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Judith Leyster Self-portrait

Description[edit | edit source] Continuing the in tradition of 16th century artists who pushed to have painting seen as a profession as opposed to a craft, Leyster's choice to depict herself wearing lace cuffs, rich fabric and a huge collar, which would not have been suitable for painting, draws attention to her wealth and success. This choice to depict herself in her finest clothing seated before an easel also links Leyster's work to that of earlier female artists, such as fellow Dutch artist Katherina van Hemessen. In doing this she both distinguished herself from less skilled artisans and showcased her technical abilities. While it is unclear whether Leyster studied under Hals the loose brush strokes and casual pose echo his stylistic choices. Similar to other paintings of hers Leyster's self-portrait has a momentary quality to it, she is turned partially to the viewer with her lips parted to as if to speak, which some scholars have argued implies that Leyster is wishing to make a statement (perhaps about her ability as a woman). This friendly, conversational posture as well as the choice to include the fiddler from her later painting The Merry Trio suggest that this piece would have been used to advertise her composure and abilities. This choice to include the fiddler may have been, what helped identify this as a self-portrait done by Leyster herself as oppose to a portrait of Leyster by Hals. Some scholars argue that it would have been odd of Hals, or any painter, to include an image of another artist's work in their own piece.