Self-Portrait in a Convex Mirror was painted by Parmigianino (Francesco Mazzola) between 1523 and 1524, using oil on a poplar panel. This work was created when the artist was still a young man, and it is notable for its innovative use of a convex surface to replicate the distortions seen in a convex mirror. The painting stands as an early and celebrated example of self-portraiture in the Italian Renaissance, reflecting both technical skill and a keen interest in optical effects. The composition presents the artist’s own likeness as reflected in a convex mirror, resulting in a rounded format and a striking distortion of the hand in the foreground, which appears unusually large.

The sitter’s youthful face is rendered with smooth, delicate brushwork, and the subtle gradations of light and shadow emphasize the three-dimensionality of the features. The background is softly modeled, with the curved lines of the room’s architecture further accentuating the sense of depth and curvature. The artist’s attire, with its fur collar and detailed lace, is painted with careful attention to texture. Self-Portrait in a Convex Mirror is known to have been painted in Parma, and it was likely created as a demonstration of the artist’s virtuosity for potential patrons.

The work was later acquired by prominent collectors and has been widely admired for its technical brilliance and psychological insight. Today, the painting is held in the collection of the Kunsthistorisches Museum in Vienna.