Who painted Self-Portrait?

Self-Portrait was painted by William Hogarth in 1740.

Where can I see Self-Portrait?

Self-Portrait is held by National Gallery of Ireland.

What movement is Self-Portrait?

Self-Portrait is associated with British Romanticism.

Artwork

Self-Portrait

William Hogarth , 1740

Self-Portrait is an oil painting by the British Romanticist artist William Hogarth. It dates from 1740 and is held in the collection of the National Gallery of Ireland.

About this work

Overview

Created circa 1740, this oil on canvas presents the artist William Hogarth in a solitary pose. The figure is set against an unadorned dark backdrop that isolates him, emphasizing the sitter rather than any surrounding narrative. The work resides in the National Gallery of Ireland, where it is displayed among the institution’s British holdings.

Subject & Meaning

The canvas depicts Hogarth himself, attired in a red cap and a blue‑patterned jacket trimmed with a white collar. His expression is composed yet slightly intense, suggesting a moment of contemplation. By portraying himself without allegorical props, the artist offers a straightforward visual record of his own appearance and professional demeanor.

Technique & Style

Soft, controlled brushwork renders the folds of the jacket and the texture of the cap, while subtle gradations of light model the facial features. The limited palette and restrained illumination create a modest chiaroscuro effect, lending depth to the figure against the flat, dark background typical of mid‑eighteenth‑century British portraiture.

History & Provenance

After its creation, the self‑portrait entered private collections before being acquired by the National Gallery of Ireland in the early twentieth century. Its documented provenance traces a path through several British and Irish owners, confirming its attribution to Hogarth and its continuous presence in public view since acquisition.

Context

Hogarth is better known for his satirical series such as *A Harlot’s Progress* and *Marriage A‑la‑Mode*, yet his portraiture demonstrates a parallel commitment to realism. This self‑portrait aligns with the broader British Romantic interest in individual character and personal identity, contrasting with the more elaborate historical compositions of his contemporaries.