One of the most unexpected figures to gain internet fame centuries after his time, Joseph Ducreux was an 18th-century French painter whose self-portraits have found new life in the digital age.
Unlike the stiff, formal portraits typical of his era, Ducreux’s work stands out for its exaggerated facial expressions and playful gestures, qualities that have made his art perfect for memes.
His most famous piece, Self-Portrait in the Guise of a Mockingbird (1793), featuring him pointing toward the viewer with an open mouth as if dramatically delivering a line, has been widely used for humorously old-fashioned phrasings of modern slang.
Other portraits capture him smirking, raising his eyebrows, or laughing, making them ideal for internet reinterpretations.
Self-portrait of the artist in the guise of a mocker, c. 1793.
Joseph Ducreux, born in Nancy, France, in 1735, was a minor aristocrat who embarked on his painting career during the closing decades of the Ancien Régime.
Notably, he painted the final portrait of Louis XVI before the king met his tragic end at the guillotine. Around 1789 or 1790, Ducreux, like many of his peers, sought refuge in London, only to return to Paris in 1793.
For the final decade of his life, his artistic pursuits flourished with the support of Jacques-Louis David, a friend and prominent revolutionary painter, and he hosted an informal salon that attracted artists and musicians alike.
Self-portrait, yawning, c. 1783.
Ducreux was primarily known for his portrait work. His early creations, rendered in pastel, featured esteemed figures such as connoisseur Pierre-Jean Mariette, the Comte de Caylus, and Ange-Laurent de la Live de July.
These pieces may have served as reinterpretations of earlier works by De La Tour.
Although Ducreux maintained a catalog of his works from 1760 onward, his habit of rarely signing his paintings has led to many being mistakenly credited to other artists.
Selfportrait, called La Surprise (The surprise).
Among his notable portraits are those of Pierre Choderlos de Laclos, Maria Theresa of Austria, as well as depictions of Louis XVI and Marie Antoinette.
Ducreux also produced a series of memorable self-portraits in the 1780s and 1790s, including one from 1783 that captures him mid-yawn, and another—Portrait de l’artiste sous les traits d’un moqueur (c. 1793, Louvre)—in which he is seen laughing heartily while pointing directly at the viewer.
Selfportrait, called Le Silence (The Silence).
Through these self-portraits, Ducreux sought to liberate himself from the rigid conventions of traditional portraiture.
His fascination with physiognomy, the idea that facial features can reveal inner character, imbued his work with warmth and individuality.
The unique blend of directness, ambiguity, and exaggerated expression in his portraits initially elicited mixed reviews.
However, in the era of social media and internet memes, his works have experienced a remarkable revival, with images like the famous self portrait from 1973, resonating with modern audiences who delight in pairing these timeless expressions with humorous, anachronistic captions.
Self-portrait in Surprise and Terror, 1791.
Self-portrait with a fur hat.
Etching by Ducreux, 1791.
Self portrait, bust-length, grinning at the viewer, 1790.
The Jealous Husband.
Ducreux had many children. His oldest son Jules was a painter and infantry captain who perished in the Battle of Jemappes; several of his paintings still exist.
His other sons died young. His eldest daughter, Rose-Adélaïde Ducreux, also became a painter, as did his daughter Antoinette-Clémence.
Ducreux died on 24 July 1802 of an apoplexy while walking from Paris to Saint-Denis.
(Photo credit: Wikimedia Commons / RHP / Louvre).