{"id":2189,"date":"2021-06-08T22:21:30","date_gmt":"2021-06-08T20:21:30","guid":{"rendered":"https:\/\/www.lostwomenart.de\/?post_type=chapter&p=2189"},"modified":"2021-06-14T14:04:10","modified_gmt":"2021-06-14T12:04:10","slug":"self-portraits","status":"publish","type":"chapter","link":"https:\/\/www.lostwomenart.de\/en\/chapter\/self-portraits\/","title":{"rendered":"Self-portraits"},"content":{"rendered":"\n
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Self-portraits as artistic questioning of the self, have always been found in art history \u2013 but it is especially women that engage strikingly often with this genre. A reason for this is their social status; women always had to assert and prove their role as professional artists way more than their male counterparts. Many women do so through self-portraits, which \u2013 whether doubtful, confident or cheeky \u2013 are all impressive testimonies of their self-reassurance in the world.\u00a0<\/span><\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n\n

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The Dutch Baroque painter Judith Leyster<\/strong> already self-confidently eternalised herself in her work during the mid-17th century. Her popular artistic self-image highlights the positive self-image of the artist and provides proof of the independence of Judith Leyster as an extremely successful artist. She had numerous paying apprentices, was well-connected and never out of new assignments.\u00a0<\/span><\/p>\n\t\t\t\t<\/div>\n\t\t\t\t

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