In the most limited definition of the term,
Impressionism
as the
objective study of light did not encourage so essentially a subjective
study as the self-portrait but in the later expansion of the movement
this self-representation was given renewed force by
Cézanne
and van Gogh. The latter has often been compared with
Rembrandt
in the number and expressiveness of his self-portraits but
while Rembrandt's were distributed through a lifetime, van Gogh
produced some thirty in all in the short space of five years --- from
the end of the Brabant period (1885) to the last year of his life
at St Rémy and Auvers. In each there is the same extraordinary
intensity of expression concentrated in the eyes but otherwise
there is a considerable variety. From the Paris period onwards
he used different adaptations of Impressionist and Neo-Impressionist
brushwork, separate patches of colour being applied with varying
thickness and direction in a way that makes each painting a fresh
experience.
Self-Portrait Dedicated to Paul Gauguin
1888 (130 Kb); Oil on canvas, 60.5 x 49.4 cm (23 3/4 x 19 1/2 in);
Fogg Art Museum, Harvard University, Cambridge, MA
Self-Portrait in front of the Easel
1888 (200 Kb); 65 x 50.5 cm
Photograph by Richard Darsie
Self-Portrait with Bandaged Ear
1889 (250 Kb); Oil on canvas, 60 x 49 cm;
Courtauld Institute Galleries, London
Self-Portrait
1889 (250 Kb); Oil on canvas, 65 x 54 cm (25 1/2 x 21 1/4 in);
Musee d'Orsay, Paris
Self-Portrait
1889 (250 Kb); Oil on canvas, 65 x 54 cm (25 1/2 x 21 1/4 in);
Musee d'Orsay, Paris