Most famous artists from the past have delved into the expression of self-portraits. Although self-portraits have been made since the earliest times, it was not until the Early Renaissance in the Mid-15th Century that artists can be frequently identified depicting themselves as either the main subject, or as important characters in their work.

Why DID so many famous artists paint self-portraits?

Practice Makes Perfect
In early times this was the best way to master portraiture experience before working with the client.

Calling Cards
Portraiture Artists used self-portraits as a calling card, validating their skills. Much like people today use business cards.

Status
Famous artists could paint themselves into a setting which gave status to where they lived.

Document Their Life
A creative and tedious form of today’s selfies! Artists also wanted to document their life and how they changed over the years. For instance van Gogh painted around 36 self-portraits in only ten years. Rembrandt produced the most self-portraits throughout his career.

Looking Deeper
Picasso had some interesting thoughts as to why he painted self-portraits. He once said “Are we to paint what’s on the face, what’s inside the face, or what’s behind it?”

To Make Millions of Dollars?
Famous artists that created million dollar self-portraits probably never dreamed that someday their portraits would sell for millions. If only they knew at the time!

The following 5 famous self-portraits have sold for millions.

“Self-portrait” by Andy Warhol Sold for $27.5 Million

Andy Warhol’s stark red-on-black Self-Portrait, sold for $27.5 Million in 2011. Created with acrylic and silkscreen on canvas, the painting measures almost 9 square feet. It was created toward the end of his life in 1986 and shows the artist, with hair spiked, looking directly at the viewer.

Picasso’s “Self-Portrait Yo Picasso” by Picasso Sold for $47.9 Million in 1989

Painted in June 1901, Yo Picasso is the first of that year’s three self-portraits and shows the 19-year old Picasso viewing himself with pride and confidence. Over the years Picasso’s style developed and his self portraits became more abstract.

“Portrait of an Artist Without His Beard” by Vincent by van Gogh

Painted in 1889, “Portrait of an Artist Without His Beard” sold for $71.5 million in 1998 in New York City. It was the second highest price for a van Gogh at auction and the third highest price for any artwork ever sold at auction.

What made van Gogh’s “Portrait of an Artist Without His Beard” so unique was that it was the only self-portrait he painted of himself without a beard, and it is said to be his last self-portrait. He painted the picture for his mother, Anna Cornelia Carbentus van Gogh, for her 70th birthday while he was in an asylum. He wanted to reassure her that we was doing fine. Ironically he committed suicide soon after.

“Self Portrait with Monkey” by Frida Kahlo Sold for $1 Million

Frida Kahlo, Mexico’s most famous woman artist is best known for her self-portraits that express the emotional effects of pain, loss and tragedy in her life. This self-portrait painted in 1940 was painted during Frida’s one year divorce from her husband Diego. The stance in the painting is direct and serious. Purchased by “Madonna” in the late 1980’s, she has collected several of Frida’s Paintings. Read more here on other famous Frida paintings.

Self-portrait with Hunting Horn by Max Beckmann

German artist Max Beckmann painted “Self-portrait with Hunting Horn” in 1938 while he was in exile in Amsterdam after the Nazis branded him a degenerate artist.

The painting fetched 22.5 million in 2001.

In “Self-Portrait with Hunting Horn”, Beckmann depicts himself alone in a confined, narrow space holding a Waldhorn (a German hunting horn) in his left hand and wearing a black-and red-striped housecoat. The eerie contrasts of the painting tell a much deeper story, the German horn which was used as a symbol of romanticism in German art and literature.

While there are many million dollar faces, these are a few that show the variety that past famous portrait artists have produced.

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Before the Scream Painting – A Brief Backstory

Edvard Munch was born December 12, 1863 in a farmhouse in the village of Ådalsbruk in Løten, United Kingdoms of Sweden and Norway. Often ill and kept out of school, Edvard would draw to keep himself occupied. He was tutored by his school mates and his aunt. His Father, Christian Munch also instructed his son in history and literature and entertained the children with vivid ghost stories and the tales of American writer Edgar Allan Poe.

In 1879, Munch enrolled in a technical college to study engineering, where he excelled in physics, chemistry and math. He learned scaled and perspective drawing, but frequent illnesses interrupted his studies. The following year, much to his father’s disappointment, Munch left the college determined to become a painter.

At this time he wrote in his diary:

I have in fact made up my mind to become a painter.

Self-Portraits – His Inner World

His self-portraits were a theme of expression throughout his career. They have been compared to Rembrandt. His first self-portrait (shown above) in 1881-82 is one of his very first surviving painting and completed at the age of 18.

Throughout his life, his work remained consistent in that it expressed both his inner world and the world how he viewed it. From what he felt to what he saw. His work expressed private pain and trauma to an expression of themes and events around him. One such event that he painted and expressed with intensity was the death of his young sister Sophie. The theme of death would haunt him for the rest of his life.

Despair

Munch often used color not for naturalist description but to convey feeling, anxiety and intensity. One of his earlier paintings that expressed anxiety through color (before The Scream) was Despair painted in 1892 (shown above). From this painting The Scream evolved.

The Scream

It’s interesting that The Scream was somewhat a wild child of Munch’s work. No other painting produced by Munch had the same look and intensity as The Scream did.

The Scream exists in four versions: two pastels (1893 and 1895) and two paintings (1893 and 1910). There are also several lithographs of The Scream (1895 and later).

In 2012, The Scream sold for 119.9 million to financier Leon Black an American private equity investor. The $119.9-million price set a record for the most expensive artwork sold at auction.

The Scream is Munch’s most famous work, and one of the most recognizable paintings in all art. It has been widely interpreted as representing the universal anxiety of modern man.

It departed from his earlier works in that the style was so harsh and coarsely applied. The mixed mediums – oils, gouche, tempura, pastel and pencil. The figure is devoid of identity and presence. It seems as if it’s frantically painted. The mouth forms a singular

O.

The wild red sky is an expression of the figures emotions: hopelessness and panic. The “loud, unending scream piercing nature,” comforts the viewer with emotions.

I Gave Up Hope

With this painting, The Scream, Munch met his stated goal of “the study of the soul, that is to say the study of my own self”. Munch wrote of how the painting came to be: “I was walking down the road with two friends when the sun set; suddenly, the sky turned as red as blood. I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous, infinite scream of nature.”

He later described the personal anguish behind the painting:

For several years I was almost mad… You know my picture, ‘The Scream?’ I was stretched to the limit—nature was screaming in my blood… After that I gave up hope ever of being able to love again.

Bordering on Insanity?

During the 1890’s and 1900’s Munch repeatedly defended himself against the charges of insanity and mental illness. However he had feared that he was genetically marked by mental illness from his father.

Munch wrote, “My father was temperamentally nervous and obsessively religious—to the point of psychoneurosis. From him I inherited the seeds of madness. The angels of fear, sorrow, and death stood by my side since the day I was born”.

Breakdown

In the autumn of 1908, Munch’s anxiety, compounded by excessive drinking and brawling, had become acute. As he later wrote, “My condition was verging on madness—it was touch and go.”

Experiencing hallucinations and feelings of persecution, he entered a clinic for eight months and received therapy which included diet and “electrification.” Munch’s stay in hospital stabilized his personality, and after returning to Norway in 1909, his work became more colorful and less pessimistic.

Later Years and Solitude

Munch never married and spent most of his last two decades in solitude at his nearly self-sufficient estate in Ekely, at Skøyen, Oslo. At this time he was a renowned and wealthy artist. Many of his late paintings celebrate farm life, including several in which he used his work horse “Rousseau” as a model. To the end of his life, Munch continued to paint unsparing self-portraits, adding to his self-searching cycle of his life and his unflinching series of takes on his emotional and physical states.

Upon his death in 1944 in Norway, at the age of 80, the authorities discovered—behind locked doors on the second floor of his house—a collection of 1,008 paintings, 4,443 drawings and 15,391 prints, as well as woodcuts, etchings, lithographs, lithographic stones, woodcut blocks, copperplates and photographs.

All his works of art were bequeath to the city of Oslo in Norway.

In May 2012, The Scream sold for $119.9 million, and is the second most expensive artwork ever sold at an open auction. (It was surpassed in November 2013 by Three Studies of Lucian Freud by painter Francis Bacon, which sold for $142.4 million)

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This trend of understanding humanity has inspired generations of artists.

Modern Art reimagines art and the human form to resemble realism and worldliness.

Sigmund Freud studied the interior life of ordinary people and exposed layers to identity. Artists like Lucien Freud—Sigmund’s grandson—and Picasso have illustrated the depth of human subjectivity and solitude artistically.

Freud’s ideas about the human mind is depicted Picasso’s Les Demoiselles d’Avignon. The menacing figures disrupt the viewer’s want for proportion and symmetry. Picasso depicts a coarse profile of the human psyche through human figures who do not resemble classical models of the human form. Although less abstract than Picasso, Lucien Freud illustrates vastness and complexity with the subjects he observed, as seen in his portrait of Queen Elizabeth II.

Modern art favors micro perspectives over stereotypes of human behavior.

The way humans may imagine the activity in New York city, composed of traffic and bright lights, affects the experience of a person being there in the moment. It is even easier to imagine sharp-looking businessmen jaunting down Madison avenue. Modern art favors micro perspectives over molds and stereotypes of human behavior.

For example, a famous modern American artist captures this focus on the human mind. Edward Hopper’s the Automat (1927) depicts the Modernist style of eclipsing the macro, such as New York City, with the subjective. The Automat displays a female sunk in dusky colors while in a diner alone. Hopper concerns himself with nudity, or examining human loneliness.

Where Sigmund Freud employed a cigar and notebook to probe his subjects—Lucien Freud, in the same fashion, was equipped with a canvas and brush. Like Hopper, Freud portrays humans as vibrantly alone, musing in dream-like states.

Freud’s portrait Benefits Supervisor Sleeping uses the symbol of a couch that showcases his attention to subjects. Freud is concerned with intimately capturing the emotions of his models, similar to his grandfather’s sessions with patients who lounged on his famous therapy couch.

Benefits Supervisor Sleeping provokes a collision of responses that accentuate both grotesqueness and beauty; apathy and sadness. Lucien Freud fundamentally challenged the pantheon of classical art by challenging Western views about art and subjectivity.

Comparisons between classical and modern art showcase Lucien Freud’s innovations. For example, the heavy-set lady in Benefits Supervisor Sleeping is more naked than the marble statue of David. Her flesh bursts with obtuse dimensions and she appears to be alone. A stylistic choice of Lucien’s was to capture his model’s nakedness authentically by causing friction between intimacy and intrusion. Lucien captures his models in mental states that lack awareness of their nakedness or disproportion. Viewing a Lucien Freud portrait irks the spectator to feel embarrassment for the model’s nakedness.

Classical art can appear fixed. The statue of David’s marble body is a popular example. Modern art, opposed to classical art, sketches humans as worldly, grotesque, and strangely beautiful.

As an art viewer, perception and meaning-making practices are yours to make.

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