Judith Leyster Self Portrait Analysis

In the early history of art, female artists were uncommon and denied of the same amount of credit for their talents as their male counterparts. It was a rare occurrence for female artists to paint portraits of themselves, however in the 16th and 17th century we begin to see a shift in this trend. In the Netherlands during the 16th century, Dutch artist, Judith Leyster used oil on canvas to paint a portrait of herself, titled Self-Portrait (1635). The Self-Portrait features Leyster, a young woman, looking directly at the viewer whilst painting a scene of a man playing the violin. Leyster owned an art workshop and was the only female in the Dutch Republic to sell her paintings in the market during that era. Similarly, in the 17th century, the …show more content…
In Judith Leyster’s Self-Portrait, Leyster is the focal point of the portrait, but she also draws emphasis to the painting on the easel of a male violinist. The viewer’s point of view is originally directed to Leyster’s gaze and the welcoming smile on her face, which then eventually shifts towards the painting on the easel that she is in the process of completing. Leyster’s intent with the portrait was to express her diverse artistic talents and make them apparent to the viewer. This is evident through the differentiation in painting techniques used by Leyster on the portrait of herself and of the painting featured on the easel. The painting of the male violinist was conducted in loose brush strokes in comparison to her self-portrait. The background of the painting is in hues of grey, depicting no real setting; which in effect draws the viewers’ full attention to Leyster and her painting. Ultimately, Leyster is showcasing her talents to the viewer by highlighting the differences in her painting …show more content…
Labille-Guiard immediately catches the viewers’ attention as she is the central focus of the portrait in a striking dress and hat, whilst her pupils surrounded her. Unlike Leyster, Labille-Guiard does not feature any artwork in her portrait; as it would potentially divide the viewers’ attention away from her and her pupils. Labille-Guiard strategically painted the easel on the left-hand side, turned away from the viewer so that it is not visible at all. Labille-Guiard took a feminist approach to her painting to make a political statement that a woman could paint as well as any male. Therefore, the subject matter of both of these portraits is very powerful and empowering to women in the early and present day art