Anguissola,Sofonisba – Self-portrait, 1554 Wood, 17 x 12 cm Inv. 285 Kunsthistorisches Museum

Here we observe a small-scale portrait depicting a young woman in three-quarter view. The composition is straightforward: she occupies nearly the entire frame, her gaze directed towards the viewer with a directness that establishes immediate connection. Her expression is thoughtful, perhaps even slightly melancholic; it avoids overt sentimentality and suggests an interiority that invites contemplation.
The artist employed a limited palette dominated by muted greens and browns, creating a somber yet dignified atmosphere. The background, rendered in a flat, uniform green, serves to isolate the figure and focus attention on her features and attire. This simplicity underscores the emphasis on individual character rather than elaborate setting.
She is dressed in dark clothing – a high-necked garment with delicate lace at the collar – which contributes to an impression of modesty and refinement. The fabric appears subtly textured, demonstrating a careful observation of material qualities. In her hand, she holds a small book open; the text visible on its pages includes what appear to be her name and the date 1554. This inclusion is significant, serving as both a declaration of identity and an assertion of authorship – a particularly important statement for a woman artist in this period.
The lighting is soft and diffused, highlighting the contours of her face and emphasizing the delicate rendering of her skin tones. The artist paid particular attention to capturing the nuances of light reflecting in her eyes, lending them a remarkable sense of life and intelligence. Her hair is pulled back from her face, revealing a high forehead – a feature often associated with intellect and learning during the Renaissance.
Subtly, the work conveys an awareness of classical portraiture conventions while simultaneously asserting a personal identity. The book she holds can be interpreted as a symbol of erudition and artistic skill, suggesting that she is presenting herself not merely as a woman but also as a learned individual and accomplished artist. The direct gaze challenges conventional representations of women in art, which often emphasized passivity or demureness. Instead, the sitter appears self-possessed and confident, engaging with the viewer on an intellectual level. The small scale of the work suggests intimacy and perhaps a private declaration rather than a public display.