Who painted Self-Portrait, Yawning?

Self-Portrait, Yawning was painted by Joseph Ducreux in 1792.

Where can I see Self-Portrait, Yawning?

Self-Portrait, Yawning is held by J. Paul Getty Museum.

What movement is Self-Portrait, Yawning?

Self-Portrait, Yawning is associated with Rococo painting.

Artwork

Self-Portrait, Yawning

Joseph Ducreux , 1792

Self-Portrait, Yawning is an oil painting by the Rococo painting artist Joseph Ducreux. It dates from 1792 and is held in the collection of the J. Paul Getty Museum.

About this work

It is an example of the artist's use of chiaroscuro, a technique that uses strong contrasts between light and dark to create a sense of volume and depth.

The painting shows a man in a red coat and white hat, with his mouth open in a yawn. His right arm is raised, and his left arm is bent at the elbow.

The man's face is contorted in a comical expression, with his eyes closed and his tongue visible. The background of the painting is dark, which helps to highlight the man's features.

The painting is a self-portrait by Joseph Ducreux, created in 1783. It is an example of the artist's use of chiaroscuro, a technique that uses strong contrasts between light and dark to create a sense of volume and depth.

Overview

Joseph Ducreux's *Self-Portrait, Yawning* (1783) is an oil painting depicting the artist in a spontaneous, expressive moment, characterized by a candid pose and exaggerated facial expression.

Subject & Meaning

The subject is Ducreux himself, captured in a rare, unguarded state of yawning. This work showcases his fascination with exploring unconventional gestures and emotions in portraiture, deviating from traditional formalism.

Technique & Style

The painting employs chiaroscuro, leveraging stark contrasts between light and dark to achieve a profound sense of depth and volumetric form. The dark background accentuates the subject's features, emphasizing the contorted, comical expression.

History & Provenance

Created in 1783, during Ducreux's active period as a court painter, the work predates his role as First Painter to Queen Marie Antoinette under Louis XVI, and the tumult of the French Revolution.

Context

Within the late 18th-century artistic landscape, this self-portrait reflects a growing interest in naturalism and the everyday, contrasting with the formal portraiture typical of Ducreux's royal commissions.