On July 27, 1794, at the onset of the Coup of 9 Thermidor, David escaped execution due to his absence from the National Assembly.

David is dressed in a dark overcoat with wide chestnut lapels and a white shirt, tied with a scarf of the same color–a typical approach to fashion in the 1790s.

[2][3] These facts have led art historians to regard the creation of self-portraits by David as an exercise in self-identity and reflection.

This theory is supported by David's decision to depict a younger version of himself with rosy cheeks, messy hair, and in a romantic style to push the idea that he is a simple, naïve painter.

[7] His restrained appearance may have been caused by his tumor that deformed his lower left cheek,[3] which seemingly splits his face asymmetrically in the self-portrait.

The art historian Douglas Cooper argued that this split represents the two sides of David, a political activist and an innocent painter.

[7] A reverse of the self-portrait was engraved on a postage stamp by René Cottet as part of the 1950 stamp series on the French Revolution of 1789;[8] other revolutionary figures included Georges Danton, Maximilien Robespierre, André Chénier, Lazare Carnot and Lazare Hoche.