The expressionist avant-garde artist Alexej von Jawlensky, painted Ukranian dancer Alexander Sakharoff on several occasions. But the story behind the portrait above is art in itself.

Sakharoff had visited Jawlensky’s studio, dressed for a performance, and it’s believed that the dancer grabbed the still-wet painting from Jawlensky’s easel, to prevent the artist from painting alterations over it.

Alex Pitcher, a web developer with a background of art history at Tate, writes that it’s easy to understand Sakharoff’s determination to preserve the painting: “Sakharoff’s stage persona at this time represents a venture into genderqueer territory that would be seen as radical today, never mind in Wilhemine Bavaria.”

According to Pitcher, Sakharoff’s presentation in later years resembled more of what’s perceived as masculine.

Over hundreds years after the painting was created, I can’t claim to know what was on Sakharoff’s mind. But I resonate with the clarity of protecting, preserving, and possibly celebrating the moment of recognizing oneself in an image - whether its through a photograph, mirror, or painting.

The painting remained with Sakharoff for life.