Van Gogh. Self-Portraits takes as its springboard Van Gogh’s iconic Self-Portrait with Bandaged Ear, one of the most celebrated works in The Courtauld’s collection, and brings together around half of the self-portraits Van Gogh created during his short years as a painter.
This is the first time that the full span of Van Gogh’s self-portraiture has been explored in an exhibition. Several works in the exhibition were last together in Van Gogh’s studio and have never been reunited, until now.
An outstanding selection of 16 self-portraits have been brought together to trace the evolution of Van Gogh’s self representation, from his early Self-Portrait with a Dark Felt Hat, created in 1886 during his formative period in Paris, to Self-Portrait with a Palette, painted at the asylum in Saint-Rémy-de-Provence in September 1889, one of his last self-portraits before his death in 1890.
The myth of Van Gogh today is linked as much to his extraordinary life as it is to his stunning paintings. This exhibition allows both aspects to be explored.
Supported by Kenneth C. Griffin
With additional support from The Huo Family Foundation
★★★★★
“An exhibition of electrifying intimacy.”
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“A landmark exhibition.” “Sensational.”
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“An unprecedented and not-to-be-missed show.”
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“Van Gogh’s art at its rawest and most intimate.”
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“That search “deep in the soul” for an original form of expression, is abundant in this extraordinary show.”
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This exhibition catalogue is essential reading for art lovers who want to learn more about the self-portraits on display in Van Gogh. Self-Portraits.
The myth of Van Gogh today is linked as much to his extraordinary life as it is to his stunning paintings. His biography has often shaped the way that his self-portraits have been (mis)understood. Van Gogh. Self-Portraits reconsiders this aspect of his production and places the artist’s self-representation in context to reveal the role it plays in his oeuvre.