Self-Portrait in Black and Pink (1945) is indeed like gazing on the lifeless flesh of a dead person’s face – all vitality drained from its features, mouth agape, nostrils slightly flared. The final image, Last Self-Portrait (c1945), this time made in charcoal, seems almost completely melted, as if, sensing her encroaching death, Schjerfbeck has let go and become one with everything around her, erasing those earlier strong and graphic lines delineating flesh and air.