In his later years, Kitaj made numerous works exploring his Jewish identity including self-portraits, frequently referencing the Old Masters. Executed in his favoured square format, this self-portrait takes a detail - the seated figure of St. Peter - from Masaccio’s Florentine fresco, The Tribute Money (c. 1425), reconfigured in expressive long, vertical red brushstrokes in a vivid red and pink palette, juxtaposed with short horizontal slashes of white and green. Gallerist Geoffrey Parton has observed how 'Kitaj's turbulent career closed with a remarkable series of small, spare, inventive painting of real distinction', in which he 'achieved the late style he had been striving for'.