Self Portrait William Rickarby Miller (1818-1893)

Here we observe a man seated outdoors, engaged in sketching. He is positioned near a substantial tree trunk, which dominates the left side of the composition and serves as a visual anchor. The surrounding environment appears to be a dense thicket or woodland area, rendered with loose, energetic brushstrokes that suggest foliage and dappled light.
The figure himself is dressed in what seems to be casual attire – a jacket over a striped shirt, paired with trousers and dark shoes. A straw hat sits atop his head, casting shadows across his face. He holds a sketchbook or drawing pad on his lap, and a pencil is poised in his hand, suggesting an active creative process. The posture conveys a sense of focused concentration; he leans slightly forward, absorbed in his work.
A small pile of what appear to be art supplies – perhaps more paper or pigments – rests near him on the ground, further reinforcing the theme of artistic endeavor. The color palette is dominated by earthy tones – ochres, browns, greens – with touches of blue and grey in the figure’s clothing. This contributes to a feeling of naturalism and immediacy.
The composition suggests an introspective moment; the artist seems comfortable and at ease within his surroundings, capturing them directly from observation. The placement of the tree trunk creates a sense of enclosure, hinting at solitude or contemplation. There is a deliberate informality in the rendering – the lack of sharp outlines and the visible brushwork – which lends a spontaneous quality to the scene.
Subtly, the painting speaks to the relationship between the artist and nature. It’s not merely a depiction of a landscape but an exploration of how one observes and interprets the world through artistic practice. The self-portrait is less about presenting a likeness and more about conveying a state of mind – a moment of creative engagement within a natural setting.