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Student Artwork Guide

Self-Portrait

Name Class Date

simon bening, Self-Portrait (1558), Metropolitan Museum of Art. Public domain.

The facts

Artist
simon bening artsdot.com/en/artists/simon-bening/
Artist’s dates
1483 – 1561
Painted
1558
Medium
Acrylic On Canvas
Original size
9 x 6 cm
Movement
Northern Renaissance Northern European painters using the new oil paint for astonishing detail — every hair, every reflection.
Held at
Metropolitan Museum of Art artsdot.com/en/museums/metropolitan-museum-of-art-new-york/
Artistic style
Miniature Portraiture
Influences
Brueghel, Van Eyck
Notable elements
Illusionistic frame
Subject or theme
Self-Portraiture

In context

Self-Portrait — simon bening

How big is it?

The original measures 9 × 6 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1480
  2. 1490
  3. 1500
  4. 1510
  5. 1520
  6. 1530
  7. 1540
  8. 1550
  9. 1560

Shaded: the lifetime of simon bening (1483–1561) ▲ this work, 1558

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/simon-bening-self-portrait-8Y3TBC-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #302428

    Catalogued palette

    • #302428
    • #A7604F
    • #D0AE99
    • #62403D
    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Phthalo Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Self-Portrait — simon bening

    A Window Into the Soul: Simon Bening’s Self-Portrait

    The miniature portrait of Simon Bening, created in 1558, is more than just a likeness; it's a meticulously crafted window into the mind and spirit of a master Flemish illuminator. Housed within the Metropolitan Museum of Art, this small panel – measuring a mere 9 x 6 centimeters – belies the profound depth of its artistic statement. Bening, a pivotal figure bridging the late Gothic and early Renaissance traditions, wasn’t merely documenting his appearance; he was presenting an image of intellectual rigor, quiet contemplation, and a deep connection to his craft.

    The painting itself is executed in tempera on a small panel, a technique favored for its luminosity and ability to capture delicate details. The palette is restrained – primarily dark browns, blacks, and golds – lending the portrait an air of solemnity and gravitas. Bening’s face, rendered with remarkable precision, reveals a thoughtful expression, framed by receding hairline and the subtle weight of spectacles perched upon his nose. These glasses aren't simply a detail; they symbolize the artist’s dedication to observation, both of the external world and the intricacies of his work.

    The Language of Detail: Technique and Symbolism

    Bening’s skill lies not just in his ability to mimic reality but in his masterful manipulation of light and shadow. Notice how he employs a subtle chiaroscuro – the dramatic contrast between light and dark – to sculpt the form of his face, creating a sense of three-dimensionality within the confines of the miniature. The texture of his robe is rendered with painstaking detail, suggesting the luxurious fabrics favored by wealthy patrons in the 16th century. The background, featuring a window framed by an elaborate border adorned with Latin inscriptions, adds another layer of meaning.

    These inscriptions – “Simon Bennik, the son of Alexander, painted this himself at the age of 75 in 1558” – are not merely biographical; they underscore Bening’s pride and self-awareness. The phrase "SEIPSV PICVS" (painted by myself) is a bold assertion of artistic agency, highlighting his role as both creator and subject. The diamond pattern within the window, reminiscent of Renaissance architectural motifs, hints at a connection to classical ideals of harmony and proportion.

    A Master’s Legacy: Context and Influence

    Simon Bening's self-portrait is a crucial piece in understanding the evolution of portraiture during the Northern Renaissance. He was part of a vibrant artistic community in Bruges, influenced by masters like Jan van Eyck and Gerard David, yet he forged his own distinctive style. His work reflects the humanist ideals of the era – a focus on individual achievement, intellectual curiosity, and the celebration of human beauty.

    Bening’s legacy extends beyond this single portrait. He was a prolific illuminator, creating elaborate books of hours, genealogical charts, and devotional panels for royalty across Europe. His meticulous attention to detail, his innovative use of perspective, and his ability to imbue inanimate objects with life – as seen in the landscape glimpsed through the window – established him as one of the most important artists of his time. His work served as a bridge between the medieval world of illuminated manuscripts and the emerging tradition of oil painting.

    Bringing Bening’s Vision Home

    Reproductions of Simon Bening's Self-Portrait offer a remarkable opportunity to bring this intimate glimpse into the mind of a Renaissance master into your own home. WahooArt’s hand-painted reproductions capture not only the visual details but also the emotional resonance of the original, allowing you to appreciate the artistry and intellectual depth of this extraordinary work. Consider how the miniature's quiet intensity can serve as a focal point in a study or library – a constant reminder of the enduring power of art to illuminate the human spirit.

    Artist and museum

    Artist

    simon bening

    Born in Ghent, Belgium

    Raphael: The Poet of Beauty

    Raphael Sanzio, born Raffaello Santi on April 6, 1483, in Urbino, Italy, was a painter and architect whose name has become synonymous with High Renaissance grace and harmony. Though his life spanned only thirty-seven years – he died tragically young on April 6, 1520 – Raphael’s impact on Western art is immeasurable. He wasn't merely a skilled craftsman; he possessed an innate poetic sensibility, translating the ideals of humanism and Neoplatonic philosophy into breathtakingly beautiful paintings that continue to captivate audiences centuries later. His legacy rests primarily upon his “Madonnas,” those serene and luminous depictions of Mary and child, but also on monumental frescoes within the Vatican Palace and a profound influence on generations of artists who followed.

    Early Life and Artistic Foundations

    Urbino, Raphael’s birthplace, was a vibrant center of culture during the reign of Duke Federico da Montefeltro. The Duke fostered an environment where art flourished, attracting scholars, poets, and artists from across Italy. Raphael's father, Giovanni Santi, was a painter for the court, and it was through him that young Raffaello first encountered the world of art. Giovanni instilled in his son not only technical skills but also a deep appreciation for classical literature and philosophy – crucial elements of the burgeoning humanist movement. Crucially, Giovanni introduced Raphael to the artistic circles surrounding the Duke, exposing him to the ideas of Leonardo da Vinci and other leading figures.

    Following his father’s death in 1494, Raphael assumed responsibility for managing his workshop, a demanding task that honed his organizational skills and further developed his artistic talent. He quickly gained recognition as a gifted painter, undertaking commissions for churches and private patrons throughout the region. His early works, such as The Tribute Money (circa 1503-1504), already demonstrated a remarkable command of perspective and composition, foreshadowing the stylistic innovations that would define his mature style. He spent time in Perugia from 1504 to 1507, working under the tutelage of Pietro Vannucci, better known as Perugino, absorbing the master’s techniques while simultaneously developing his own distinctive approach.

    The Florentine Influence and the Rise of the Madonna

    In 1508, Raphael moved to Florence, a city brimming with artistic innovation at the time. He was profoundly influenced by the works of Leonardo da Vinci, Michelangelo, and Masaccio – artists who were pushing the boundaries of perspective, anatomy, and emotional expression. He spent nearly three years in Florence, producing a series of paintings that marked a significant departure from Perugino’s more restrained style. The Entombment (1507-1508), for example, demonstrated Raphael's growing mastery of dramatic composition and his ability to convey profound emotion through gesture and expression. It was during this period that he began to refine his signature “Madonna” cycle – a series of paintings depicting the Virgin Mary with the infant Jesus – which would become his most celebrated achievement. These Madonnas weren’t simply devotional images; they were carefully constructed narratives, imbued with classical beauty and philosophical depth.

    The Vatican Years: Frescoes of Grandeur

    In 1509, Raphael accepted a commission from Pope Julius II to decorate the Stanza della Segnatura (Room of the Signatura) in the Vatican Palace. This monumental project presented Raphael with an unprecedented opportunity to showcase his artistic genius on a grand scale. Over the next several years, he created four vast frescoes that explored themes of philosophy, theology, and classical learning – reflecting the Pope’s interest in humanist scholarship. The School of Athens (1509-1511), perhaps his most famous work, depicts a gathering of ancient philosophers and scientists, including Plato and Aristotle, engaged in spirited debate. The fresco is not merely a historical illustration; it's a powerful allegory of human reason and intellectual inquiry, embodying the Renaissance ideal of harmonious synthesis between classical learning and Christian faith. He also completed The Triumph of Gemini (1509-1510) and The Disputation of Constantine (1510-1511), further solidifying his reputation as a master of composition, color, and psychological insight.

    Legacy and Lasting Influence

    Raphael’s untimely death in Rome on April 6, 1520, at the age of thirty-seven, cut short a brilliant career. Despite his brief life, he left behind an extraordinary body of work that profoundly influenced generations of artists. His emphasis on clarity, harmony, and idealized beauty became hallmarks of the High Renaissance style, shaping the artistic standards of Europe for centuries to come. His influence can be seen in the works of countless painters, including those who followed him in the Baroque period. Raphael’s legacy extends beyond his individual paintings; he is remembered as a symbol of artistic perfection – “the poet of beauty” – whose art continues to inspire and uplift viewers around the world. His work remains a testament to the power of human creativity and the enduring appeal of classical ideals.

    Museum

    Metropolitan Museum of Art

    On show in new york, United States of America

    A Legacy Etched in Stone and Light: Exploring The Metropolitan Museum of Art

    The Metropolitan Museum of Art isn’t merely a repository of beautiful objects; it's a sprawling narrative of human creativity, a testament to our enduring impulse to shape, interpret, and express the world around us. Founded in 1870 by a group of visionary New Yorkers who believed art should be universally accessible—a radical notion at the time—The Met now stands as one of the largest and most comprehensive museums globally. Its Fifth Avenue façade beckons visitors into a realm spanning five millennia and countless cultures, offering an unparalleled journey through time where echoes of ancient civilizations resonate alongside the bold innovations of modern masters.

    A Monument to Grandeur: Architecture and Atmosphere

    To truly appreciate The Met is to understand its physical presence as integral to its identity. The primary building itself—a magnificent embodiment of Beaux-Arts style completed between 1902 and 1914—exudes an air of classical grandeur. Colossal columns frame the entrance, inviting visitors into soaring galleries bathed in natural light; a fitting stage for the masterpieces within. This monumental structure, deliberately designed as a homage to European palaces, speaks to the ambition and vision of its architects, creating a space that feels both imposing and welcoming. Yet, The Met’s architectural narrative doesn't end there. The juxtaposition with The Cloisters, a remarkable sanctuary located uptown in Fort Tryon Park, reveals the museum’s core mission: to present art within a context that enhances its meaning. While Fifth Avenue embodies scale and universality, The Cloisters offers an intimate serenity, transporting visitors to medieval Europe through reconstructed chapels and gardens—a deliberate contrast reflecting a profound understanding of how environment shapes perception and fosters deeper engagement with artistic expression.

    Echoes Through Time: Treasures Across Cultures

    Within the hallowed halls of The Met, one can almost feel the weight of centuries past. Ancient Echoes resonate powerfully; visitors are captivated by the imposing Assyrian reliefs, depicting scenes of royal power and divine ritual—intricate narratives carved into stone that transport us to a world of emperors and gods. These monumental panels, often adorned with vibrant colors remarkably preserved over millennia, offer a glimpse into the complex political and religious beliefs of ancient civilizations. Equally compelling are the Greek sculptures, embodying idealized form and proportion, offering timeless representations of beauty and human potential. The Parthenon Marbles, for example, stand as enduring symbols of classical artistry and democratic ideals.

    But The Met’s treasures extend far beyond the Western canon. Remarkable collections of Asian art—including exquisite Chinese ceramics, each piece a testament to centuries of craftsmanship, and intricate Japanese screens, meticulously painted with scenes of nature and mythology—sit alongside significant holdings in African, Oceanic, and American art. Consider, for instance, the delicate brushstrokes of a Ming dynasty vase, the vibrant colors of a Navajo textile, or the powerful symbolism embedded within an ancient Egyptian amulet—each a glimpse into the vast richness of human creativity across continents and time.

    Moments of Artistic Resonance: From Manet to Rembrandt and Beyond

    Throughout its history, The Met has hosted groundbreaking exhibitions that have reshaped our understanding of art history and culture. A visit wouldn’t be complete without experiencing Édouard Manet’s Boating, capturing leisure on the Seine with its serene Impressionist style—a pivotal work in the transition from realism to modernism. The painting, a vibrant depiction of Parisian life, invites viewers to contemplate the changing social landscape of the 19th century through its masterful use of light and color. Or contemplating Rembrandt's self-portrait from 1660, a poignant exploration of chiaroscuro revealing the artist’s introspection during a challenging period. The painting’s dramatic use of light and shadow creates a sense of psychological depth, inviting viewers to contemplate the complexities of human experience.

    Preserving Heritage, Embracing Innovation

    Recognizing the importance of accessibility, The Met has embraced innovative technologies to enhance the visitor experience – offering virtual tours, interactive mobile apps, and engaging educational programs. Initiatives like “Met Moments” foster a sense of community among art lovers worldwide, encouraging dialogue and shared interpretation. Furthermore, dedicated conservation laboratories safeguard artworks across its collection, ensuring their preservation for future generations. The museum’s commitment to both preserving the past and engaging with the present ensures that The Met will continue to be a vital center for artistic exploration and appreciation for centuries to come—a timeless sanctuary where creativity transcends boundaries and inspires awe.

    Where to read more

    Find this online

    QR code linking to the download page for Self-Portrait

    artsdot.com/en/art/download/simon-bening-self-portrait-8Y3TBC-en/

    Cite this artwork

    MLA
    bening, simon. Self-Portrait. 1558, Metropolitan Museum of Art. https://artsdot.com/en/art/simon-bening-self-portrait-8Y3TBC-en/
    APA
    bening, simon (1558). Self-Portrait [Painting]. Metropolitan Museum of Art. https://artsdot.com/en/art/simon-bening-self-portrait-8Y3TBC-en/
    Chicago
    simon bening. Self-Portrait. 1558. Metropolitan Museum of Art. https://artsdot.com/en/art/simon-bening-self-portrait-8Y3TBC-en/
    Harvard
    bening, simon (1558) Self-Portrait. Metropolitan Museum of Art. Available at: https://artsdot.com/en/art/simon-bening-self-portrait-8Y3TBC-en/

    Look closely

    Self-Portrait — simon bening

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: self-portrait, renaissance, miniature. Do you agree? What would you add, or take away?
    4. Look back at Landscape with St Jerome (1515), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Northern Renaissance: Northern European painters using the new oil paint for astonishing detail — every hair, every reflection. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Self-Portrait — simon bening

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject depicted in Simon Bening’s ‘Self-Portrait’?

      • A A detailed landscape scene
      • B A portrait of a young woman
      • C Simon Bening himself, an elderly artist at his work
    2. 2. In what year was Simon Bening’s ‘Self-Portrait’ created?

      • A 1528
      • B 1558
      • C 1493
    3. 3. The painting utilizes tempera on a small panel. What does this technique suggest about the artwork’s intended use?

      • A It was designed for large-scale murals.
      • B It was created as a portable devotional object.
      • C It was intended to be displayed in a grand palace hall.
    4. 4. The background of the ‘Self-Portrait’ features a window with a diamond pattern. What does this detail likely represent?

      • A A depiction of Bening's home.
      • B An illusionistic framing device, referencing Renaissance artistic conventions.
      • C A symbolic representation of wealth and status.
    5. 5. Simon Bening was a prominent figure in the guild of illuminators. What role did he primarily hold within this guild?

      • A He served as the guild’s treasurer.
      • B He served as a dean of the calligraphers, booksellers, illuminators and bookbinders
      • C He was responsible for training new apprentices.

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2B · 3B · 4B · 5B