almost theatrical background that isolates the figure and accentuates the stark contrast between flesh and the pale, bearded head. Zoffany employs a smooth, almost polished finish, with careful attention to the texture of the sheepskin draped over his shoulders and the gleam of the sword, reflecting neoclassical ideals of clarity and idealised form.

After its completion, the painting entered various private collections before being acquired by the National Gallery of Victoria, where it remains on display. Its provenance traces the artist’s transnational career, linking the work to the broader circulation of European art in the British Empire during the 18th century.

Zoffany’s career spanned England, Italy, and later India, where he was known for group portraits of aristocratic and theatrical circles. This self‑portrait, however, diverges from his usual social scenes, embracing a solitary, heroic motif that reflects the period’s fascination with classical subjects and the artist’s desire to align himself with the virtues embodied by David.