The Importance of Self-Portraits in Van Gogh’s Art
In the history of art, Vincent van Gogh (1853-1890)—a Dutch artist made famous in the second half of the nineteenth century—stands as one of the most famous figures. In his final years, van Gogh made a deliberate and important decision to devote his life entirely to the field of art. The dedication resulted in a marked and significant improvement in his artistic abilities. His characteristic later works are the use of the impasto technique. Characterized by the application of thick layers of paint or pastel, impasto creates a distinctive visual texture making van Gogh’s later works instantly recognizable.
However, van Gogh’s life appeared to be marked by great turmoil as time went on and it had a major impact on his mental health. His deterioration in mental health is clearly visible from his self-portrait. By examining the works, we can gain a deeper understanding of the artistic and psychological motivations driving van Gogh’s artistic production. The progressive disintegration is especially visible in the three main portraits of his famous self-portrait series: Self-Portrait with Dark Felt Hat, Self-Portrait with Bandaged Ear, and Self-Portrait.
An understanding of van Gogh’s art can be gained through careful examination of his correspondence with his brother Theo van Gogh. Throughout Vincent’s life, he endured hardship due to family rejection. It not only requires frequent relocations. However, it has also been shown to contribute to the intensification of his emotional complexities. On the other hand, a constant source of comfort is the strong support both financial and emotional provided by Theo.
Vincent’s letters provide ample evidence of his chronic financial instability. It is clear how Theo acts as a pillar of financial support. In 1881, such facts were especially confirmed in a letter written by Vincent. The tone of the quote indicates a level of comfort in telling Theo about his financial difficulties: “I would then be able to make pictures that could be sold regularly, but I am going through a rather difficult time. The costs of models, studios, drawings, and painting materials are increasing, and no income has been earned yet.”
Additionally, a letter from Theo to Vincent in 1889 highlights Theo’s proactive role in seeking help for his brother’s declining mental health. The quote reads: “If you do not refuse to go to Saint-Rémy, you will be examined by specialist doctors and will probably benefit from their advice.” Actively, the passage shows how Theo advocates for Vincent’s well-being and most likely plays an important role in maintaining stability in his brother’s life.
After observing the dialogue between the brothers, it is clear how they value a relationship imbued with mutual care and attention. The sentiment is clear from the beginning of the correspondence where each brother asks about the other’s health and current circumstances.
The heartfelt letters have a charming and undeniable quality. Visibly, they become a source of comfort and security for Vincent. The fact is clearly corroborated by the sharp closing words written in a letter written in 1880: “Now if you wish to write to me someday, my address is care of C. Decrucq, rue du Pavillon 8, Cuesmes, near Mons, and know that by writing you will do me good.”
Far from it, the letters have a function in an effort to carefully reconstruct the chronological sequence of events that occurred during van Gogh’s short life. Moreover, they explain to some extent the fundamental reasons behind the characteristic behavior and expressive methods used by van Gogh in his works of art.
A Closer Look at Self-Portrait with Dark Felt Hat
The artwork is titled Self-Portrait with Dark Felt Hat. The work in particular stands as one of the earliest documented self-portraits by van Gogh and is a faithful representation of his artistic style during the years of his creation.
During the early stages of his artistic career, van Gogh began his stay in the bustling metropolis of London, England. Famous for its many renowned galleries, London gave van Gogh the opportunity to immerse himself in the works of various established artists. Among the artists whose work captivated van Gogh were Jean-François Millet and Jules Breton. The two figures are widely known as members of the art movement known as the “peasant painters.” The term arises from their characteristic use of a palette dominated by dark colors to create paintings filled with a sense of mystery and shrouded in shadow. In particular, the artists’ paintings offer incredibly detailed glimpses into the daily lives of ordinary people.
It is clear to see how Millet and Breton’s art played an important role in shaping van Gogh’s artistic choices. The influence is evident in van Gogh’s own correspondence. In his 1880 letter to Theo, Vincent explicitly detailed his attempts to imitate Millet’s work: “Then I will tell you that I have sketched ten plates of Millet’s The Labors of the Fields and have completed one of them, namely The Woodcutter.” The quotation is clear evidence of van Gogh’s early artistic efforts and is shown to be influenced by his admiration for Millet.
Beyond the documented influences, other aspects of van Gogh’s art suggest the presence of external influences. In his paintings, the color palette used by van Gogh shows striking similarities to the color palettes favored by Millet and Breton. The similarity in the color choices is a potential indicator of how van Gogh deliberately sought to integrate elements of their style into his own artistic vocabulary.
While van Gogh’s deliberate positioning in his self-portrait requires closer examination, van Gogh immediately gives a somber impression to the painting by choosing to place himself in front of a dark wooden background. Although it covers most of the canvas, the dark background isolates the image visually. Additionally, his attire (consisting of a “dark flannel hat” and dark green coat) enhances the atmosphere. Overall, the artist’s facial expressions and features also contribute to the impression of the portrait. Van Gogh’s face was gloomy and gaunt, emphasized by his dark eyes and messy facial hair, giving off a melancholy impression.
Although the composition of a self-portrait can be interpreted as a straightforward depiction of reality, it may also contain another message. The darkness and sadness radiating from the painting potentially symbolizes van Gogh’s increasing awareness of his personality and mental state. However, the contrasting details provide a counterpoint to the interpretation. The presence of a ring-like halo surrounding the artist’s head introduces a lighter element to his portrait. The bright tones may signal a sense of artistic vitality and reflect van Gogh’s new goals in the world of art. The self-portrait marks the beginning of van Gogh’s exploration of new artistic techniques and represents a journey undertaken in an effort to develop his unique and easily recognizable style.
An alternative interpretation suggests how the self-portrait and other self-portraits with similar stylistic elements may simply be attempts to imitate the expressions, lifestyle, and clothing depicted in peasant figures in Millet and Breton’s works. However, documented evidence of van Gogh’s deliberate copying of Millet’s work suggests a more subtle relationship between influence and competition.
Throughout his life, van Gogh continued to struggle to utilize his limited income effectively. Despite facing financial hardship and chronic lack of funds, he persevered and managed to create some of the most amazing works of art in the world.
It can be assumed how van Gogh had a significant deficit both in terms of financial resources and knowledge of established art. The assertion is proven to be supported by documented instances in which he requested financial assistance from Theo. A particularly touching example of the dynamic can be found in a letter Vincent wrote to Theo on January 15, 1884. In the communication, Vincent proposes future arrangements: “Now I have a proposal to make for the future. Let me send you my proposal. work and you take what you want from it, but I insist that I can consider the money I will receive from you after March as money I earned.” Clearly, the quote illustrates Vincent’s dependence on his brother’s financial support.
Additionally, it is important to note how Vincent did not achieve commercial success with his artistic work during his lifetime. Except for sales to Theo, he was unable to gain large profits from his paintings. In fact, the financial realities probably influenced his artistic choices. For example, the use of darker colors in Self-Portrait with Dark Felt Hat could potentially be interpreted as a consequence of his financial constraints. Generally, darker pigments are less expensive than brighter, more vibrant pigments. The hypothesis is supported by contemporary research into art supply costs. Winsor and Newton (an art supplies company) provides an example of the price disparity. A 37ml tube with a base color of lampblack is much cheaper at $12.39, compared to a brighter color like cerulean blue selling for $36.59. The comparison underscores the potential for economic factors to influence van Gogh’s artistic palette.
It is common practice for artists to model themselves, especially in the early stages of their careers. The approach proves to be a more economical alternative compared to the financial burden associated with hiring professional models.
If the painting is examined closely, one can see a dark green coat adorning the figure. Interestingly, the same clothes appear in several of van Gogh’s later self-portraits. The repetition can be interpreted as an indication of financial constraints that plagued van Gogh throughout his life, hampering his ability to acquire new clothes.
However, it is also important to acknowledge the significant artistic influences shaping van Gogh’s development. Many of the artists he admired were known for their focus on depicting everyday people and their tendency to use darker palettes. Therefore, it is very likely that van Gogh’s inclusion of a dark green coat was motivated by a desire to imitate the already established style and not solely due to his personal circumstances.
In conclusion, Self-Portrait with Dark Felt Hat can be viewed as evidence of van Gogh’s exploration of various artistic techniques. The experiment became an important stepping stone in his journey to discover and develop his unique artistic voice.
Although van Gogh’s artistic talent was shown to be undergoing a process of continuous refinement, his mental health was deteriorating at an alarming rate. The sad setbacks are clearly visible in a letter written by van Gogh to Theo in 1888. The letter poignantly conveys his inner turmoil: “If I were not deeply, and always, tormented by that anxiety, I would say everything is going well.”
Self-Portrait with Bandaged Ear: A Cry for Help?
As a further illustration of mental disintegration, Self-Portrait with Bandaged Ear depicts van Gogh’s most widely known episode of struggle. The self-portrait depicts the impact of a moment of self-mutilation, when van Gogh cut off part of his own ear. At the time of the incident, van Gogh was living in the South of France with fellow artist Paul Gaugin; they lived together in a residence later achieving lasting fame as the Yellow House. The Van Gogh Museum argues how there was a fundamental incompatibility between the two artists, spanning their artistic approaches, styles and personal attitudes. The incompatibility caused tensions between them to steadily increase, culminating one night when van Gogh threatened Gaugin with a razor. In a visibly disturbed condition, van Gogh cut off his own ear below that same night.
The impact of the event led to van Gogh’s institutionalization at Saint-Paul-de-Mausole at Saint-Rémy, France, where he lived from 1889 to 1890. A letter written by Vincent to Theo in 1888 highlights his artistic preferences, particularly his artistic tendencies. towards paintings from memory compared to still life works. He expressed his philosophy of art in the letter, stating: “Rather than trying to reproduce exactly what is before my eyes, I use color more arbitrarily, to express myself more powerfully.” Many have argued how the act of creation became a source of solace for van Gogh, a means of reaffirming his sense of self. It is noteworthy how some of his most famous works, including the iconic Starry Night, were produced while he was confined to a mental institution.
A veil of ambiguity shrouds the reasons behind certain elements in the painting. The artwork depicts the artist wearing a fuzzy hat and green coat, clothing previously seen in another portrait. The detail may pique viewers’ curiosity, as such outerwear seems more suited to outdoor activities than to an artist’s studio. The inclusion of winter clothing into the warmth of the studio forces the viewer to ponder the reasons for the cold feeling.
Margaret Drabble argues how the use of the coat could be a symbol of the “lack of immortality” in van Gogh’s life. The interpretation can be attributed to a general sense of insecurity and a lack of stable ground in the artist’s personal world. However, the potential for impermanence seems to conflict with the stoic and calm expression plastered on van Gogh’s face. Drabble further argues how the facial expressions reflect van Gogh’s uncertainty regarding his own artistic value.
Additionally, the artist’s use of bright colors contrasts sharply with the darkness associated with the events leading to the creation of the self-portrait. The shift in color palette may signal the maturation of van Gogh’s artistic style, characterized by an influx of color and controlled, elongated vertical brushstrokes. However, discordant notes emerge from the contrasting brushstrokes applied to the face and hat, perhaps hinting at an underlying chaos.
Adding to the mysterious nature of the self-portrait is the blank canvas located over van Gogh’s left shoulder. The inclusion leaves the audience grappling with unanswered questions. Perhaps it signals van Gogh’s determination to produce more works, or perhaps it reflects a dwindling source of artistic inspiration. However, the most interesting interpretation shows how van Gogh used a blank canvas as a means to convey to the medical professionals caring for him and the general audience his desire to let go of the past and begin a new artistic chapter.
There is a strong argument that can be made how Self-Portrait with Bandaged Ear was a deliberate attempt to convince doctors of his mental stability. His theory is supported by the time of carrying out the work and applying the bandage to the ear itself.
Scientific support for the interpretation comes from Ben Pollitt. According to Pollitt, the main function of the portrait is an appeal to van Gogh’s doctors and how the artist really wanted to convince his doctors that he was capable of caring for himself. In the view, the ear is bandaged and protruding as a symbolic gesture of van Gogh’s compliance with medical treatment.
Further evidence is provided by Steven Naifeh and Gregory White Smith in their book on van Gogh. They describe the artist’s actions after being released from hospital, including leading doctors on a tour of the Yellow House, to show him his paintings. Naifeh and Smith also detail van Gogh’s promise to paint a portrait of a young doctor to prove his mental “balance.” In addition, they documented his promise to return to the hospital at the first sign of his disease relapse. Clearly, the action shows how van Gogh not only took his doctor’s concerns seriously but also actively sought to demonstrate his mental health.
However, van Gogh’s efforts to persuade his doctor were ultimately unsuccessful. He’s re-admission to a mental hospital signals the failure of his initial attempts to represent himself.
Van Gogh’s own correspondence also highlights his internal struggles. A letter written to Theo in 1889 reveals dark humor regarding his mental condition. Van Gogh sarcastically commented on how he responded to questions about his health by stating he would begin by dying with them and after that disease he would die. The statement signaled increasing awareness of his declining mental health.
Although the painting is traditionally viewed as a reflection of van Gogh’s deteriorating mental and physical condition, closer examination will reveal a more complicated interpretation. The painting can also be seen as strong evidence of the artist’s desire to reassure doctors about his mental stability. Ultimately, the work is a poignant reminder of van Gogh’s struggle with mental illness.
A Reflection of Artistic Growth: Self-Portrait
Despite his dedication to his works of art, van Gogh harbored deep skepticism regarding the merits of his own works of art. As he tirelessly worked to hone his technical proficiency, artistic skills, and overall creative capacity, the self-doubt fueled his relentless pursuit of artistic advancement. Evidence of his dedication is clearly seen in one of his last self-portraits, entitled Self-Portrait.
The self-portrait represents a significant departure from van Gogh’s previous works in scope, especially when compared to the earlier Self-Portrait with Dark Felt Hat. The most striking difference lies in the artist’s use of color schemes and artistic techniques. As van Gogh’s artistic prowess developed, the chromatic palette used in his self-portraits shows a high level of passion and courage. Additionally, the application of impasto (a technique involving layering thick paint strokes to create a textured surface) is clearly visible in the work.
Another major difference lies in van Gogh’s position on the canvas. In the previous Self-Portrait, the artist occupies a central position on a blue impasto canvas. Instead, he is placed on the left side of the canvas painted with darker colors in Self-Portrait with Dark Felt Hat. The shift in composition could potentially be interpreted as a reflection of van Gogh’s growing confidence in his artistic pursuits. By placing himself more prominently in the space of the canvas, he asserts a stronger presence and greater artistic confidence.
There is other strong evidence as well showing how Self-Portrait was more than just a depiction of his physical appearance. The paintings offer a profound window into his identity and his longing for recognition.
Van Gogh’s Desire for Recognition
First, the inclusion of a paint palette and brushes in the bottom left corner serves two purposes. Literally, the tools represent his trading instruments. On a deeper level, their presence echoes the traditions established by artists such as Rembrandt (suggesting van Gogh’s conscious affiliation with a venerable company comprised of established masters). Further strengthened, it links to the exposure of a self-portrait in the Louvre as documented in his letter to Theo. By incorporating the elements, van Gogh subtly asserted his position in the artistic lineage and expressed his desire to be seen as a serious and accomplished artist.
A closer look reveals a hint of vulnerability beneath the facade of self-confidence. The muted blue coat color appears to blend visually with the background, potentially symbolizing a sense of societal exclusion or a lack of recognition of his artistic value. The interpretation is supported by the limited number of colors on the palette, reflecting the scarcity of artistic validation he may have felt. Alternatively, palette limitations may be a practical consideration, reflecting financial constraints perhaps limiting his access to a wider variety of pigments.
Despite the potential concerns, the painting ultimately celebrates van Gogh’s artistic mastery. His brushstrokes alone are evidence of his technical brilliance. On the other hand, the portrait succeeds in conveying his “true character” and passion for his work. The vibrancy is further strengthened by the use of dynamic language in his correspondence, particularly the evocative descriptions of color in his letters to Theo; he uses figurative language to express the power of color in conveying emotion.
Indeed, there may be conflicting interpretations of Self-Portrait. However, there is no denying how the painting functions as a powerful statement of his artistic identity. Through his masterful inclusion of artistic tools and techniques, van Gogh asserted his rightful place among the artistic elite. However, his subtle nuances of composition also hint at a desire for wider recognition and acceptance in the art world. Ultimately, the portrait becomes a powerful testament to van Gogh’s artistic spirit and his enduring legacy.
The Complexities of van Gogh’s Self-Portraits
If we take a closer look at van Gogh’s work, we will find an interesting interaction between the development of his technique and the disintegration of his mental health. We can argue how the primary motivation behind his artwork was threefold: to demonstrate his mental fortitude, to strengthen his position as a respected artist, and to create a visual autobiography. Van Gogh’s self-portrait series is a particularly interesting example, showing his continually evolving and increasingly complex self-image. Through the portraits, he offers us a window into his soul. His legacy is a treasure trove of paintings that continues to spark debate and discussion, inviting future generations to grapple with the emotions and circumstances that fueled his creative fire.
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