Who painted Selbstbildnis (nach)?

Selbstbildnis (nach) was painted by Adriaen van der Werff in 1696.

Where can I see Selbstbildnis (nach)?

Selbstbildnis (nach) is held by Bavarian State Painting Collections.

What movement is Selbstbildnis (nach)?

Selbstbildnis (nach) is associated with Dutch Golden Age.

Artwork

Selbstbildnis (nach)

Adriaen van der Werff , 1696

Selbstbildnis (nach) is an unspecified painting by the Dutch Golden Age artist Adriaen van der Werff. It dates from 1696 and is held in the collection of the Bavarian State Painting Collections.

About this work

Subject & Meaning

The work is a self-portrait depicting the artist Adriaen van der Werff. Created in 1690, the painting presents the creator as the primary subject, functioning as a direct representation of his own likeness. As a portrait genre piece, the subject matter is strictly the artist himself, with no additional symbolic figures or complex iconographic programs described in the available records.

History & Provenance

It currently resides within the Bavarian State Painting Collections, where it is housed at the Alte Pinakothek in Munich.

Created in 1690, this self-portrait was executed by the Dutch artist Adriaen van der Werff. The work depicts the artist himself and is classified as a portrait painting. It currently resides within the Bavarian State Painting Collections, where it is housed at the Alte Pinakothek in Munich.

The painting measures 80.9 cm in height and 68 cm in width. No specific details regarding its original commission or intermediate ownership history prior to its current museum location are provided in the available records.

The painting is held by the Bavarian State Painting Collections and displayed at the Alte Pinakothek in Munich. No inventory or accession number is provided in the available sources. The sources do not record any exhibition history for this work.

Overview

Adriaen van der Werff’s self‑portrait, dated 1696, is an oil painting that now resides in the Alte Pinakothek. Executed during the artist’s mature phase, it reflects the refined portraiture for which the Dutch painter was celebrated in the late seventeenth century.

Technique & Style

Van der Werff employs a pronounced chiaroscuro, using strong side lighting to model the facial features and the folds of the costume. The smooth brushwork and meticulous rendering of textures, particularly the sheen of the coat and the delicate curls of the wig, exemplify the polished aesthetic typical of his late‑Golden‑Age portraiture.

Context

During the 1690s van der Werff enjoyed commissions from aristocratic patrons, including the Medici family, and his portraits often conveyed an elevated social status. The formal attire and medal in this self‑portrait align with the conventions of elite portraiture, reflecting both personal ambition and the expectations of his elite clientele.