Jean-Baptiste-Siméon Chardin (French, ) • The Monkey Painter • 1739-1740
Although not a self-portrait in the true sense, I'm including it here because it's so fascinating. The monkey is the artist as subject, gazing away from the canvas at what is perhaps the subject it is painting.
Firstly, there is the Rococo era's obsession with paintings of monkeys. Called Singerie, it is a French term describing visual arts depicting monkeys engaged in human activities. It was at the height of its popularity in mid 18th century France. It is said that even Madame de Pompadour succumbed to the monkey craze!
Secondly, this work serves as a commentary on the state of art and artists in French society at the time. Chardin was a member of the French Royal Academy, yet he was critical of the academy's narrow-minded attitudes toward what was considered art worthy of its stamp of approval. This archaic focus begged the question – does the Royal Academy want artists that can think critically, or does it simply want imitators of their narrow rules? Hence, a monkey can be trained to paint but a true artist analyzes and discerns myriad aspects of their subjects.
Pierre-Louis de Surugue (French, 1716–1772) • The Monkey Antiquarian • 1743 • after Jean-Baptiste Siméon Chardin
The Monkey Painter and the print above were frequently reproduced. The caption here translates: "In the obscure maze of ancient monuments Why, learned man, do you put yourself to so much trouble? For truly philosophical eyes, our century Provides enough to keep one busy."
