Self-portrait is an oil on canvas painting by Thomas Eakins, presented as a diploma piece upon his election as an Associate member of the National Academy of Design in 1902.

Although Eakins included himself as an observer or participant in group portraits and genre scenes, this and a smaller unsigned and undated oil, thought to have been made at about the same time, are the only unadorned self-portraits he ever painted.

Lloyd Goodrich wrote that it "is not only one of his finest head and bust likenesses, but a revealing human document; in the direct look of his remarkable eyes one can see strength, penetrating intelligence, and a touch of ironic humor.

[4] Compared to the smaller portrait, there is a greater sense of space and less intense physical immediacy— for John Updike, the National Academy picture "tames down a more truculent and even satanic earlier version"—[5] though in both paintings Eakins makes direct eye contact with the viewer, a motive he very rarely used except for subjects with whom he was most familiar.

[4] While presenting an expression that has been interpreted as one of "accusation and bitterness",[7] art historian Darrel Sewell has noted that the painting's power resides in its emotional ambiguity, and that it bears closer relationship to the sympathetic intimacy of Eakins' portraits of women than to his more psychologically distant images of men.