Student Artwork Guide
Copyright This work is in the public domain. simon bening died in 1561; copyright lasts 70 years after the artist’s death, so it ended in 1631.
In context
Self-portrait — simon bening
The original measures 9 × 6 cm (height × width), drawn here beside an adult of average height.
Shaded: the lifetime of simon bening (1483–1561) ▲ this work, 1558
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Measured from the image
Main colour
Espresso #5f4b34
Catalogued palette
About this artwork
Self-portrait — simon bening
Written in gold on a red background is an inscription that identifies this miniature as a self-portrait of the famous Bruges illuminator, Simon Bening: "Simon Bennik, the son of Alexander, painted this himself at the age of 75 in 1558."Simon Bening became one of the most famous illuminators of the sixteenth century. He spent his early years in Ghent or Antwerp, probably working under the tutelage of his father, the illuminator Alexander Bening. Simon moved to Bruges permanently in 1517, where over time he headed a large and flourishing workshop. Although Bening was much admired in his day and widely imitated, his artistic personality has yet to be thoroughly studied.This miniature painting has attracted considerable interest in art history as an early self-portrait of an artist. Bening portrays himself, spectacles in hand, seated before a wooden easel. The easel holds a drawing of the Virgin and Child; along its left edge, small ledges hold various painting materials. In representing this imagery Bening allies himself with Saint Luke, the patron saint of painting, who is traditionally shown painting an image of the Virgin - a subject that itself became a conceit for the self-portrait of the artist in the 15th and 16th centuries. Bening portrays himself not in the garb of an artisan, but as a member of the intelligentsia. By inscribing his work with a signature (as the son of Alexander) and a date, he acknowledges his talents and heritage in the distinguished lineage of Bening illuminators in Bruges. The illumination was probably made as an independent work, rather than as part of a book, at a time when autonomous miniatures increasingly came into production. A second version of this miniature is in the Victoria and Albert Museum, London.
Artist and museum
Born in Ghent, Belgium
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.
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.
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.
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.
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.
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Look closely
Self-portrait — simon bening
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