03 — ARTWORK
Self-portrait
- MEDIUM
- Oil on canvas, 63 x 52 cm
- TYPE
- Portrait
PALETTE
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- FILE
- 738 × 966 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
On the northern edge of Burgundy, but actually in Champagne, stood the medieval city of Troyes, where the Rome-trained Jacques de L'Estin worked. After painting, probably in Rome, his self-portraitThe Roman portrait bust survived in the form of life-sized reliquaries of saints, but it was in 15th century Florence that the individual features and character of a contemporary sitter were accurately recorded by sculptors such as Donatello, Desiderio da Settignano, Mino da Fiesole and the Rossellino. A similar degree of realism occurs in 15th century tomb sculpture. The equestrian portrait, based on antique statues such as the Marcus Aurelius monument (Rome, Campidoglio), was revived in the 14th century. Two examples in fresco are Simone Martini's Guidoriccio (c. 1328; Siena, Palazzo Pubblico) and the posthumous portrait of Sir John Hawkwood (1436; Florence, Cathedral) by Uccello, which gives the illusion of a 3-dimensional statue seen from below. The Venetian Republic ordered imposing monuments from Donatello (1447; Gattarnelata, Padua) and Verrocchio (14799; Colleoni, Venice), whilst other statesmen ordered their own images to be erected in public places, directly relating themselves to the military heroes of ancient Rome. Another form of political portraiture derived from antiquity was the commemorative portrait medal designed by artists such as Pisanello. The carved or painted profile portrait became popular in the 1450s. The realism of the clear, flattened image, painted under the influence of Flemish examples by the Pollaiuolo brothers, Piero della Francesca and Botticelli, was superseded by the three-quarter and frontal portrait, psychologically more complex, such as Leonardo's enigmatic Mona Lisa (Paris, Louvre) with her momentary smile or Andrea del Sarto's arresting Portrait of a Man (London, National Gallery). The 16th century portrait became generalized, Lotto's Andrea Odoni (1527; Royal Collection) being an idealized concept of a collector rather than an individual. Group portraits, decorating whole rooms, include the narrative scenes of the Gonzaga court painted by Mantegna (completed 1474; Mantua, Palazzo Ducale) and the elaborate schemes commissioned by the Farnese family in Rome from Vasari (1546; Palazzo della Cancelleria) and Salviati (after 1553; Palazzo Farnese). Portraits were also incorporated into religious narratives, as in Ghirlandaio's fresco cycle painted for Giovanni Tornabuoni in S. Maria Novella, Florence (1486-90)., now in the Musée des Beaux-Arts in Troyes, his art continued in a much lighter vein, with plenty of light colour and swirling composition. De L'Estin is a rare example of a painter working in the provinces who kept himself up to date without degenerating into provincial naivety, and some of his pictures have been confused with the work of far greater artists.
Self-portraits are rare for most French seventeenth-century artists. This one shows the influence of Simon Vouet.
CITE THIS RECORD — BIBTEX
@online{wga-rdf354eb536b797,
author = {Krén, Emil and Marx, Daniel},
title = {Self-portrait by L'ESTIN, Jacques de},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/lestin-jacques-de-r384a3f1b2b8e32/self-portrait-rdf354eb536b797},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
OTHER WORKS BY JACQUES DE L'ESTIN
The archive catalogues no further works by this artist.
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