Self-Portrait is a small oil painting on poplar wood by Raphael, an Italian Renaissance artist, believed to have been painted between 1504 and 1506 during his formative years in Florence. The work portrays the artist in a simple black robe and bonnet, set against a plain brown background with his shadow cast to the right. The self-portrait reflects both Raphael’s style, which was influenced by Leonardo da Vinci, and Northern European painting traditions. Despite there being certain features suggesting the work may be unfinished, technical analysis, such as infrared reflectography, has confirmed its authorship.
Originally housed in the Palazzo Ducale in Urbino, the painting was transferred to Florence in 1631 and then became part of Leopoldo de' Medici collection, which is now held in the Uffizi. It is considered one of the few surviving examples of Raphael’s portraiture from before 1508.
Description
The painting depicts Raphael's head and shoulders on a plain brown background, with his shadow projected to the right. The collar of the sitter’s shirt remains bare and unpainted, revealing exposed gesso and some underdrawing. The hair also looks unfinished, as it does not overlap the brown background. His hairstyle, attire, and bonnet are elements reflecting the Renaissance court page. He wears a dark cap, later known as a “raffaella,” that was the kind worn by painters, as well as a dark robe, with just a small visible part of a white undershirt. He's dressed in his work clothes, a possible nod to his profession. [1] He has a symmetrical and well-proportioned face that shows a calm and simple expression. [2]
The Self-Portrait was sent to Florence in 1631, where it was described as 'un ritratto di Raffaello di sua mano' (translated to 'a portrait of Raphael by his own hand').[2] Raphael's expressions and appearance resemble his self-portrait in the School of Athens, so this portrait would appear to show the artist in his early twenties.[2]
The work is oil on poplar and is 47.3 cm (18.6 in) high and 34.8 cm (13.7 in) wide. [3]
Raphael was an Italian Renaissance painter, one of the three main artists of that period. He was the son of Giovanni Santi. Giovanni introduced Raphael to painting and immersed him in humanist ideals. [4] Despite having a brief art career, he was massively influential and generated an extensive collection of work. Beyond painting, he also did architecture and archaeology. His self-portraits were a significant part of his repertoire and played an essential role in shaping his public image, contributing to his awarded reputation. He inserted his own portraits into his paintings of other themes, such as the School of Athens.[2]
Raphael's work was heavily influenced by Leonardo, particularly in his use of chiaroscuro and sfumato. However, Raphael's approach was unique due to his use of soft contours and calm facial expressions when depicting human subjects. [4]
This is one of the few portraits by Raphael that remain from before 1508.[3] This particular piece is well known due to the number of drawn, painted, and engraved copies that came after it, showing that its subject matter had more importance than the painting itself.[2]
Provenance and exhibition history
The Self-Portrait is believed to have been painted between 1504 and 1506, during the early years of Raphael’s career while he was working in Florence. Raphael was a key figure of the High Renaissance in Italy, a time when self-portraits were still quite uncommon. The painting originally came from the Palazzo Ducale in Urbino and was moved to Florence in 1631. It has been restored multiple times and is now regarded as having a worn or abraded surface.[2]
As a child in the 1630s, Vittoria della Rovere was engaged to her cousin, Ferdinando. With her dowry, she brought several prized artworks from her family’s collection to Florence. Between 1663 and 1667, a self-portrait was recorded in Cardinal Leopoldo de' Medici collection titled “Portraits of painters painted by their own hand.” This group of works would eventually become the foundation of the Uffizi Gallery’s renowned self-portrait collection and is world-renowned as the largest and most valuable of its kind.[1]
While it’s unclear exactly how Cardinal Leopoldo de’ Medici acquired the painting, it’s likely that it was a gift from his sister-in-law, Vittoria della Rovere. This explanation seems more convincing than the alternative idea that he got it from the Accademia di San Luca in Rome.[1]
The portrait appeared in a 1675 inventory of Duke Leopoldo de' Medici's private collection and was subsequently listed in the Uffizi's 1890 inventory. [1]
Technical analysis and Flemish influence
The painting’s authorship by Raphael was confirmed through investigations conducted in 1983 for an exhibition at Palazzo Pitti commemorating the artist's birth anniversary. [1] Using reflectography, researchers analyzed the preparatory drawing and paint application techniques, uncovering Raphael’s meticulous process. [1] Raphael painted luminous, translucent glazes over a white-primed background. [1]
The method of translucent glazed employed by Raphael in this piece showcase his engagement with Flemish painting, which is thought to have greatly influenced the court of Urbino. Notable Northern European artists, such as Justus van Gent and Pedro Berruguete, had worked there, introducing their artistic style elements, which Raphael integrated into his own work. [1]
The Self-Portrait has been through restoration processes over the centuries and may be unfinished, provoking doubts regarding its originality. Prior to its restoration, reaching a definitive interpretation was challenging, thus many scholars regarded the work as a later copy of Raphael in the School of Athensfresco. The abundance of copies of this self-portrait suggests that the painting was held in high esteem. [3]
However, infrared photographs have shown that the picture has the same exploratory sketches as Raphael's independent drawings, being the most convincing proof that the portrait is his. [2] These underdrawings are also comparable with those found in the Small Cowper Madonna. The distinctive treatment of the lines aligns with Raphael's style and cannot be attributed to a copyist. The reasons for the painting's incomplete state remain unclear, and it is also uncertain whether the black costume, coat, and bonnet were created by Raphael himself or added later to present a more 'finished' appearance, as close examination of the hair and flesh tones after cleaning the painting suggests that the work was left unfinished. [3]
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