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About This Artwork
Oil on artist's board, mounted on cradled panel
16 1/8 x 13 1/4 in. (41 x 32.5 cm)
Joseph Winterbotham Collection, 1954.326
Vincent van Gogh painted his first known self-portrait in 1886, following the model of the 17th-century Dutch artist Rembrandt. But by the time he made this work, a year later, he had clearly shifted his allegiance from the Old Masters to the Parisian avant-garde. Under the influence of Neo-Impressionist color theory, he based this painting on the contrast of complementary colors. The overall blue-green tone of the background serves as a foil to the orange-red of the artist's hair and beard. While the intensity of the colors is enhanced by the brushwork, the painting's energy and turbulence hint at the inner life of the artist.
— Permanent collection label
Cologne, Sonderbund Westdeutscher Kunstfreunde und Künstler, Internationale Kunstausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler zu Cöln 1912, May 25–September 30, 1912, cat. 11.
Berlin, Galerie Paul Cassirer, 10. Ausstellung, May–June 1914, cat. 28.
Frankfurt-am-Main, Galerie M. Goldschmidt, Vincent van Gogh, March 15–April 15, 1928, cat. 18.
Berlin, Galerie Paul Cassirer, Vincent van Gogh: Gemälde, January 1928, cat. 29.
Amsterdam, Stedelijk Museum, Vincent van Gogh en zijn Tijdgenooten, September 6–November 2, 1930, cat. 25, ill. frontispiece.
Amsterdam, E. J. van Wisselingh and Co., Exposition d’art française: Peinture du XIXme et Xxme siècle, January 7–February 4, 1933, cat. 13.
Amsterdam, E. J. van Wisselingh and Co., Zomer Tentoonstelling van Hollandsche en Fransche Schilderkunst der XIXe en Xxe eeuw, July–August 1933, cat. 32.
New York, Museum of Modern Art, Vincent van Gogh, November 5, 1935–January 5, 1936, cat. 20 (ill.).
New York, Wildenstein and Co., Great Portraits from Impressionism to Modernism: a Loan Exhibition for the Benefit of the Public Education Association, March 1–29, 1938, cat. 45.
Boston, Museum of Fine Arts, Art in New England: Paintings, Drawings, Prints From Private Collections in New England, June 9–September 10, 1939, cat. 53 (ill.).
New York, Metropolitan Museum of Art, French Painting From David to Toulouse-Lautrec: Loans From French and American Museums and Collections, February 6–March 26, 1941, cat. 64A.
New York, Wildenstein and Co., The Art and Life of Vincent van Gogh: Loan Exhibition in Aid of American and Dutch War Relief, October 6–November 7, 1943, cat. 22 (ill.).
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Carol Zemel, Vincent van Gogh (New York, 1993), ill. 1.
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Chris Stolwijk and Han Veenenbos, Account Book of Theo van Gogh and Jo van Gogh-Bonger (Amsterdam and Leiden, 2002), pp. 11 (ill.), 54, 130, 169 (ill.).
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The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 57, pp. 122–23 (ill.).
Mme Johanna van Gogh-Bonger, the artist’s sister in law, Amsterdam; sold through Frankfurter Kunstverein to Leonhard Tietz (died 1914), Cologne, in February 1912 [see records in van Gogh-Bonger’s account book: "19/2 2-1912 'Kunstverein Frankfurt portret' 2942.50 [guilders]" and "95/15 2-1912 'ontvangen uit Frankfort Kunstverein voor portret' 2942.50 [guilders]" in Stolwijk and Veenenbos 2002; see also Cologne 1912 where Leonard Tietz is listed as the owner]; by inheritance to his son, Alfred Tietz, Cologne until at least 1930 [acc. to Amsterdam 1930]. E. J. van Wisselingh and Co., Amsterdam, 1933 [it was included in two exhibitions at van Wisselingh]. Bignou Art Gallery, New York [based on undated photograph of the painting no. 2156 in an album of French paintings and drawings that passed through the Bignou Gallery preserved at the Frick Art Reference Gallery]; sold to Joseph Winterbotham, Burlington, Vermont by at least 1935 [see Joseph Winterbotham’s letter to Robert Harshe, dated June 10, 1935, copy in curatorial file]; given to the Art Institute, 1954.