Who painted Self-Portrait?

Self-Portrait was painted by John Vanderlyn in 1804.

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 , 1804

Self-Portrait is an ink print by the Romanticist artist John Vanderlyn. It dates from 1804 and is held in the collection of the National Gallery of Art.

About this work

Overview

John Vanderlyn’s self‑portrait, executed as a lithograph around 1804, presents the artist in a modest half‑length format. Rendered on wove paper, the image shows a figure with tightly curled hair, a solemn expression, and attire consisting of a high‑collared jacket and a loosely draped scarf. The work bears Vanderlyn’s signature in the lower corner and exhibits a gentle, sketch‑like quality.

Subject & Meaning

The portrait offers a straightforward representation of Vanderlyn himself, emphasizing his professional demeanor through the serious gaze and formal clothing. The restrained composition and subdued shading suggest a focus on the artist’s identity and status rather than narrative or allegorical content, aligning with early‑19th‑century conventions for self‑depiction.

Technique & Style

Created by the lithographic process, the image was drawn with greasy media on a stone surface, then transferred to wove paper through a chemical press. The resulting print displays soft edges and light tonal gradations, characteristic of a quickly executed sketch rather than a highly finished work. The laid‑down paper texture contributes to the piece’s aged appearance.

History & Provenance

The lithograph dates to circa 1804, situating it within Vanderlyn’s mature period after his European training. Though specific ownership records are limited, the signed corner indicates the artist’s direct involvement in its production. The paper’s slight yellowing and wear suggest considerable age and handling over two centuries.

Context

At the turn of the 19th century, lithography was emerging as a versatile medium for portraiture, allowing artists to reproduce images more efficiently than traditional engraving. Vanderlyn’s choice of this technique reflects his engagement with contemporary print technologies and his desire to disseminate his likeness beyond a single painted portrait.

Legacy

While not as widely reproduced as later photographic portraits, this lithographic self‑portrait contributes to the visual record of American artists working in the early Republic. It exemplifies the transitional use of print media for personal representation and offers scholars insight into Vanderlyn’s self‑presentation and technical experimentation.