Baroque Artists’ Portraits

With Koen Fillet and Leen Kelchtermans, researcher at The Phoebus Foundation

In this episode, we dive into the fascinating world of Baroque self-portraits. Together with Dr Leen Kelchtermans, we discover more about the fascinating dynamic created when artists are both the model and creator of a work of art. Furthermore, we highlight why they immortalise themselves, and where they look for inspiration. A unique look into the artistic masterminds of the past!

Anthony van Dyck, Portrait of the Antwerp Jeweller Johannes Gansacker, c. 1618–1620. Formal portrait of a man dressed in black with a white collar, seated before a red drapery with a distant landscape view, painted in Van Dyck’s elegant and refined portrait style. — Antoon Van Dyck, *Portrait of Antwerp Jeweller Johannes Gansacker*, c.1619-20

Jan Cossiers, Self-Portrait, c. 1626–1627. Intimate self-portrait of the artist holding palette and brush, turning toward the viewer within a dark studio interior with still-life elements, painted with subtle lighting and psychological acuity. — Jan Cossiers, *Self-Portrait*, c.1620-27

Johannes Wierix, Portrait of Frans Floris, 1572. Engraved artist’s portrait of Frans Floris seated with palette and brush, shown in three-quarter view with an intense gaze, accompanied by an inscription highlighting his reputation as an Antwerp history painter. — Johannes Wierix, *Portrait of Frans Floris*, 1572

Anthony Van Dyck en Jacob Neefs, Title Page with Self-Portrait of Anthony Van Dyck, 1645-46

Erasmus Quellinus II, Portrait of Jan Philips Van Thielen, c. 1659–1660. Informal portrait of a man with long hair and moustache, dressed in a light-colored outfit, casually leaning against a balustrade with a garden or landscape in the background, painted in soft tones and a fluid brushwork style. — Erasmus Quellinus II, *Portrait of Jan Philips Van Thielen,* c.1659-60

David II Teniers, Self-Portrait at the Age of Thirty-Four, 1645. Self-portrait of the artist dressed in dark clothing with a white lace collar, standing beside a stone wall with a view onto a landscape, painted with a direct gaze and confident, loose brushwork. — David Teniers II, *Self-Portrait at the Age of Thirty-Four*, 1645

Albrecht Dürer, Self-Portrait, 1498. Self-assured Renaissance portrait of the artist with long curly hair and a cap, dressed in refined attire and set before a window opening onto an Alpine landscape, an early assertion of artistic identity. — Albrecht Dürer, *Self-Portrait*, 1498

Madrid, Museo Nacional del Prado

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Blind Date – The Bold and The Beautiful