A refined self-portrait in black and white chalk by the influential British painter and theorist Jonathan Richardson Sr.

This self-portrait by Jonathan Richardson Sr. demonstrates the artist's technical command of chalk drawing on toned paper. Richardson, a prominent figure in the early eighteenth-century British art scene, was as well-known for his theoretical writings on painting as he was for his portraiture. His 'An Essay on the Theory of Painting' influenced generations of artists, including Joshua Reynolds.

The drawing captures the artist in a three-quarter view, wearing a soft cap. Richardson employs black chalk to define the structural contours of the face, while white chalk provides highlights on the bridge of the nose, the forehead, and the eyes. The use of blue paper serves as a mid-tone, allowing the artist to create a sense of volume through minimal means. The hatching is precise, particularly around the jawline and the shadow cast by the cap, which adds depth to the facial features without relying on heavy shading.

Richardson's approach to portraiture often favoured a direct, psychological engagement with the sitter. In this study, the gaze is steady and observant, reflecting his analytical approach to the human form. The work is characteristic of the period's interest in the intellectual status of the artist, presenting the subject not merely as a likeness but as a thoughtful practitioner of the craft. The economy of line and the subtle application of white chalk reveal a sophisticated understanding of light and form, typical of his mature period. This print captures the texture of the original paper and the delicate layering of the chalk, offering a clear view of the artist's hand and his method of construction.