Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- 1 Introduction: An Historiographical Perspective on Women Making Netherlandish Art History
- 2 Catharina Van Hemessen’s Self-Portrait: The Woman Who Took Saint Luke’s Palette
- 3 By Candlelight: Uncovering Early Modern Women’s Creative Uses of Night
- 4 In Living Memory: Architecture, Gardens, and Identity at Huis ten Bosch
- 5 Louise Hollandine and the Art of Arachnean Critique
- 6 Reclaiming Reproductive Printmaking
- 7 Towards an Understanding of Mayken Verhulst and Volcxken Diericx
- Index
2 - Catharina Van Hemessen’s Self-Portrait: The Woman Who Took Saint Luke’s Palette
Published online by Cambridge University Press: 20 November 2020
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- 1 Introduction: An Historiographical Perspective on Women Making Netherlandish Art History
- 2 Catharina Van Hemessen’s Self-Portrait: The Woman Who Took Saint Luke’s Palette
- 3 By Candlelight: Uncovering Early Modern Women’s Creative Uses of Night
- 4 In Living Memory: Architecture, Gardens, and Identity at Huis ten Bosch
- 5 Louise Hollandine and the Art of Arachnean Critique
- 6 Reclaiming Reproductive Printmaking
- 7 Towards an Understanding of Mayken Verhulst and Volcxken Diericx
- Index
Summary
Abstract
The Self-portrait by Catharina Van Hemessen (dated 1548) is the oldest surviving example in Western art of a self-portrait showing the painter at work. Because of its theme and transitional position in the history of Renaissance painting, it is a fascinating example to consider within the history of artists’ social status as well as women's artistic lives. This article discusses Van Hemessen's Self-Portrait within the broader context of images of painters at work, and considers how the depiction of the tools – especially the palette – can be a source of information on Renaissance painting practice. Comparison with other near-contemporary Self-Portraits of artists at work brings attention to the different ways painters used their image to advertise particular aspects of their art.
Keywords: Renaissance self-portrait; woman painter; palette; artistic theory; painting Technique
The Self-portrait by Catharina Van Hemessen (1528 – after 1583), signed and dated in 1548 (Öffentliche Kunstsammlung Basel) is the oldest surviving example in Western art of a self-portrait showing the painter at work (Plate 2.1). Three versions exist and indicate not only an original desire to broadcast the painter's image and distinctive physical and artistic features, but also to present her awareness of contemporary art theory, as represented visually by the tools, palette, and pose. Because of its many-layered meanings, the self-portrait is a fascinating example to consider within the history of painters’ social status as well as women's artistic lives in the Renaissance. My goal here is to focus on the working part of the self-portrait, the painteress’ tools, as denoting an important aspect of early Netherlandish art theory in visual form. I examine Catharina's Self-Portrait within the broader context of images of painters at work, and then suggest that the depiction of the tools – especially the palette – is not at all random but rather is designed to demonstrate knowledge of contemporary artistic discourses and assert a particular aspect of her status as a painter, a desire that becomes even more obvious when we compare the portrait to similar compositions.
A Woman Painter with an International Career
Daughter to Jan Sanders Van Hemessen (c.1500 – c.1556), one of Antwerp's leading artists of the time, Catharina was twenty when she painted her self-portrait in 1548, the same year her father became Dean of Antwerp's Guild of Saint Luke.
- Type
- Chapter
- Information
- Women Artists and Patrons in the Netherlands, 1500-1700 , pp. 27 - 54Publisher: Amsterdam University PressPrint publication year: 2019