Self image: making a self-portrait (2)

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Are you going to be the only figure in your self-portrait? We usually think of a self-portrait as being an image of the artist alone, but if someone else is included, a partner or family member for example, the self-portrait can also be about the relationship between the artist and that person.
Francis Hayman; Grosvenor Bedford by Francis Hayman circa 1748-1750 NPG 217	Sir Roy Yorke Calne; John Bellany by John Bellany 1992 NPG 6193
John Bellany's painting is a 'diptych' which means that it is in two parts, often equal in size, the figures exist side by side on separate pieces of paper. Although it is a commissioned portrait of Sir Roy Calne, it is also a self-portrait. This work shows the surgeon responsible for saving Bellany's life, so in this sense, the diptych is an "extra real" self-portrait, literally a memento mori. The painting is highly stylized, with objects and colours placed randomly in the background.
Do you appear with your partner?
Joseph Edward Southall; Anna Elizabeth Southall by Joseph Edward Southall 1911 NPG L215	William Roberts; Sarah Roberts (née Kramer) by William Roberts 1975 NPG 5808
Patricia Morley; Lewis Morley by Lewis Morley 1959 NPG x87165	Humphrey Chamberlain; Agnes Turner (née Chamberlain) by Benjamin Brecknell Turner 1855 NPG P1003
Identity by Liz Rideal 1985 NPG D11008	The Academicians of the Royal Academy (enlarged detail) by John Sanders after Johan Zoffany, 1773
For 'Identity', the artist installed a photo-booth in the basement of the National Portrait Gallery and invited the public to 'disguise or reveal themselves' for the camera with the aid of props and costumes. One can make out the outline of a face on the right hand side of the collage. To create this larger self-portrait (made up literally of the 'hand of the artist') Rideal took photographs of her body and hands which appear black against the grey of the booth curtain backdrop. The idea was to invite the general public, artists and celebrities into the gallery and create a mass portrait of tiny photographs taken identically but with each person performing in an individual way for the camera.
Occasionally artists include mirror reflections when making a portrait of someone else. In this way they can connect their portrait to ongoing work. Van Eyck's Arnolfini Marriage (National Gallery, London) and Las Meninas by Velasquez (The Prado, Spain) are probably the most fêted and wonderful examples of this particular format. Often photographers will record themselves reflected in a shiny surface. Imogen Cunningham (1883-1976) famously made her self-portrait reflected in a San Francisco shop window. Or see this example of Harry Borden who took a long, thin mirror outside on the grass, making a visual conundrum.	Harry Borden by Harry Borden 1998 NPG x87889
You might make yourself a figure amongst many.
Peggy Angus was a friend of the family and includes herself standing by the piano with Ramsay MacDonald's family
Ramsay MacDonald with members of his family by Margaret MacGregor ('Peggy') Angus 1930s NPG 6102	James Ramsay MacDonald (enlarged detail) by Margaret MacGregor ('Peggy') Angus
Study for Patrons and Lovers of Art by P.C.Wonder includes G.W.Taylor, W.Holwell-Carr, Sir James Murray & P.C. Wonder himself.
Study for 'Patrons and Lovers of Art' by Pieter Christoffel Wonder 1826-1830 NPG 792	Study for 'Patrons and Lovers of Art' (enlarged detail) by Pieter Christoffel Wonder
Here Jerry Barrett is a voyeur at the window viewing Florence Nightingale receiving the wounded at Scutari.
The Mission of Mercy: Florence Nightingale receiving the Wounded at Scutari by Jerry Barrett 1857 NPG 6202	'The Mission of Mercy' (enlarged detail) by Jerry Barrett, 1857
Perhaps with this back view Jemima Blackburn provides us with information about her modesty and position in society whilst ensuring her presence in the work as artist and participant.
Sir Robert Peel, 2nd Bt showing his pictures by Jemima Blackburn (née Wedderburn) 1844 NPG 2772(28a)	Sir Robert Peel, 2nd Bt showing his pictures (enlarged detail) by Jemima Blackburn (née Wedderburn)
Paul Nash included himself in this musical group
Musical Group (Madge Lee (née Pemberton); John Nash; Rupert Lee; Margaret Nash (née Odeh); Paul Nash) by Paul Nash circa 1913 NPG 5509	Musical Group (enlarged detail) by Paul Nash
You might like to show yourself as an artist amongst artists, thus confirming your status as ARTIST These images show artists at work or meeting with contemporary colleagues. It is interesting to see where they put themselves within the painted compositions.
Private View of the Old Masters Exhibition, Royal Academy, 1888 by Henry Jamyn Brooks 1889 NPG 1833	Private View of the Old Masters (enlarged detail) Exhibition, Royal Academy 1888 by Henry Jamyn Brooks, 1889
In a 1914 account , Brooks wrote about the difficulty he had creating the parquet floor in perspective .
'A Conversation of Virtuosis...at the Kings Arms' by Gawen Hamilton 1735 NPG 1384	'A Conversation of Virtuosis...at the Kings Arms' (enlarged detail) by Gawen Hamilton
The Selecting Jury of the New English Art Club, 1909 by Sir William Newenham Montague Orpen 1909 NPG 2556	The Selecting Jury of the New English Art Club, 1909 (enlarged detail) by Sir William Orpen
The Academicians of the Royal Academy by John Sanders, after Johan Joseph Zoffany (1772) NPG 1437	Trevor Leighton with his daughter Rosie by Trevor Leighton 1990s NPG x126170
James Barry; Dominique Lefevre; James Paine the Younger by James Barry circa 1767 NPG 213	James Barry; Dominique Lefevre; James Paine the Younger (enlarged detail) by James Barry
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