Paula-Modersohn-Becker, a German artist born on February 6, 1876 joined the Worpswede community of artists in 1899. The Worpswede community consisted mainly of former German art students who had become frustrated with their respective art Academies. In such an environment, Modersohn-Becker worked alongside male artists and as a woman artist enjoyed much more artistic agency than she could have elsewhere. Despite such relative freedom her work was not always well-received and as a woman artist she struggled to be taken
seriously. Modersohn-Becker completed a number of self-portraits that addressed the difficulties she faced as a female artist and her 1906 “Self-Portrait with Amber Necklace” demonstrates how such tensions manifested themselves in her work.
In this self-portrait, the artist has chosen to depict herself nude from the waist up in a full frontal position, filling the frame in an almost confrontational manner. Her skin takes on a pinkish hue that is echoed in the pink flowers she wears in her hair and holds in her hands. In addition, these mimic the shape of her nipples which are in turn emphasized by the use of a deeper pink. The warm hues of her torso are complemented by the lush forest-green flora in the background. Her connection to this natural setting is further strengthened by the thick amber necklace that adorns her chest. Attention is drawn to her head which is deliberately contrasted to the rest of body through the use of deep reds and oranges that feature bluish undertones as well as through an enlarging of her features and her eyes in particular. Although the nudeness of her body conveys sexuality, its sheer monumentality asserts itself within the frame. The emphasis on her head reinforces her consciousness as subject and not object demonstrating awareness of own existence as well as that of the viewer.
By painting herself in the nude, Modersohn-Becker co-opted the subject matter of many of her male contemporaries- the female nude – in a manner that relied on the typical associations made with such works while at the same time undermining them. Painting the female nude was a staple of male artists who used the female figure to demonstrate their own skill and creative energy. Similarly, self-portraits served as the primary means of identifying oneself as an artist worth admiring. By combining these two subjects into one work Modersohn-Becker regains ownership of the female body while asserting herself as a both a woman and an artist.
 “Primitivism and the Modern” by Gill Perry from : Primitivism, Cubism and Abstraction: The Early Twentieth Century. The Open University, 1993. P. 43.
Image Source: http://www.brooklynmuseum.org/eascfa/dinner_party/heritage_floor/paula_modersohn_becker.php