This drypoint was made in four stages, or states, the 2nd and 4th of which are exhibited here. By comparing the two states, we can see how Matisse added and removed lines as his work progressed. As far as is recorded, this is the only instance where we can witness modifications to Matisse’s prints in their preliminary stage. In the upper left corner of the earlier state, two trial attempts at this self-portrait are visible—one in which Matisse wears a hat and below it, an intense close-up view of Matisse’s face. These sketches seem tentative, lacking in the skill that the artist would soon acquire. In the final state, shading is introduced around the figure partially covering the trial sketches. This shading helps to suggest an interior space behind the sitter. Most noticeable is the way Matisse scraped away much of the work on the hands and right forearm in the final version. He was probably trying to bring the focus back to his face but in the process he created an aura-like effect surrounding the “master’s” hands.