Self-Portrait c. 1759

Editor: Here we have George Stubbs' "Self-Portrait" from around 1759, an oil painting presented in an oval format. I find it very intimate, almost like a snapshot despite being meticulously painted. What do you see in this piece? Curator: Beyond its aesthetic appeal, Stubbs' self-portrait invites a critical look at the construction of the artist's identity within the social hierarchies of his time. Notice the subtle details, like the unbuttoned coat and the direct gaze. What might these choices convey about Stubbs's self-perception, especially considering his position as an artist known for his depictions of animals, rather than the elite portraiture of the day? Editor: I hadn’t thought about that, the status implications. I suppose portraying himself so plainly could be a statement, right? Curator: Precisely! We can explore how Stubbs' artistic choices challenged conventional expectations of portraiture and even artistic professions. Consider the socio-economic context: artists were often seen as skilled laborers rather than intellectuals. Could this self-portrait be a subtle negotiation of his position within that structure? Editor: So it's like he's claiming his space and intellectual credibility without directly confronting the establishment? Curator: Exactly. And his focus on anatomy, specifically animal anatomy, often placed him outside the traditional art academy. How might that 'outsider' status inform this self-representation? Think about who has historically been excluded from defining artistic narratives and how Stubbs, through this image, carves out a space for himself. Editor: It’s really interesting to think about how much can be read from what appears to be a simple portrait. Curator: Yes. By interrogating these visual cues, we begin to see beyond the surface and understand the complex interplay of identity, social structures, and artistic expression embedded within the artwork. It gives us agency when we approach art history.