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Vincent van Gogh, a pivotal figure in Western art, produced an astonishing array of self-portraits throughout his tumultuous life. Among these, two notable works from 1889—the Self-Portrait housed in the Musée d’Orsay in Paris and the Oslo Self-Portrait owned by the Nasjonalmuseet in Norway—offer profound insights into his emotional and psychological state during this period.
Vincent van Gogh created his Self-Portrait in September 1889, shortly before he departed from Saint-Rémy-de-Provence, a location significant for its connection to his mental health journey. This was a period when Van Gogh was grappling with his own turmoil, yet he managed to channel these experiences into his artwork.
This particular piece is an oil on canvas work, measuring 65 cm × 54 cm (approximately 26 in × 21 in). Its relatively modest size makes it an intimate piece, inviting viewers to engage closely with the artist’s expression and technique.
This self-portrait is one of approximately 32 that Van Gogh produced over a ten-year span, showcasing his continuous exploration of self-identity and his emotional landscape. Some art historians debate whether this might be Van Gogh’s final self-portrait, adding a layer of intrigue to its significance. The painting encapsulates his artistic development during a time of profound emotional strain.
The painting is characterized by “dissolving colours and turbulent patterns,” a style that reflects Van Gogh’s psychological pressures (Beckett, 1994). The artist’s immobility in the portrait starkly contrasts with the undulating hair and beard, echoing the emotional turbulence he was experiencing. The hallucinatory arabesques of the background further emphasize this sense of turmoil.
Van Gogh himself acknowledged the evolving nature of his expressions in a letter to his brother, Theo: “You will need to study [the picture] for a time. I hope you will notice that my facial expressions have become much calmer, although my eyes have the same insecure look as before, or so it appears to me.” This duality of calmness and insecurity is palpable in the work.
Scholarly interpretations of this self-portrait vary. Some, including Walther and Hulsker, consider it to be Van Gogh’s last self-portrait, while others, like Pickvance, argue that the Self-Portrait without Beard holds that distinction. Regardless, the image depicts a subject who has endured “too much jeopardy, too much turmoil” (Walther & Metzger, 2000).
Created in 1889 during Van Gogh’s stay at the asylum in Saint-Rémy, the Oslo Self-Portrait provides additional context to his mental state during this difficult period.
In 2020, the Van Gogh Museum confirmed the authenticity of the Oslo Self-Portrait, solidifying its importance in Van Gogh’s oeuvre.
In this portrait, Van Gogh depicts himself looking sideways, a choice that suggests introspection and vulnerability. The painting was completed after a particularly turbulent period yet before he felt fully recovered.
This piece is considered “unmistakably” the work of Van Gogh. The artist’s timid, sideways glance is a poignant representation of his mental state, often recognized in patients suffering from depression and psychosis (Van Gogh Museum). This self-portrait not only conveys the artist’s struggles but also serves as a reflection on his recovery process.
Both portraits are emblematic of Van Gogh’s use of self-portraiture as a means of self-exploration. Through these works, he delved into his own psyche, reflecting his emotional landscape and artistic evolution. Self-portraits provided Van Gogh with a canvas to explore his identity, revealing layers of complexity in his character.
The mental states depicted in both portraits are indicative of Van Gogh’s ongoing battles with his mental health. Each self-portrait resonates with the theme of turmoil and fragile recovery, portraying an artist who was acutely aware of his internal struggles. The turbulent brushwork and vibrant colors employed in both paintings evoke a sense of emotional intensity, mirroring the artist’s psychological conflicts.
Another notable aspect is Van Gogh’s characteristic expressive brushwork and vibrant color palette. Both paintings exhibit his unique style, with swirling colors that suggest movement and emotion. The brushstrokes serve not only as a medium for color but also as an extension of Van Gogh’s feelings, creating a tangible connection between the artist and the viewer.
The Self-Portrait from the Musée d’Orsay and the Oslo Self-Portrait are not merely representations of Vincent van Gogh’s likeness; they are profound insights into his artistic genius and the struggles with mental illness that plagued him throughout his life. Each portrait offers a glimpse into the artist’s inner world, showcasing the interplay of creativity and psychological turmoil. Together, they stand as enduring testaments to Van Gogh’s legacy, solidifying his place as one of the most celebrated and influential artists in history. Through these self-portraits, Van Gogh invites us into his tumultuous journey, revealing the intricate tapestry of emotion and artistry that defines his work.
Vincent van Gogh was a Dutch Post-Impressionist painter known for his emotive use of color, expressive brushwork, and iconic works like The Starry Night and Sunflowers, which profoundly influenced modern art.