In the genre of self-portrait ‘in the act of painting’, artists show the moment of self-reference to their own pictorial activity. Using the example of Alessandro Allori’s Self-Portrait Fabiana Cazzola-Senkpiel discusses the relationship between the position of active hand and paintbrush and the frame of the image. The picture margins become the carriers of aesthetic self-reflection. In relation to this aspect, Fabiana Senkpiel describes the conditions of appearance of the work of art. The article follows thus the role of temporality in the self-portrait by Alessandro Allori and deals with the category of poiesis, in order to draw some conclusion from the self-portrait ‘in the act of painting’ concerning the understanding of the generation of the image’s iconic meaning.