Among the few portraits of Crespi there are outstanding works, which include his “Self-portrait.” Created at the turn of the century, it is completely devoid of Baroque splendor, replaced by chamberiness, lyricism and intimacy.
The attentive look of the shaded eyes, the light half-smile, the carelessly tied white turban, and finally the oval shape of the portrait as a whole create the image of the artist, fanned by some kind of “romantic haze”. The sensation of vitality and immediacy of nature is promoted by a three-quarter turn, the inclination of the head, the very pictorial manner – a movable, easily smearing canvas across the canvas.
Coloring only at first glance may seem monochrome. Upon closer examination, in a restrained, greenish-brown range, true and picturesque wealth opens up. Specialists suggest that Crespi was familiar with several, “Self-portraits” of Rembrandt, which may have had an impact on him, partly manifested in the Hermitage, “Self-portrait.” Entered the Baudouin collection in Paris in 1781.
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