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Jean-Baptiste-Siméon Chardin (French, ) • The Monkey Painter • 1739-1740

Although not a self-portrait in the true sense, I'm including it here because it's so fascinating. The monkey is the artist as subject, gazing away from the canvas at what is perhaps the subject it is painting.

Firstly, there is the Rococo era's obsession with paintings of monkeys. Called Singerie, it is a French term describing visual arts depicting monkeys engaged in human activities. It was at the height of its popularity in mid 18th century France. It is said that even Madame de Pompadour succumbed to the monkey craze!

Secondly, this work serves as a commentary on the state of art and artists in French society at the time. Chardin was a member of the French Royal Academy, yet he was critical of the academy's narrow-minded attitudes toward what was considered art worthy of its stamp of approval. This archaic focus begged the question – does the Royal Academy want artists that can think critically, or does it simply want imitators of their narrow rules? Hence, a monkey can be trained to paint but a true artist analyzes and discerns myriad aspects of their subjects.

Pierre-Louis de Surugue (French, 1716–1772) • The Monkey Antiquarian • 1743 • after Jean-Baptiste Siméon Chardin

The Monkey Painter and the print above were frequently reproduced. The caption here translates: "In the obscure maze of ancient monuments Why, learned man, do you put yourself to so much trouble? For truly philosophical eyes, our century Provides enough to keep one busy."

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Francesco Hayez (Italian, 1791–1882) • Self-Portrait with Tiger and Lion • c. 1830

The subject in this self-portrait takes a corner of the canvas, allowing the caged animals to be at its center. It is analyzed by art historians as an allegory of art taming nature and a nod to the 19th century obsession with Orientalism.

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Jean-Étienne Liotard (Swiss, 1702-1789) • Self-portrait • 1745 • Pastel

The full beard he wore after returning from Turkey was a considerable eccentricity in Rococo Europe.

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Kuzma Petrov-Vodkin (Rusian/Soviet, 1878–1939) • Self-Portrait • 1903

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William Hogarth (British, 1697–1764) • The Painter and his Pug, Trump • 1745 • Tate Britain, London

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Loïs Mailou Jones (American, 1905–1998) • Self-Portrait • 1940 • Renwick Gallery, Smithsonian American Art Museum, Washington, D.C., United States

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Remedios Varo (Mexican, 1908-1963) • Self-Portrait with Unicorn • 1957

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George Washington Lambert (Australian, 1873-1930) • Self-Portrait with Gladioli • 1923

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Joseph Ducreux (French, 1735-1802) • Self Portrait, Yawning • c. 1783

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Marie Bracquemond (French, 1840-1916) • Self-Portrait • c. 1870

Though Marie Bracquemond is considered by art historians an important impressionist painter, she's largely overshadowed by her famale contemporaries Mary Cassat and Berthe Morisot.

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Bartholomeus van der Helst (Flemish, 1581–1642) • Self-portrait with a miniature of Mary, Princess Royal • 1667

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Jean-Baptiste-Siméon Chardin (French, 1699–1779)• Self-Portrait with Spectacles • 1771 • Musée du Louvre

"Who told you that one paints with colors? One makes use of colors, but one paints with emotions."

– Jean-Baptiste-Simeon Chardin

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Georges de Chirico (Greek/Italian, 1888-1978) • Self-portrait, age 66 • 1954

"One must picture everything in the world as an enigma, and live in the world as if in a vast museum of strangeness."

– Giorgio de Chirico

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Arshile Gorky (Armenian/American, 1904–1948 • Self-Portrait at the Age of Nine • 1928 • Metropolitan Museum of Art, New York City

“I do not paint in front of but from within nature."

― Arshile Gorky

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Lee Krasner (American, 1908–1984) • Self-Portrait • 1929

“I like a canvas to breathe and be alive. Be alive is the point.”

– Lee Krasner

An early painting of Krasner's which does not represent the abstract expressionist style she's known for. Married to Jackson Pollock, she concentrated on promoting his work, putting her own career on the back burner. She established herself among the New York School of abstract expressionists, though more widely, she was largely unrecognized as an artist until her later years when she acquired success for her large, horizontal paintings characterized by bright contrasting colors and sharp lines.

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Elfriede Lohse-Wächtler (German, 1899-1940) • Self-Portrait with Shadows • 1931

“Despite all my experiences, I’m stupid enough to believe in humanity.” – Elfriede Lohse-Wächtler

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Arnold Böcklin (Swiss, 1827–1901) • Self-Portrait with Death Playing the Fiddle • 1872