Who painted Self-Portrait?

Self-Portrait was painted by John Vanderlyn in 1814.

Where can I see Self-Portrait?

Self-Portrait is held by National Gallery of Art.

What movement is Self-Portrait?

Self-Portrait is associated with Romanticism.

Artwork

Self-Portrait

John Vanderlyn , 1814

Self-Portrait is a charcoal drawing by the Romanticist artist John Vanderlyn. It dates from 1814 and is held in the collection of the National Gallery of Art.

About this work

Overview

John Vanderlyn’s self‑portrait, executed in 1814, is a charcoal (possibly combined with graphite) drawing on tan wove paper. The work presents the artist’s head and shoulders turned toward the right, dressed in a tall hat and a high‑collared coat, rendered with a mixture of detailed facial modeling and looser gestural strokes.

Subject & Meaning

The portrait captures a solemn, introspective expression; the figure’s eyes look downward and the mouth remains straight, suggesting a contemplative mood. The composition focuses on the individual’s presence, emphasizing personal identity through the contrast between the meticulously rendered face and the more dynamic treatment of clothing.

Technique & Style

Vanderlyn employs charcoal to delineate fine facial features while using broader, expressive marks for the hat and coat, creating a sense of movement. The juxtaposition of precise and gestural elements aligns with early‑19th‑century Romantic sensibilities, which valued emotional intensity and the artist’s subjective experience.

History & Provenance

Created in 1814, the drawing is a rare example of Vanderlyn’s work in a purely graphic medium, as he is better known for oil paintings. Its provenance traces back to the artist’s own collection before entering public holdings, though specific ownership details remain limited.

Context

The piece emerges during a period when American artists were increasingly engaging with European Romantic trends, emphasizing personal expression over strict academic conventions. Vanderlyn, trained in Europe, incorporated these influences into his American practice, as reflected in the portrait’s emotive rendering.