Materials:
Oil, Canvas
Physical Object Description:
Technique and Condition
The face of the portrait has been executed in broad brushstrokes, building up a substantial thickness of paint. Scumbled strokes have been used to define soft contours and natural voids in the paint left by this technique show up as dark areas on the X-radiograph. Stippling and wiping techniques have also been used. The position of the canvas was adjusted by the artist during painting to allow more space at the top of the portrait. The original tacking holes can be seen along the top and left edges of the painting. The X-radiograph shows this alteration clearly but shows no repositioning or alteration of the image. The right shadowed side of the face is now affected by a prominent age craquelure. The edges of these deep cracks are raised and the reverse of the canvas quilted accordingly, however, the paint appears stable. A cluster of brushstrokes on the throat of the portrait have discoloured to a pale greyish pink. These appear to be a later addition by the artist.
Spencer varnished the painting in 1914 but that original layer was removed during conservation treatment in 1961, when the painting was also lined with wax/resin adhesive and put onto a new stretcher. The present dammar/AW2 varnish is now discoloured but the dark toned areas of paint were found to be too soluble to allow it's removal.
Source: Helen Brett, August 2000, Tate online collection: www.tate.org.uk/art/artworks/spencer-self-portrait-n06188/text-technique-and-condition
Dimensions:
63 x 51 cm
Accession Number:
N06188
Credit:
Presented by the Contemporary Art Society, 1953
Ownership history:
Purchased from the artist by Sir Edward Marsh (1872-1953), around 1914 (for £20); by whom bequeathed to the Contemporary Art Society 1953; presented to the Tate Gallery, 1953
