“This drypoint self-portrait by Ottilie Wilhelmine Roederstein offers a direct and intimate look at the artist in 1920, showcasing her confident presence and the rich textures achieved through this printmaking technique.”
In this self-portrait, Ottilie Wilhelmine Roederstein presents herself directly, her gaze steady and thoughtful. Rendered in drypoint, a technique that creates rich, velvety lines from burrs of metal, the artist captures a sense of immediate presence. Her hair is pulled back, emphasizing the strong planes of her face, and a hint of a high collar or garment suggests a formal yet unadorned presentation. The year this print was made, 1920, places it after the First World War, a period when Roederstein also painted portraits of women widowed by the conflict. Here, she turns her incisive gaze inward, inviting viewers to contemplate the artist herself, reflecting a moment of quiet self-assessment in her later career. The starkness of the drypoint technique lends a gravitas to the image, fitting for a seasoned artist who had long supported herself through her work.
- Artist
- Ottilie Wilhelmine Roederstein
- Date
- 1920
- Medium
- Drypoint on ivory laid paper
- Location
- Art Institute of Chicago
- Dimensions
- Image/plate: 19.5 × 14.8 cm (7 11/16 × 5 7/8 in.); Sheet: 31.3 × 26 cm (12 3/8 × 10 1/4 in.)
- Collection
- Prints and Drawings
- Culture
- Germany
- Credit line
- Edna Wilhelmine Rose Fund
What to Notice
Four details hide in plain sight. Here’s where to look.

The dense, velvety lines in her hair and coat, characteristic of drypoint.
Her direct, unsmiling gaze, meeting the viewer's eyes.
The subtle texture of the ivory laid paper, visible in the lighter areas.
The slight tilt of her head, adding a dynamic quality to the pose.
Stand in front of it and listen
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Ottilie Wilhelmine Roederstein
1859–1937 · SwitzerlandOttilie Wilhelmine Roederstein, a German-Swiss painter, defied social norms to become a celebrated portraitist, exhibiting at the 1893 World's Columbian Exposition.
Further Works by Roederstein
The Forge of Vulcan
1919 · Art Institute of Chicago
Emperors Charles V and Ferdinand I
Art Institute of Chicago
Woman with a Harp
Art Institute of Chicago
Study for In Puerperium: Charlotte with Wilhelmine
1909 · Art Institute of Chicago
Hotel by the Walchensee, from The Walchensee
1920 · Art Institute of Chicago
Wilhelmine in a Bathing Costume
1924 · Art Institute of Chicago
Landscape with Cannon (The Great Cannon)
Art Institute of Chicago
The Madonna on the Crescent Crowned by Two Angels
Art Institute of Chicago
More works to explore
Beyond Roederstein: works from the same years.
Same era · 1900s–1930s
Lozenge Composition with Yellow, Black, Blue, Red, and Gray
Piet Mondrian · 1921 · Art Institute of Chicago
Same era · 1900s–1930s
Self-Portrait with Cat
Ernst Ludwig Kirchner · 1920 · Museum Folkwang
Same era · 1900s–1930s
Bull's Head
Mikhail Larionov · 1913 · Tretyakov Gallery
Same era · 1900s–1930s
The Lineman
Ivan Puni · 1927 · Art Institute of Chicago
Same era · 1900s–1930s
American Gothic
Okada Saburosuke · 1930 · Art Institute of Chicago
Same era · 1900s–1930s
Dada Gauguin
Max Ernst · 1920 · Art Institute of Chicago
Same era · 1900s–1930s
Schoolhouse
Paul Klee · 1920 · Art Institute of Chicago
Same era · 1900s–1930s
The Fiddler
Norman Rockwell · 1921 · Brandywine Museum of Art
Same era · 1900s–1930s
Woman before an Aquarium
Henri Matisse · 1921 · Art Institute of Chicago
Same era · 1900s–1930s
Man and Trees, Florida
John Singer Sargent · 1917 · The Metropolitan Museum of Art
Same era · 1900s–1930s
Seated Woman, Back View
Egon Schiele · 1917 · The Metropolitan Museum of Art
Same era · 1900s–1930s
The Praying Jew
Marc Chagall · 1923 · Art Institute of Chicago
