Self-Portrait (Mary Bealeová, 1675) Olejomalba, namalovaná ručně pouze pro vás

Identification of the Self-Portrait by Mary Beale

Self-Portrait is a painting by Mary Beale, a professional artist born in 1633 in Barrow, United Kingdom. The work functions as a direct representation of the artist herself, capturing her likeness during the late seventeenth century. She lived until 1699, navigating a period when female professional practice was largely uncharted.

This work, dated about 1675, presents the artist as the primary subject. It is a significant example of her ability to use portraiture to establish a professional identity. By depicting herself, Beale asserted her presence within the English artistic tradition.

Composition and Visual Elements of the Work

The composition adopts a poised, bust-length format, utilizing the visual language of professional portraiture. A trompe l’oeil oval frame, imitating carved stone, situates the subject within a formal pictorial device. This framing technique was a hallmark of the Baroque period, often used to establish a sense of dignity and permanence.

The subject's face is softly modelled, achieving a sense of three-dimensionality through subtle tonal transitions. This delicate rendering of features is framed by loose, natural curls that soften the transition between the face and the surrounding space. The arrangement emphasizes a sense of respectability and professional identity, presenting the sitter with the same formal treatment typically reserved for wealthy clientele.

Technical Details and Physical Support

The work is executed in oil. The artist utilized a non-traditional support for this portrait, applying the pigment to sacking, also identified as hessian. This choice of material reflects a resourceful approach to painting during the seventeenth century, as the texture of the fabric interacts with the application of the medium.

The dimensions of the piece are 89 cm in height and 73 cm in width. The orientation of the composition is normal. The physical presence of the work is defined by these specific proportions and the tactile quality of the underlying textile.

Current Collection and Provenance

The work is held within the St Edmundsbury Museums collection. It is currently located at the Moyse's Hall Museum in Bury St Edmunds. This specific piece is identified by the accession number 1992.9.624.

The acquisition of the painting was achieved through purchase. It remains a significant part of the museum's holdings, preserved for study and public viewing.