Artist Self-Portraits: Me, Myself, and I

The self-portrait is a venerable practice in the history of art, and yet, it’s a genre that many artists—even portrait artists—often overlook. These watercolorists make a strong case for the creative potential of the subject.

Reflecting Inward: Ali Cavanaugh

Ali Cavanaugh says that most of the painting she did in her teens and 20s was self-portraiture. “I’ve always painted the figure,” she says, “and at that time in my life, it was easiest to paint myself.” Ease and accessibility is a common motivator for many self-portraits, but there’s usually more to it than that, as Cavanaugh explains. “It was a great way to explore emotions and concepts as I was figuring out my artistic voice.”

When Cavanaugh set out to paint The Tired Multi-tasker, it had been at least 20 years since she’d painted a self-portrait. “When I took an honest look in the mirror, I was struck by how tired I looked and began to reflect on that,” she says. “I wanted to capture a sincere portrait of what I really looked like—puffy eyes and messy braids included.”

Good Advice

“Your first question should always be: What’s the inspiration or motivation behind this painting? Ask yourself what it is you’re trying to portray. Is it about an emotion? Are you telling a story? From there, figure out what can be used to support your concept.”

—Ali Cavanaugh

Working With a Familiar Face: Michael Holter

Michael Holter has long been fascinated by portraiture and, during his years as an art student, he found the self-portrait a practical choice. “In the absence of a live model, I turned to my own likeness—the ever-present model,” he says. It was a period of experimentation for the artist, during which he explored various techniques. 

As a result, Holter understands the learning power in the practice, noting that self-portraiture provides artists an opportunity to delve into the intricacies of facial anatomy. “There’s a certain familiarity that comes with painting one’s own face,” he says, “an opportunity to study, correct and practice the subtleties of human head structure. Even the simple morning ritual of tidying up my beard’s edges while shaving makes me think through the shape and structure of the face.”

Good Advice 

“Using a careful application of brushstrokes to build facial character is not unlike the process of sculpting. Each stroke contributes to the form, depth and coloration of the surface, and adds layers of dimension—unique to watercolor.” —Michael Holter

A Chance to Explore: Myrna Wacknov

Myrna Wacknov began her exploration of self-portraiture in 2009, in response to a class she was teaching. “The lesson was on the head and hands,” she says. “The genre didn’t particularly intrigue me until I started doing it. Now it’s a part of my regular practice.” Wacknov doesn’t really change her creative attitude when the subject is herself. “My self-portraiture isn’t really about me,” she notes. “I’m always looking for interesting ways to create expression or expressive faces.” 

Wacknov recommends that every artist create at least one self-portrait at some time. “I’ve found it very liberating,” she says. “It gives you total freedom to play with your own image and do whatever you want without the worry over whether someone is going to like it. You don’t have to stress about getting a likeness; it doesn’t really matter. Plus, you’re available 24/7. Anytime you want to create a new image, you can.” 

Good Advice

“Just jump in there and try it. Don’t worry about what you’re going to end up with. Start with a good image to work from, and keep an open mind and a willing spirit. Think of it as an opportunity to play around, have fun and explore different ideas.” —Myrna Wacknov

This article is excerpted from the Winter 2024 issue of Watercolor Artist.