In a time of addictive self-portraiture with obsessive selfies documenting the banality of our existences or serving duck-faced narcissists, it is important to remember what portraiture is really about. Artists right from the Antiquity have represented themselves to sign their work of arts. When painters scrutinized their own faces from the Renaissance, it became more a question of self-evaluation than self-celebration. When artists and photographers choose to document their very own self, they raise questions about time, the body and death and the self-portrait enables to become in a way, immortal as it fixes on paper or a canvas, an image, a gaze, a moment and sometimes even the very essence of the being. Self-portraiture can also serve obsessions and psychological issues for such artists as Gustave Courbet - who stated ‘I have produced in my life many portraits of myself, as my state of mind was evolving; I have written my life in a word’ - Lucian Freud and Frida Kahlo while others deliberately remove all autobiographical purposes and use self-portraiture to conceive a new identity, new fantasy characters such as Cindy Sherman does with her dramatic ‘mise-en-scènes’ and Pierre Molinier with his fetish and provocative tranvestites.