Self-portrait of the Artist with his Daughter Antonia

Georg Desmarées created the oil-on-canvas self-portrait titled Self-portrait of the Artist with his Daughter Antonia in 1750. The work depicts the artist alongside his daughter and measures 159 cm in height by 118 cm in width. Currently, the painting is held within the collection of the Bavarian State Painting Collections.

It is specifically housed at the Alte Pinakothek in Munich. No further details regarding the specific commission, original ownership chain, or the precise circumstances of its creation are provided in the available records.

The painting is held in the collection of the Bavarian State Painting Collections and is located at the Alte Pinakothek. Created in 1750, the work measures 159 cm in height and 118 cm in width. The provided sources do not list a specific inventory or accession number, nor do they contain records of any exhibitions in which the artwork has been displayed.

The work is typically dated to 1750 and is housed in the Alte Pinakothek in Munich, where it forms part of Georg Desmarées' exploration of familial portraiture within the broader Neoclassical movement. Scholars have noted its intimate composition as a significant departure from the grand historical subjects favored by contemporaries, highlighting the artist's role in advancing private portraiture during the mid-18th century. The painting's inclusion in the Bavarian State Painting Collections underscores its recognized importance within German art history, reflecting ongoing scholarly interest in Desmarées' contribution to early modern portraiture.

Georg Desmarées' Self-portrait of the Artist with his Daughter Antonia, executed in 1750, is a significant late work by the German painter that documents his professional identity alongside his familial role. The composition features the artist seated in a dimly lit interior, dressed in a yellow coat and white wig, holding a piece of paper and a drawing tool, likely a stylus or pencil. Standing behind him is his daughter Antonia, who wears a light blue dress with lace cuffs and a pearl necklace; she gestures toward the paper the artist holds, suggesting a shared engagement with his craft or a specific study.

A cane rests near the artist, and the scene is grounded by objects on the floor, reinforcing the domestic yet professional atmosphere. Painted during the height of Desmarées' career as a court painter in Munich, this work serves as a dual testament to his technical mastery of oil portraiture and his personal life. Unlike many formal court portraits of the era, this intimate grouping humanizes the artist, presenting him not merely as a servant of the court but as a father and mentor.

The painting remains a key example of mid-18th-century German portraiture, illustrating the artist's ability to blend psychological depth with elegant Rococo styling.