VINCENT VAN GOGH'S SELF-PORTRAIT
VINCENT VAN GOGH'S SELF-PORTRAIT
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Oil on canvas ,
height: 650 mm (25.59 in); width: 540 mm (21.25 in)
Self-portrait with Bandaged Ear and Pipe, 1889.
Privécollectie.
Selfportrait with Bandaged Ear, 1889.
The Samuel Courtauld Trust,
The Courtauld Gallery, London.
Vincent van Gogh,
Self-portrait, 1889.
Nasjonalmuseet for kunst,
arkitektur og design, Oslo
Saint-Rémy, August 1889
oil on canvas 57 x 43.5 cm
oil on canvas , 46 x 39 cm
oil on canvas , 59.5 x 48.3 cm
Paris, December 1887-February 1888
Self-Portrait , 1887
Paris, September-October 1887
Paris, Summer 1887
Vincent van Gogh, 
Paris, September-October 1887
Paris, March-June 1887
Paris, July-August 1887
Paris, July-August 1887
Paris, July-August 1887
Self-Portrait with a Japanese Print , 1887
oil on canvas 44 x 35 cm
Paris, December 1887
Paris, Summer 1887
Paris, August-September 1887
Paris, July-August 1887
Self-portrait , 1887
Self-portrait , 1887
Paris, March-June 1887
Paris, January 1887
Paris, December 1886-January 1887
Paris, March-June 1886
Paris, September-November 1886
Paris, September-November 1886
Paris, December 1887-February 1888oil on canvas, 65.1 cm x 50 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
Van Gogh presented himself in this self-portrait as a painter, holding a palette and paintbrushes behind his easel. He showed that he was a modern artist by using a new painting style, with bright, almost unblended colours. The palette contains the complementary colour pairs red/green, yellow/purple and blue/orange – precisely the colours Van Gogh used for this painting. He laid these pairs down side by side to intensify one another: the blue of his smock, for instance, and the orange-red of his beard.
Self-Portrait as a Painter was the last work Van Gogh produced in Paris; the city had exhausted him both mentally and physically. He told his sister Wil how he had portrayed himself: ‘wrinkles in forehead and around the mouth, stiffly wooden, a very red beard, quite unkempt and sad’.
Self-Portrait , 1887Oil on artist's board, mounted on cradled panel
height: 42 cm (16.5 in) ; width: 33.7 cm (13.2 in)
Paris, September-October 1887oil on canvas, 41.9 cm x 30.1 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
This sketchy self-portrait is an example of the amazingly rapid progress Van Gogh made in Paris. The summery palette and loose brushwork betray the influence of the Impressionists. The smock, hat and background consist of large, outlined areas of colour. The face and beard are built up in more detail using different tones.
Van Gogh was practising painting portraits. Because models were expensive, he bought a good mirror and used himself as his subject. He later wrote to his brother Theo: 'because if I can manage to paint the coloration of my own head, which is not without presenting some difficulty, I'll surely be able to paint the heads of the other fellows and women as well.'
Paris, Summer 1887oil on cardboard, 19.0 cm x 14.1 cm
Credits (obliged to state):
Van Gogh Museum, Amsterdam
(Vincent van Gogh Foundation)
This painting was long thought to be a self-portrait of Vincent; however, another view is that it shows his brother Theo.
The brothers, namely, bore a striking resemblance to one another. Unfortunately, there is no decisive evidence to determine who is actually portrayed, which is why the painting now has a double title.
The portrait is unusually small and painted in considerable detail. Van Gogh was probably trying to compete with portrait photos. He had written some time earlier, 'it's a cause worth fighting for to show people that there's something else in human beings besides what the photographer is able to get out of them with his machine.'
Portrait de l'artiste, del otoño de 1887.
Paris, July-August 1887
Paris, July-August 1887oil on canvas, 44.5 cm x 33.6 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
During his time in Paris (1886-1888), Van Gogh painted more than 20 self-portraits. He probably had very little money for models. That led him to take himself as an object of study. Here he portrays himself as an artist in his blue smock-frock. This was what he wore when painting.
Van Gogh painted this on the back of a Study for ‘The Potato Eaters’, which he had made earlier in Nuenen (NL). By doing that, he avoided the costs not only of a model but also of expensive canvas.
Paris, September-October 1887oil on cotton, 44.5 cm x 37.2 cm
Credits (obliged to state): Van Gogh Museum, Amsterdam
(Vincent van Gogh Foundation)
Van Gogh painted this self-portrait in the winter of 1887–88, when he had been in Paris for almost two years. It is clear from the work that he had studied the technique of the Pointillists and applied it in his own, original way. He placed the short stripes of paint in different directions. Where they follow the outline of his head, they form a kind of halo.
The painting is also one of Van Gogh’s boldest colour experiments in Paris. He placed complementary colours alongside one another using long brushstrokes: blue and orange in the background, and red and green in the beard and eyes. The colours intensify one another. The red pigment has faded, so the purple strokes are now blue, which means the contrast with the yellow is less powerful.
The painting is also one of Van Gogh’s boldest colour experiments in Paris. He placed complementary colours alongside one another using long brushstrokes: blue and orange in the background, and red and green in the beard and eyes. The colours intensify one another. The red pigment has faded, so the purple strokes are now blue, which means the contrast with the yellow is less powerful.
Self- portrait , 1887
Puntalingeks keve stama
40.6 × 31.8 cm
Paris, March-June 1887oil on cardboard, 41 cm x 33 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
Around the world, people recognise this man with a red beard and an earnest look in his eyes. Vincent van Gogh painted about 35 self-portraits in total, most of them in Paris. For him, this was a way of practising portrait painting. His intention was not to portray himself as realistically as possible. He used the Neo-Impressionist style here, with short, rough brushstrokes. These alternate with longer strokes, such as the orange in his beard.
The background was originally purple (a mix of red and blue), but the red pigment has discoloured and has become almost completely transparent.
Paris, July-August 1887oil on canvas, 41.8 cm x 31.5 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
It’s lucky for us that Van Gogh was so often unable to afford a model. To practice figure painting, he had to resort to making self-portraits. So we get an impression of how he saw himself. Only one portrait photo of him has survived and neither shows him as an adult.
He painted this self-portrait when he was living in Paris. Unable to pay for new canvas, he used the back of an earlier still life.
He painted this self-portrait when he was living in Paris. Unable to pay for new canvas, he used the back of an earlier still life.
Paris, July-August 1887oil on canvas, 43.2 cm x 31.3 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
Van Gogh has painted this self-portrait in a multitude of blues. Not only the background, but also his face: even the whites of his eyes are blue.
He painted the self-portrait on the back of a still life because he couldn’t afford any new canvas. Previously, he had sometimes obtained painting materials on credit or in exchange for paintings. He got them from Père Tanguy, owner of a Parisian art supplies shop. But Tanguy’s wife put a stop to that. Vincent wrote angrily to his brother Theo, describing her as an ‘old witch’.
He painted the self-portrait on the back of a still life because he couldn’t afford any new canvas. Previously, he had sometimes obtained painting materials on credit or in exchange for paintings. He got them from Père Tanguy, owner of a Parisian art supplies shop. But Tanguy’s wife put a stop to that. Vincent wrote angrily to his brother Theo, describing her as an ‘old witch’.
Paris, July-August 1887oil on canvas, 42.2 cm x 34.5 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
When he had no access to models, Van Gogh regularly painted himself. During the summer of 1887, he actually produced a whole series of self-portraits. The formal jacket he wears in this painting is an exception. In most of them he is wearing his artist’s smock.
This is one of Van Gogh’s ‘double-sided’ paintings. To save money, he has painted this self-portrait on the back of another painting. He was broke. Research has revealed that he was using a cheap paintbrush that was losing its hairs: they are still embedded in the paint.
This is one of Van Gogh’s ‘double-sided’ paintings. To save money, he has painted this self-portrait on the back of another painting. He was broke. Research has revealed that he was using a cheap paintbrush that was losing its hairs: they are still embedded in the paint.
oil on canvas 44 x 35 cm
Paris, December 1887
Self- portrait , 1887
Puntalingeks keve stama
46.5 x 33.5 cm
Self- portrait , 1887
Puntalingeks keve stama
41 x 33.5 cm
Self- portrait , 1887
Puntalingeks keve stama
41 x 32 cm
Paris, Summer 1887oil on cardboard, 19.0 cm x 14.1 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
'People say – and I'm quite willing to believe it – that it's difficult to know oneself – but it's not easy to paint oneself either,' Van Gogh once wrote to his brother Theo. He presents himself in this self-portrait as a respectable bourgeois, wearing an elegant suit and felt hat.
The small painting is done in shades of pastel grey-blue. This was an unusual palette for Van Gogh, who even changed the colour of his eyes to match it. In reality they were green, yet they are shown in this painting as grey-blue. The bright red beard stands out strongly against all the grey tones.
The small painting is done in shades of pastel grey-blue. This was an unusual palette for Van Gogh, who even changed the colour of his eyes to match it. In reality they were green, yet they are shown in this painting as grey-blue. The bright red beard stands out strongly against all the grey tones.
Paris, August-September 1887oil on cardboard, 40.9 cm x 32.8 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
Wearing light summer clothes, the artist examines us with one blue and one green eye.
For this self-portrait, Van Gogh used an inexpensive alternative to canvas: cardboard. He then applied a layer of priming with dashes of purple. But the pigment in that purple paint has largely faded over time. A few strokes of pink are still faintly visible in his shoulder. The original colours, carefully composed by Van Gogh, have therefore been lost. For instance, the purple background once contrasted with his yellow straw hat.
For this self-portrait, Van Gogh used an inexpensive alternative to canvas: cardboard. He then applied a layer of priming with dashes of purple. But the pigment in that purple paint has largely faded over time. A few strokes of pink are still faintly visible in his shoulder. The original colours, carefully composed by Van Gogh, have therefore been lost. For instance, the purple background once contrasted with his yellow straw hat.
Paris, July-August 1887oil on canvas, 42.5 cm x 32.1 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
This picture shows Van Gogh in typical working mode: wearing an artist’s smock and with his pipe clamped in a corner of his mouth. He has sketched himself in oils, using the paint sparingly. The pink ground layer is still clearly visible, for example under his smock and under the background.
Pipe-smoking made Van Gogh feel calm and contented. He felt that, to produce good work, he had to look after himself. And that definitely included being allowed to smoke his pipe ‘in peace’.
Pipe-smoking made Van Gogh feel calm and contented. He felt that, to produce good work, he had to look after himself. And that definitely included being allowed to smoke his pipe ‘in peace’.
Puntalingeks keve stama keve inta
34.9 × 26.7 cm
Puntalingeks keve eluxa
32 × 23 cm
Paris, March-June 1887oil on cardboard, 19.1 cm x 14.1 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
This self-portrait is one of the smallest oil paintings Van Gogh ever made. Actually, it’s more of an oil sketch than a finished painting. He has used a cheap piece of card and worked fast, with fairly broad brushes.
The green of his eyes and the orange of his beard leap out at you. The effect is enhanced by his use of mainly muted colours elsewhere in the picture. Originally, however, his face was more colourful; research has revealed that a red pigment in the paint has faded over time.
The green of his eyes and the orange of his beard leap out at you. The effect is enhanced by his use of mainly muted colours elsewhere in the picture. Originally, however, his face was more colourful; research has revealed that a red pigment in the paint has faded over time.
Paris, January 1887oil on canvas, 61.1 cm x 50.2 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
In this picture, Van Gogh portrays himself sitting with a well-filled glass (of wine?) to hand. Is he in a bar? He was a habitué of Parisian cafés. Looking back, he even described himself as a problem drinker.
He regularly produced self-portraits, especially during his period in Paris. To save money, he often painted them over earlier works, as he has done here. Research has revealed a semi-nude woman under his pipe-smoking self-portrait.
He regularly produced self-portraits, especially during his period in Paris. To save money, he often painted them over earlier works, as he has done here. Research has revealed a semi-nude woman under his pipe-smoking self-portrait.
Paris, December 1886-January 1887oil on canvas, 41.5 cm x 32.5 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
In this self-portrait, Van Gogh is wearing a black felt hat, an overcoat and a tie (cravat). He looks like a respectable gentleman.
An X-ray image of this work makes it clear that Van Gogh painted it over another painting. He had made that earlier study – of a standing nude woman – in the atelier of Fernand Cormon (1845-1924) in Paris. He took lessons there in the spring of 1886. Instead of scraping off the painting beneath this one, he painted his self-portrait over it. He did, however, cover the woman with a new ground layer first.
An X-ray image of this work makes it clear that Van Gogh painted it over another painting. He had made that earlier study – of a standing nude woman – in the atelier of Fernand Cormon (1845-1924) in Paris. He took lessons there in the spring of 1886. Instead of scraping off the painting beneath this one, he painted his self-portrait over it. He did, however, cover the woman with a new ground layer first.
Paris, March-June 1886oil on canvas, 27.2 cm x 19.0 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
Van Gogh painted this small self-portrait in a single session. He had just moved to Paris at the time.
He was still painting in the sombre colours he had used in the Netherlands. He would soon abandon them, after seeing the work of the Impressionists. But in fact this painting was originally rather brighter: some of the pigments have faded over time.
He was still painting in the sombre colours he had used in the Netherlands. He would soon abandon them, after seeing the work of the Impressionists. But in fact this painting was originally rather brighter: some of the pigments have faded over time.
Paris, September-November 1886oil on canvas, 46.0 cm x 38.0 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
Van Gogh painted many self-portraits, more than 20 in Paris alone. In each one he looks different. He saw these self-portraits as a way of practising the art of portraiture. So he experimented with facial expressions, colours and forms.
In Paris, Van Gogh had discovered the work of Adolphe Monticelli (1824-1886). He admired this older French painter for his rich colour palette and thick application of paint.
In this self-portrait he tried out Monticelli's approach to colour and light effects. The pale tones of his face stand out starkly against the warm, dark red background.
In Paris, Van Gogh had discovered the work of Adolphe Monticelli (1824-1886). He admired this older French painter for his rich colour palette and thick application of paint.
In this self-portrait he tried out Monticelli's approach to colour and light effects. The pale tones of his face stand out starkly against the warm, dark red background.
Paris, September-November 1886oil on canvas, 46.5 cm x 38.5 cm
Credits (obliged to state): Van Gogh Museum,
Amsterdam (Vincent van Gogh Foundation)
This is one of the earliest self-portraits painted by Van Gogh – and the first in which he portrayed himself as an artist. He stands at his field easel, holding his palette. After more than five years of practice in the Netherlands and Antwerp (BE), he was eager to make his name as a painter in Paris.
The rectangular palette is covered with splotches of paint; each one is a pure, unmixed colour. At the top is a small jar of turpentine for thinning the paint. There are two holes in the palette: in one we see Van Gogh's thumb and in the other two brushes.
The rectangular palette is covered with splotches of paint; each one is a pure, unmixed colour. At the top is a small jar of turpentine for thinning the paint. There are two holes in the palette: in one we see Van Gogh's thumb and in the other two brushes.
Self- portrait , 1886Puntalingeks keve stama
39.5 × 29.5 cm
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