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Now, 19 years after "Invitation to Reclusion," he depicts himself sitting alone under a tree, looking drawn and stunned.
He depicts himself as a sad case, very much like the drawing by Charb on the cover of Charlie Hebdo.
Several of them are self-portraits in which he depicts himself through the images of other painters, notably Cézanne and Rembrandt.
It's a long horizontal painting in which he depicts himself screaming at a skull that he holds at some distance from himself, and the skull screams back.
A 1988 self-portrait, in which he depicts himself as paunchy and middle-aged, was estimated to bring $3.5 million to $4.5 million.
In "No Sex in New York," inspired by a trip he made there not long after 9/11, he depicts himself as a schlemiel with an inconvenient Muslim name, a natural-born loser in a ruthlessly competitive sexual marketplace.
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He depicted himself beheaded, dissected, nailed to the cross.
He depicted himself as a mestizo, with tousled hair and an open-necked shirt.
He depicted himself as persecuted by his opponents for casting his lot with the poor.
And he depicted himself from youth to old age in some of the most mordant self-portraits ever conceived.
He depicted himself as an average reader who wanted other average readers to share in the pleasure of what he had discovered only later in life.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com