Paper

Student Artwork Guide

Self-Portrait

Name Class Date

Hans Von Marées, Self-Portrait (1862), Kunsthalle Bremen. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Hans Von Marées originaluniqueart.com/en/artists/hans-von-marees/
Artist’s dates
1837 – 1887
Painted
1862
Medium
Oil
Original size
42 x 35 cm
Movement
Neoclassicism A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art.
Period
19th Century
Held at
Kunsthalle Bremen originaluniqueart.com/en/museums/kunsthalle-bremen-bremen/
Artistic style
Neoclassicism/Romanticism
Influences
Rembrandt
Subject or theme
Self-reflection, Portraiture

In context

Self-Portrait — Hans Von Marées

How big is it?

The original measures 42 × 35 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1830
  2. 1840
  3. 1850
  4. 1860
  5. 1870
  6. 1880

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 50 at death.

Painted when the artist was 25. The artist lived to 50. 0 of the 6 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Hans Von Marées (1837–1887) ▲ this work, 1862 every dated painting, decade by decade

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/hans-von-marees-self-portrait-D45CC5-en/

Colours

Measured from the image

    Main colour

    Black #060706

    Catalogued palette

    • #060706
    • #342A17
    • #8F7743
    • #665329

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Black
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Hans Von Marées over the last twelve months — 6 countries in all. Where these figures come from

    The ten leading countries

    1. 1 Israel 63.2%1,200 visits
    2. 2 China 15.8%300 visits
    3. 3 Argentina 5.3%100 visits
    4. 4 Germany 5.3%100 visits
    5. 5 Singapore 5.3%100 visits
    6. 6 United States of America 5.3%100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 14 most looked-at works by Hans Von Marées

    1. 1 Alte Nationalgalerie, Berlin. 20.0%500 visits
    2. 2 Youth Picking Oranges 16.0%400 visits
    3. 3 Drei Männer In Der Landschaft Von Hans Von Marées 12.0%300 visits
    4. 4 Abendliche Waldszene ), 1870 8.0%200 visits
    5. 5 Kassettenbild Ii 8.0%200 visits
    6. 6 Rekonstruktion In Der Alten Nationalgalerie Berlin. 8.0%200 visits
    7. 7 Drei Männer in der Landschaft ), 1874 4.0%100 visits
    8. 8 Die Lebensalter (Orangenbild) 4.0%100 visits
    9. 9 Drei Jünglinge In Einem Orangenhain 4.0%100 visits
    10. 10 Entwurf Zum Bild Das Goldene Zeitalter I 4.0%100 visits
    11. 11 Der Drachentoter Von Hans Von Marees 4.0%100 visits
    12. 12 Abendliche Waldszene Von Hans Von Marees 4.0%100 visits
    13. 13 Pergola 4.0%100 visits
    14. — Self-Portrait, 1862 this painting 0.0%0 visits

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 30 works by this artist, of which 13 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Self-Portrait — Hans Von Marées

    Visual Composition and Subject Matter

    In this black and white painting, the focus rests entirely upon the subject's face. The man possesses dark hair and a mustache, complemented by a beard that frames his features. He appears to be looking directly at the viewer, creating an immediate sense of intensity. The background remains blurry, ensuring that nothing distracts from the primary focus of the composition.

    The lighting is handled with a specific, flat incidence from the side. This choice casts a shadow across his gaze, which does not engage the viewer but instead suggests a private moment of melancholic self-reflection. There is a sense of spiritual solitude in the way he turns his eyes away from the darkness. The restrained colors and the use of light as a central compositional tool lend the work a psychological depth.

    History and Provenance of the Work

    The history of this painting is as dramatic as the gaze it captures. Once held within the collection of the Kunsthalle Bremen, the work disappeared from public view during the upheaval of World War II. For decades, its fate remained uncertain, and it was widely believed to have been lost to the chaos of the conflict.

    The silence surrounding the piece ended in 1995, when it was finally returned from the Ukraine. This recovery brought the work back into the light of the art world after a long period of absence. It is a rare occurrence to see a piece of this nature resurface so completely after such a significant gap in its provenance.

    Artist and museum

    Artist

    Hans Von Marées

    Born in Wuppertal, Germany

    The Visionary Spirit of Hans von Marées

    Hans von Marées stands as a singular figure in German art history—a painter who seamlessly blended Romantic idealism with the meticulous precision of Neoclassicism, achieving an unprecedented level of color depth and expressive nuance. Born into a wealthy banking family in Elberfeld, Prussia, in 1837, Marées’ artistic journey was shaped by both intellectual privilege and a profound, searching spirit. His early life, rooted in the disciplined atmosphere of his upbringing, provided the foundation for a career defined by a relentless pursuit of an aesthetic truth that transcended the mere imitation of nature.

    His formal training at the Berlin Academy under Carl Steffeck proved to be a pivotal encounter. While Steffeck’s rigorous insistence on classical techniques and the study of Old Masters instilled in Marées a mastery of composition, it also provided the very tools he would later use to depart from tradition. The early years of his career were deeply colored by the melancholic beauty of Romanticism. Influenced by the haunting landscapes of Caspar David Friedrich, Marées began to explore the sublime power of the Prussian wilderness, using subtle tonal variations to capture the psychological weight of the natural world.

    A Journey Toward Mythological Grandeur

    As his style matured, Marées moved away from the purely descriptive qualities of landscape painting toward a more monumental and symbolic language. This evolution led him toward a unique form of mythological classicism, where figures were not merely subjects of historical record but vessels for eternal human emotions. His work began to resonate with a sense of timelessness, often characterized by large-scale compositions that felt both ancient and strikingly modern. This period saw him experimenting with the dramatic potential of light and shadow, creating works that possessed a sculptural weightiness.

    His travels and exposure to diverse cultural influences further enriched his palette and perspective. The artist’s ability to integrate various stylistic elements—from the precision of classical antiquity to the burgeoning energy of contemporary realism—allowed him to create a visual vocabulary that was entirely his own. Whether depicting scenes of quiet contemplation or grand, epic struggles, Marées infused his canvases with a vibrant classicism that sought to elevate the human experience through art.

    Legacy and Artistic Significance

    The significance of Hans von Marées lies in his refusal to be confined by the rigid movements of his era. He occupied a unique space between the fading echoes of Romanticism and the rising tide of modernism, acting as a bridge between the old world and the new. His mastery of color and his ability to imbue mythological themes with profound psychological depth ensured that his work remained relevant even as artistic trends shifted toward more fragmented and abstract expressions.

    Though his life was tragically cut short in 1887, the impact of his oeuvre remains palpable. His contributions can be seen in several key areas:

    The Synthesis of Styles: His unique ability to merge the emotional depth of Romanticism with the structural clarity of Neoclassicism.

    Mythological Innovation: The transformation of classical themes into expressive, modern psychological narratives.

    Technical Mastery: A profound command over color depth and monumental composition that influenced subsequent generations of German painters.

    Today, Marées is remembered not just as a painter of beautiful scenes, but as a pioneer who dared to seek a universal language through the marriage of myth and reality. His works, from intimate portraits like Selbstbildnis Im Japanischen Gewande to his sweeping landscapes, continue to offer a window into a soul that sought the eternal within the ephemeral.

    Museum

    Kunsthalle Bremen

    On show in Bremen, Germany

    A Sanctuary of Timeless Beauty in Bremen

    Nestled within the historic heart of Germany, the

    Kunsthalle Bremen

    stands as a profound testament to the enduring power of human creativity and the cultural soul of the Hansebatic city. It is not merely a repository for artifacts but a living, breathing dialogue between the past and the present. As one wanders through its halls, there is an immediate sense of being enveloped by a curated legacy that spans centuries, offering a sanctuary where the whispers of Old Masters meet the bold, provocative voices of contemporary visionaries. For the art lover, it offers a pilgrimage; for the collector, a source of deep inspiration; and for the interior designer, a masterclass in how color, texture, and form can transform a space into an emotional landscape.

    The museum’s collection is a meticulously woven tapestry of European art history, characterized by its remarkable depth and scholarly rigor. Visitors are often first captivated by the exquisite mastery found in the works of the 19th century, where the delicate interplay of light and shadow evokes a sense of profound nostalgia. The galleries house significant treasures from the Impressionist and Post-Impressionist eras, allowing one to trace the evolution of perception itself. Yet, it is the museum's ability to bridge these classical foundations with the avant-garde that truly distinguishes it. The presence of modern installations and contemporary works creates a rhythmic tension, challenging the viewer to find the threads of continuity between a Renaissance portrait and a minimalist abstraction.

    Architectural Rhythm and Light

    The architecture of the Kunsthalle Bremen serves as a majestic vessel for this artistic journey. The building itself is an architectural marvel that balances the weight of tradition with the lightness of modern design. Its structure provides a rhythmic cadence to the viewing experience, with spaces designed to manipulate natural light in ways that breathe life into the canvases they illuminate. This intentionality in space makes the museum a cornerstone for those interested in the intersection of art and environment. The way the galleries unfold—sometimes expanding into grand, airy halls and sometimes retreating into intimate, contemplative alcoves—mirrors the complexity of the human experience, making every visit feel like a new discovery.

    A Dynamic Cultural Catalyst

    What truly makes the Kunsthalle Bremen unique is its role as a dynamic cultural catalyst through its rotating exhibitions. The museum does not rest upon its historical laurels; instead, it constantly reinvents itself through ambitious, world-class exhibitions that bring global art movements to the shores of the Weser river. These temporary showcases often feature groundbreaking themes that explore identity, nature, and the digital frontier, ensuring that the institution remains at the cutting edge of contemporary discourse. It is this rare combination of a prestigious permanent collection and a fearless approach to new narratives that cements its status as an essential destination for anyone seeking to understand the heartbeat of modern art.

    Where to read more

    Find this online

    QR code linking to the download page for Self-Portrait

    originaluniqueart.com/en/art/download/hans-von-marees-self-portrait-D45CC5-en/

    Cite this artwork

    MLA
    Marées, Hans Von. Self-Portrait. 1862, Kunsthalle Bremen. https://originaluniqueart.com/en/art/hans-von-marees-self-portrait-D45CC5-en/
    APA
    Marées, Hans Von (1862). Self-Portrait [Painting]. Kunsthalle Bremen. https://originaluniqueart.com/en/art/hans-von-marees-self-portrait-D45CC5-en/
    Chicago
    Hans Von Marées. Self-Portrait. 1862. Kunsthalle Bremen. https://originaluniqueart.com/en/art/hans-von-marees-self-portrait-D45CC5-en/
    Harvard
    Marées, Hans Von (1862) Self-Portrait. Kunsthalle Bremen. Available at: https://originaluniqueart.com/en/art/hans-von-marees-self-portrait-D45CC5-en/

    Look closely

    Self-Portrait — Hans Von Marées

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: self-portrait, bust portrait, bearded man. Do you agree? What would you add, or take away?
    4. Look back at Courtyard with the Grotto in the Munich Royal Residence (1862), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Neoclassicism: A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Self-Portrait — Hans Von Marées

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary emotional tone suggested by the description of this self-portrait?

      • A Triumph and confidence
      • B Melancholic self-reflection
      • C Exuberant joy
    2. 2. The artwork is noted for its strong resemblance to the early self-portraits of which Old Master?

      • A Raphael
      • B Titian
      • C Rembrandt
    3. 3. In what year was this specific 'Self-Portrait' painted by Hans von Marées?

      • A 1853
      • B 1862
      • C 1887
    4. 4. The description mentions that the artist studied Old Masters intensively during his years in which city?

      • A Berlin
      • B Paris
      • C Munich
    5. 5. What notable event contributed to this self-portrait being thought lost before its rediscovery in 1995?

      • A A major fire
      • B World War II
      • C The artist's move to Italy

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2B · 3A · 4B · 5A

    Check any answer against the catalogue record for this painting

    Questions & Answers

    How does the style of "Self-Portrait" relate to its creator's era?

    "Self-Portrait" by Hans Von Marées is placed in the Neoclassicism movement, within the 19th-Century era of its creator.

    Which museum holds the original "Self-Portrait"?

    "Self-Portrait" by Hans Von Marées is on display at the Kunsthalle Bremen, Bremen, Germany. The museum listing refers to the original work, not to reproductions.

    Where is the portrait format of "Self-Portrait" recommended to be displayed?

    With its portrait shape, a reproduction of "Self-Portrait" is suggested for a lounge.