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Reader click to read more a selfie and more. In the print the image is reversed, except for the scar on the forehead - reputedly received in youth and displayed with pride - which the artist has adjusted to remain on the correct side, over his right eyebrow. Also included in the foreground of the engraving is a burin to represent Hogarth's work as a graphic artist; this is absent in the painting, but X-rays show that originally a graving-tool, larger than that in the engraving, lay in front of the portrait on top of the pile of books.

Another noticeable difference in the engraving are the blobs of paint on the palette, carefully graded from light to dark, of which there seems to be no trace in the original painting. These hark back to the similarly impastoed blobs of paint, shaded from white to bright red, on the palette of the unfinished self-portrait now in the Mellon collection at Yale, which is probably an abandoned earlier treatment of the same face-mask the best, though incomplete, colour reproduction of this is in Webster , frontispiece; also Beckett , fig.

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As Hogarth was to explain later in his Analysis of Beauty , published in Burke , p. The catalogue of the exhibition of restored paintings at the National Gallery in first noted the presence of numerous pentimenti, and in particular the wig which shows through the cap and the cheek near the ear. Recent X-rays carried out by the Courtauld Institute confirm that the painting began life as a much more conventional and gentlemanly representation of the artist, in which he wore a full wig, a flowing white cravat, and a coat and waistcoat with gold buttons.

It also shows that a bunch of long brushes had originally been stuck through the thumbhole of the palette. The oval of the self-portrait had at one time been much smaller and drawn closer to the head: A very exact picture of what this original smaller oval looked like can be had from an enamel miniature now in the National Portrait Gallery, which seems to coincide with the X-ray image in every particular.

Expert opinion on the whole now doubts the attribution to Zincke, and J.

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Murrell of the Victoria and Albert Museum has kindly suggested that the inscription looks stylistically later than However, he considers that the date could be an accurate record of the date the miniature was painted, and Rouquet, who worked in the style of Zincke, as a possible attribution. This would suggest that the Tate Gallery portrait could have been begun around this date: One can only speculate as to the reasons why Hogarth changed his image in so radical a manner by Hot chicken lumbersexual palo santo, listicle taxidermy prism chartreuse pork belly.

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