Paper

Student Artwork Guide

Self Portrait

Name Class Date

Philip Wilson Steer, Self Portrait (1920), Fitzwilliam College. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Philip Wilson Steer topimpressionists.com/en/artists/philip-wilson-steer/
Artist’s dates
1860 – 1942
Painted
1920
Original size
74 x 59 cm
Held at
Fitzwilliam College topimpressionists.com/en/museums/fitzwilliam-college-cambridge/
Artistic style
British Impressionism
Influences
Constable, Turner
Notable elements
Misty, atmospheric light
Subject or theme
Portraiture, Self-reflection

In context

Self Portrait — Philip Wilson Steer

How big is it?

The original measures 74 × 59 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1860
  2. 1870
  3. 1880
  4. 1890
  5. 1900
  6. 1910
  7. 1920
  8. 1930
  9. 1940

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 82 at death.

Painted when the artist was 60. The artist lived to 82. 83 of the 100 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Philip Wilson Steer (1860–1942) ▲ this work, 1920 every dated painting, decade by decade

First works: up to 1892 Main working years: 1892–1910 Late works: from 1910

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

  • The Worktable, 1894 topimpressionists.com/en/art/philip-wilson-steer-the-worktable-AQS8WR-en/
  • The Blue Dress, 1892 topimpressionists.com/en/art/philip-wilson-steer-the-blue-dress-AQS8WF-en/
  • Mrs Raynes, 1922 topimpressionists.com/en/art/philip-wilson-steer-mrs-raynes-8YDHJM-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/philip-wilson-steer-self-portrait-AQS8ZM-en/

Colours

Measured from the image

    Main colour

    Espresso #5b4428

    Catalogued palette

    • #5B4428
    • #262518
    • #17150C
    • #8F704B

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Espresso
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Philip Wilson Steer over the last twelve months — 5 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 86.0%4,900 visits
    2. 2 United States of America 8.8%500 visits
    3. 3 United Kingdom 1.8%100 visits
    4. 4 Hong Kong 1.8%100 visits
    5. 5 Singapore 1.8%100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Philip Wilson Steer

    1. 1 Mrs Violet M. Hammersley, 1907 8.5%500 visits
    2. 2 Mrs Cyprian Williams and Her Two Little Girls 6.8%400 visits
    3. 3 Self Portrait as a Young Man, 1880 3.4%200 visits
    4. 4 Hawes, Wensleydale, 1910 3.4%200 visits
    5. 5 Summer at Cowes, 1888 3.4%200 visits
    6. 6 Girls on Walberswick Beach 3.4%200 visits
    7. 7 The Church at Montreuil, 1907 3.4%200 visits
    8. 8 Knucklebones, Walberswick, 1889 1.7%100 visits
    9. 9 Figures on the Beach, Walberswick, 1888 1.7%100 visits
    10. 10 Portrait of a Girl (The Red Jacket), 1899 1.7%100 visits
    11. 11 Ludlow Walks, 1899 1.7%100 visits
    12. 12 The Mantelpiece (Ethel Dixon), 1894 1.7%100 visits
    13. 13 Dover Harbour, Kent, 1923 1.7%100 visits
    14. 14 The Teme at Ludlow, 1900 1.7%100 visits
    15. 15 Mother and Daughter, Boulogne, France, 1894 1.7%100 visits
    16. 16 Windy Day near Bridgnorth, Shropshire, 1901 1.7%100 visits
    17. 17 Storm Clouds, Poole Harbour, Dorset, 1908 1.7%100 visits
    18. 18 Self Portrait, When 18, 1879 1.7%100 visits
    19. 19 The Needles in Mist (The Needles from Alum Bay), 1919 1.7%100 visits
    20. — Self Portrait, 1920 this painting 0.0%0 visits

    Together these works take 52.7% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 125 works by this artist, of which 47 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Self Portrait — Philip Wilson Steer

    A Portrait of Quiet Intensity: Philip Wilson Steer’s “The President Woodrow Wilson House”

    Philip Wilson Steer's "The President Woodrow Wilson House," painted in 1920, isn’t merely a depiction of a building; it’s a carefully constructed tableau brimming with subtle symbolism and imbued with the melancholic beauty characteristic of the artist. This oil-on-canvas work, measuring 74 x 59 cm, transports us to a moment suspended between formality and introspection – a visual poem reflecting on leadership, memory, and the quiet dignity of American history. Steer, a pivotal figure in British Impressionism, masterfully employs a muted palette dominated by greys, blues, and browns, creating an atmosphere of subdued light and contemplative stillness. The composition itself is deliberately restrained, focusing intently on the imposing façade of the Wilson House in Washington D.C., rendered with a remarkable sensitivity to texture and light.

    The Impressionist’s Lens: Technique and Style

    Steer's approach aligns closely with the tenets of Impressionism, yet he transcends simple replication. He doesn’t strive for photographic accuracy but rather captures an impression – a fleeting moment imbued with feeling. Notice how he utilizes broken brushstrokes to suggest the play of light on the stone walls and the subtle shifts in shadow. The artist's layering technique is particularly evident in the rendering of the building’s surface, where individual strokes coalesce to create a sense of depth and volume. Steer was deeply influenced by John Constable and J.M.W. Turner, artists known for their atmospheric landscapes and masterful use of light and color. This influence is palpable in Steer's ability to evoke a specific mood through his manipulation of tone and texture – a feeling of quiet contemplation and perhaps even a touch of wistful nostalgia.

    Symbolism Within the Frame: Leadership and Reflection

    The choice of subject matter—the Wilson House—is rich in symbolic potential. Woodrow Wilson, the 28th President of the United States, was a complex figure – lauded for his leadership during World War I but also criticized for his handling of racial issues at home. Steer’s painting doesn't offer a straightforward portrait of Wilson himself, instead focusing on the building that housed him and, by extension, representing the weight of responsibility and the enduring legacy of power. The muted colors and the solitary nature of the scene suggest a reflection on leadership itself – its burdens, its triumphs, and its inevitable passage of time. The composition’s stillness invites viewers to contemplate the unseen narratives contained within those walls.

    A Legacy of Light: Steer's Influence and Artistic Context

    Philip Wilson Steer was a significant figure in British art, bridging the gap between Impressionism and a more traditional English style. His work gained recognition during his time as a painting tutor at the Slade School of Fine Art, where he profoundly influenced generations of young artists. His exploration of coastal scenes, particularly those along the Suffolk coast, cemented his reputation for capturing the ethereal beauty of the British landscape. “The President Woodrow Wilson House” stands as a testament to Steer’s ability to imbue seemingly simple subjects with profound emotional resonance. It's a poignant reminder that even in grand architectural settings, moments of quiet contemplation and subtle symbolism can hold immense artistic value. Reproductions of this piece offer a captivating glimpse into the artist’s world and invite viewers to engage with the complexities of American history through the lens of Impressionist artistry.

    Artist and museum

    Artist

    Philip Wilson Steer

    Born in Birkenhead, United Kingdom

    Early Life and Artistic Foundations

    Philip Wilson Steer, born in Birkenhead in 1860, emerged from a family deeply rooted in the artistic world—his father was both a portrait painter and a dedicated art teacher. This early exposure proved formative, nurturing a sensibility that would define his life’s path. A relocation to Whitchurch near Monmouth when he was just three years old instilled a connection with the British countryside that would resonate throughout his oeuvre. His formal education began at Hereford Cathedral School, providing a foundational grounding before he wholeheartedly pursued his artistic ambitions. Steer's training continued at the Gloucester School of Art and the South Kensington Drawing Schools, but it was his sojourn to Paris between 1880 and 1884 that proved truly transformative. Studying at the Académie Julian and later under Alexandre Cabanel at the École des Beaux Arts, he encountered a world brimming with new ideas and approaches to painting.

    The Embrace of Impressionism and a Distinctive Style

    Paris became a crucible for Steer’s artistic development. He was profoundly moved by the works of Édouard Manet and James McNeill Whistler, absorbing their innovative techniques in capturing light, color, and atmosphere. This exposure ignited within him a passion for Impressionism, yet he never simply replicated it. Steer skillfully blended these French influences with his inherent English sensibilities, forging a style uniquely his own. His paintings are characterized by a remarkable ability to seize fleeting moments—the play of sunlight on water, the ephemeral quality of coastal air. He employed loose brushstrokes and vibrant colors not merely to depict scenes but to evoke emotions and create an immersive sense of immediacy. Recurring themes in his work include beach scenes and seascapes, often bathed in silvery, translucent light, demonstrating a mastery of depicting the freshness and luminosity of these environments. Works like The Music Room, early in his career, showcase his burgeoning skill with composition and light, while pieces such as Girls Running: Walberswick Pier burst with the energy and vibrancy of a Suffolk coastal town.

    A Champion of Modern Art and Etaples Influence

    Steer wasn’t content to simply paint; he actively shaped the artistic landscape of Britain. He played a pivotal role in establishing the New English Art Club, an organization dedicated to championing modern artistic expression—a bold move at a time when traditional tastes still held sway. Through this platform and regular exhibitions at the Royal Academy, including participation in the groundbreaking London Impressionist Exhibition of 1889, he helped introduce new ideas and challenge conventional norms. His time spent at the Etaples art colony in 1887 further refined his artistic vision. This vibrant community of artists provided a stimulating environment for experimentation and collaboration, solidifying his ability to capture light and atmosphere with increasing nuance and skill. Steer drew inspiration from a diverse range of masters—John Constable, J.M.W. Turner, and even François Boucher—but always filtered these influences through his own unique perspective.

    Legacy, Recognition, and Enduring Influence

    Philip Wilson Steer continued to paint prolifically until health issues forced him to stop in 1940, passing away two years later at the age of 81. His contributions were widely recognized during his lifetime, culminating in an Order of Merit. Today, his works are held in prestigious collections worldwide, including the Tate Gallery and even the Uffizi Gallery—a testament to his international acclaim. Beyond his paintings themselves, Steer’s legacy extends through his long tenure as a painting tutor at the Slade School of Art. For many years, he profoundly influenced generations of young artists, imparting not only technical skills but also a deep appreciation for observation and artistic integrity. His contribution to the development and acceptance of Impressionism in Britain is undeniable, solidifying his place as a significant figure in British art history—a painter who successfully bridged the gap between tradition and modernity, leaving an enduring mark on the landscape of British art. Notable works like Convalescent, with its rich textures and evocative gaze, and The Teme at Ludlow, highlighting serene beauty and masterful brushwork, continue to captivate audiences today, demonstrating the timeless quality of his artistic vision.

    Museum

    Fitzwilliam College

    On show in Cambridge, United Kingdom

    A Sanctuary of Art and Antiquity: Exploring the Fitzwilliam College

    Nestled within the venerable heart of Cambridge, England, the Fitzwilliam College stands as more than simply a museum; it’s an immersive journey through the very soul of human creativity. Founded in 1816 by Richard FitzWilliam, 7th Viscount FitzWilliam with a profound desire to share his extraordinary collection, the institution has blossomed into one of the United Kingdom's most treasured cultural landmarks – a vibrant space where history whispers from ancient artifacts and masterpieces ignite the imagination. The building itself is a testament to architectural grace, George Basevi’s Founder’s Building, completed in 1843, embodies classical elegance, its inviting façade hinting at the world of artistic wonders contained within. Subsequent expansions, notably the meticulous refurbishment of the Egyptian Galleries in 2006, have seamlessly blended historical grandeur with modern functionality, creating a visitor experience that is both awe-inspiring and remarkably accessible. The Fitzwilliam isn’t just a display of objects; it's a carefully curated narrative, a sprawling tapestry woven from the threads of diverse cultures and artistic movements spanning millennia.

    The collection itself is breathtakingly vast and remarkably varied. It begins with the ancient world – imposing sarcophagi from Egypt, hinting at elaborate rituals and beliefs, stand alongside Roman sculptures and Greek pottery, offering glimpses into empires long past. Moving through time, visitors encounter Renaissance masterpieces, including stunning works by Rubens and Van Dyck, capturing the elegance of courtly life. The gallery dedicated to Old Masters is a particular highlight, showcasing the dramatic chiaroscuro techniques of Rembrandt and the vibrant color palettes of masters like Titian. But the Fitzwilliam’s treasures extend far beyond painting; intricate decorative arts from across continents – exquisitely carved ivory, shimmering silks, and delicate porcelain – tell stories of trade, cultural exchange, and artistic skill. A significant portion of the collection is devoted to antiquities, including the magnificent winged bas-relief salvaged from Nimrud, transporting visitors directly to the world of ancient Assyria and its complex mythology. The museum’s holdings also boast a remarkable selection of prints and drawings, offering intimate portraits of historical figures and scenes, alongside intricate botanical studies and architectural sketches. And let's not forget the porcelain collection – a dazzling display of craftsmanship and cultural exchange, showcasing objects from China, Japan, and Europe.

    A University Connection: A Hub of Learning and Engagement

    What truly distinguishes the Fitzwilliam Museum is its profound and vital connection to the University of Cambridge. This academic partnership isn’t merely a formality; it's woven into the very fabric of the institution, infusing it with a spirit of research, scholarship, and dynamic engagement. The museum isn’t simply a place for passive viewing; it’s designed as an active learning environment, fostering a deeper understanding of art history’s complexities – moving beyond dates and names into a living narrative of human endeavor. Regularly, the museum hosts collaborative projects with university departments, bringing cutting-edge research directly to the public, demonstrating how artistic innovation is inextricably linked to intellectual progress. This interplay between scholarly investigation and accessible interpretation makes the Fitzwilliam a truly vital cultural resource—a place where art history comes alive, resonating with both historical context and contemporary relevance. The museum’s educational programs are particularly noteworthy, offering workshops for children and adults alike, fostering a lifelong appreciation for art and culture.

    Architectural Grandeur and Modern Innovation

    The Fitzwilliam's architecture is not merely a backdrop; it’s an integral part of the experience. The Founder’s Building, completed in 1843, with its imposing classical façade, provides a striking contrast to the more modern additions, creating a harmonious blend of historical grandeur and contemporary functionality. The meticulous refurbishment of the Egyptian Galleries in 2006 is a prime example – state-of-the-art lighting and climate control systems were seamlessly integrated into the original design, ensuring that these ancient treasures are displayed with optimal care and visibility. The museum’s layout encourages exploration, guiding visitors through a carefully curated sequence of artworks and artifacts, while also providing ample space for contemplation and reflection. The building's design reflects a commitment to both preserving the past and embracing the future of art appreciation – a testament to thoughtful planning and architectural vision.

    Notable Exhibitions and Ongoing Discoveries

    The Fitzwilliam Museum’s exhibition program is consistently innovative, offering a diverse range of temporary displays that complement its permanent collection. Recent exhibitions have explored fascinating themes, from the influence of ancient Egyptian art on European painting to the evolution of portraiture throughout history. The museum regularly hosts lectures, workshops, and events catering to all ages and interests – a testament to its commitment to public engagement. Currently, the museum is deeply involved in ongoing research projects examining the provenance of certain artifacts, utilizing modern technology like 3D scanning and digital imaging to uncover hidden details and shed new light on artistic techniques and historical contexts. Keep an eye on their website for announcements about upcoming exhibitions and events – from special collections displays to thought-provoking lectures. Furthermore, the museum’s digital presence is expanding rapidly, offering virtual tours, online collections, and interactive educational resources, ensuring that its treasures are accessible to art lovers worldwide.

    A Legacy of Access: Inspiring Curiosity for All

    Perhaps most profoundly, the Fitzwilliam Museum’s dedication to free admission underscores its core mission: to inspire curiosity, promote learning, and celebrate the transformative power of art. This commitment to inclusivity ensures that these extraordinary treasures are accessible to everyone – from seasoned collectors seeking inspiration to interior designers searching for aesthetic references, or simply individuals with a desire to experience beauty firsthand. The museum’s digital engagement extends this reach beyond physical walls, offering regularly updated online collections and virtual tours, allowing art enthusiasts worldwide to explore its remarkable holdings. Educational resources tailored for schools and families further solidify the Fitzwilliam's role as a cornerstone of cultural learning, ensuring that the legacy of artistic expression continues to inspire generations to come. The museum stands as a beacon of knowledge and beauty, inviting all to delve into the captivating world of art and history.

    Where to read more

    Find this online

    QR code linking to the download page for Self Portrait

    topimpressionists.com/en/art/download/philip-wilson-steer-self-portrait-AQS8ZM-en/

    Cite this artwork

    MLA
    Steer, Philip Wilson. Self Portrait. 1920, Fitzwilliam College. https://topimpressionists.com/en/art/philip-wilson-steer-self-portrait-AQS8ZM-en/
    APA
    Steer, Philip Wilson (1920). Self Portrait [Painting]. Fitzwilliam College. https://topimpressionists.com/en/art/philip-wilson-steer-self-portrait-AQS8ZM-en/
    Chicago
    Philip Wilson Steer. Self Portrait. 1920. Fitzwilliam College. https://topimpressionists.com/en/art/philip-wilson-steer-self-portrait-AQS8ZM-en/
    Harvard
    Steer, Philip Wilson (1920) Self Portrait. Fitzwilliam College. Available at: https://topimpressionists.com/en/art/philip-wilson-steer-self-portrait-AQS8ZM-en/

    Look closely

    Self Portrait — Philip Wilson Steer

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: seascape, coastline, figures. Do you agree? What would you add, or take away?
    4. Look back at The Worktable (1894), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Philip Wilson Steer was about 60 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Self Portrait — Philip Wilson Steer

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is Philip Wilson Steer most closely associated with?

      • A Cubism
      • B Impressionism
      • C Surrealism
    2. 2. In the provided image description, what is notable about the self-portrait?

      • A It depicts a scene from his childhood.
      • B It shows him wearing a brimmed hat and neckerchief.
      • C It's an early work painted in Antwerp.
    3. 3. According to the text, where did Philip Wilson Steer spend time studying art?

      • A Paris and London
      • B Rome and Florence
      • C Berlin and Vienna
    4. 4. What role did Philip Wilson Steer fulfill during World War I?

      • A He served as a soldier in the Royal Navy.
      • B He painted portraits of the Royal Navy.
      • C He designed propaganda posters.
    5. 5. The text mentions that Steer was influenced by which artistic styles?

      • A Only Impressionism
      • B Impressionism, Constable and Turner
      • C Cubism and Fauvism

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2B · 3A · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Can "Self Portrait" by Philip Wilson Steer, held at the Fitzwilliam College, be legally reproduced?

    The copyright status of "Self Portrait" by Philip Wilson Steer is clear: the work is in the public domain - its copyright has expired. Its presence at the Fitzwilliam College does not change that status.

    Is "Self Portrait" by Philip Wilson Steer a well-known artwork?

    "Self Portrait" by Philip Wilson Steer has an iconic popularity level. This classification reflects how widely the work is recognized.

    At what size is "Self Portrait" suggested for a living room?

    The recommended pairing for "Self Portrait" by Philip Wilson Steer: a medium print in a living room.