Art Institute of Chicago, Картина
Автопортрет
Vincent van Gogh, 1887
Данные: Art Institute of Chicago (открытые данные музея)
Музейные сведения
Источник: Art Institute of Chicago
- Автор
- Винсент ван Гог (голландец, 1853-1890)
- Дата создания
- 1887
- Место создания
- Нидерланды
- Материалы и техника
- Доска художника, написанная маслом, закреплена на подставке-панно
- Размеры
- 41 × 32.5 cm (16 1/8 × 12 13/16 in.); Framed: 61.6 × 53.4 × 8.9 cm (24 1/4 × 21 × 3 1/2 in.)
- Стиль
- Постимпрессионизм
- Тип произведения
- Картина
- Классификация
- масло на борту
- Отдел
- Живопись и скульптура Европы
- Место в музее
- Галерея 241
- Инвентарный номер
- 1954.326
- Credit line
- Коллекция Джозефа Уинтерботэма
- Статус прав
- Общественное достояние. Изображение действительно по лицензии CC0.
- Страница в музее
- Art Institute of Chicago (откроется в новой вкладке)
О произведении
Перевод подробных сведений загружается…Краткое описание музея
Лицо Ван Гога известно так же хорошо, как и его творчество, — фактически, оно неотделимо от него. За свою жизнь художник написал более 35 автопортретов. Этот портрет был создан в Париже под влиянием Сера и пуантилизма. Насыщенные мазки краски и цвета, закрепленные его взглядом, создают бурлящую энергию, давая зрителю глубокое ощущение присутствия художника.
Музейное описание
In 1886 Vincent van Gogh left his native Holland and settled in Paris, where his beloved brother Theo was a dealer in paintings. Van Gogh was apparently inspired by the energy of the city and by his introduction to Impressionism, and he created at least twenty-four self-portraits during his two-year stay in the French capital.
This early example is modest in size and was painted on prepared artist’s board rather than canvas. Its densely dabbed brushwork, which became a hallmark of Van Gogh’s style, reflects the artist’s response to Georges Seurat’s revolutionary pointillist technique in A Sunday on La Grande Jatte—1884. What was for Seurat a method based on the cool objectivity of science became in Van Gogh’s hands an intense emotional language. The surface of the painting dances with particles of color—intense greens, blues, reds, and oranges. Dominating this dazzling array of staccato dots and dashes are the artist’s deep green eyes and the intensity of their gaze. “I prefer painting people’s eyes to cathedrals,” Van Gogh once wrote to Theo. “However solemn and imposing the latter may be—a human soul, be it that of a poor streetwalker, is more interesting to me.” From Paris, Van Gogh traveled to the southern town of Arles for fifteen months. At the time of his death, in 1890, he had actively pursued his art for only five years.
Van Gogh’s career as a painter was actually very brief. From Paris, he traveled to the southern town of Arles for fi ft een months. At the time of his death, in 1890, he had actively pursued his art for just five years.
This is one of thirty-five works that comprise the Winterbotham Collection. Click here to learn more about the collection.
Текст описания © Art Institute of Chicago, лицензия CC BY 4.0.
Провенанс (история владения)
The artist’s sister-in-law, Johanna van Gogh-Bonger (died 1925), Amsterdam [this and the following according to 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];" reproduced in Stolwijk and Veenenbos 2002, 54, 130]; sold through Frankfurter Kunstverein to Leonhard Tietz (died 1914), Cologne, Feb. 1912; by descent to his son, Alfred Tietz, Cologne, 1914 [Amsterdam 1930]; sold to E. J. van Wisselingh and Co., Amsterdam, Dec. 12, 1933 [this and the following according to the E. J. Van Wisselingh and Co. Stock Book, no. 5440, Rijksbureau voor Kunsthistorische Documentatie, The Hague; copy in curatorial object file]; sold to Étienne Bignou (Bignou Art Gallery), Paris, Dec. 31, 1933; transferred to Bignou Art Gallery, New York [photograph of the painting, no. 2156, Bignou Gallery album, n.d., Frick Art Reference Gallery; copy in curatorial object file]; sold to Joseph Winterbotham (died 1953), Burlington, Vermont by 1935 [letter from Joseph Winterbotham to Robert Harshe, June 10, 1935; copy in curatorial object file]; given to the Art Institute, 1954.
Источник: Art Institute of Chicago
История выставок
Cologne, Sonderbund Westdeutscher Kunstfreunde und Künstler, Internationale Kunstausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler zu Cöln 1912, May 25–Sep. 30, 1912, cat. 11.
Berlin, Galerie Paul Cassirer, 10. Ausstellung, May–June 1914, cat. 28.
Frankfurt-am-Main, Galerie M. Goldschmidt, Vincent van Gogh, Mar. 15–Apr. 15, 1928, cat. 18.
Berlin, Galerie Paul Cassirer, Vincent van Gogh: Gemälde, Jan. 1928, cat. 29.
Amsterdam, Stedelijk Museum, Vincent van Gogh en zijn Tijdgenooten, Sep. 6–Nov. 2, 1930, cat. 25, ill. frontispiece.
Amsterdam, E. J. van Wisselingh and Co., Exposition d’art française: Peinture du XIXme et Xxme siècle, Jan. 7–Feb. 4, 1933, cat. 13.
Amsterdam, E. J. van Wisselingh and Co., Zomer Tentoonstelling van Hollandsche en Fransche Schilderkunst der XIXe en Xxe eeuw, July–Aug. 1933, cat. 32.
New York, Museum of Modern Art, Vincent van Gogh, Nov. 5, 1935–Jan. 5, 1936, cat. 20.
New York, Wildenstein and Co., Great Portraits from Impressionism to Modernism: a Loan Exhibition for the Benefit of the Public Education Association, Mar. 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–Sep. 10, 1939, cat. 53.
New York, Metropolitan Museum of Art, French Painting From David to Toulouse-Lautrec: Loans From French and American Museums and Collections, Feb. 6–Mar. 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, Oct. 6–Nov. 7, 1943, cat. 22.
Cleveland, Museum of Art, Works by Vincent van Gogh, Nov. 3–Dec. 12, 1948, cat. 4.
Chicago, Art Institute, Great French Painting: An Exhibition in Memory of Chauncey McCormick, Jan. 20–Feb. 20, 1955, cat. 20.
Chicago, Art Institute, European Portraits 1600–1900 in The Art Institute of Chicago, July 8–Sep. 11, 1978, cat. 20.
Paris, Musee d'Orsay, Vincent Van Gogh à Paris, Feb. 2-May 15, 1988, cat. 37.
Detroit Institute of Art, Van Gogh: Face to Face, Mar. 12-June 4, 2000, cat. 92; Boston, Museum of Fine Arts, July 2-Sep. 24, 2000; Philadelphia Museum of Art, Oct. 22, 2000-Jan. 14, 2001.
Art Institute, Van Gogh and Gauguin: The Studio of the South, Sep. 22, 2001-Jan. 13, 2002, cat. 19; Amsterdam, Van Gogh Museum, Feb. 9-June 2, 2002.
Toledo Museum of Art, Van Gogh: Fields, Feb. 23-May 18, 2003, cat. 1.
Paris, Musée d'Orsay, Le Néo-Impressionnisme de Seurat á Paul Klee, Mar. 14- July 10, 2005.
Fort Worth, TX, Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 57.
Cologne, Wallraf-Richartz Museum, 1912 – Mission Moderne: Die Jahrhundertschau des Sonderbundes, Aug. 31– Dec. 30, 2012, cat. 3.
Indianapolis Museum of Art, The Faces of Neo-Impressionism, June 13–Sep. 7, 2014.
Art Institute of Chicago, Van Gogh's Bedrooms, Feb. 14 - May 10, 2016, no cat. no., plate 8.
Frankfurt, Stadel Museum, Making Van Gogh, Oct. 23, 2019-Feb. 16, 2020, cat. 1.
London, Courtauld Institute of Art, Van Gogh: Self-Portraits, Feb. 3-May 8, 2022, cat. 5.
Art Institute of Chicago, Van Gogh and the Avant-Garde: The Modern Landscape, May 14-Sep. 4, 2023, fig. 29; Amsterdam, Van gogh Museum, Van Gogh Along the Seine, Oct. 13-Jan. 14, 2024 [Chicago only].
Источник: Art Institute of Chicago
Публикации
J[acob]-B[aart] de la Faille, L'œuvre de Vincent van Gogh, Catalogue raisonné vol. 1-2 (Paris: G. Van Oest, 1928), vol. 1, cat. no. 345; vol. 2, fig. 345.
Martha Davidson, “Impressionist and Later Portraits,” Art News 36, no. 23 (1938): 24, 10 (ill.).
Jack Levin, “Homage to Vincent,” Art News 17, no. 8 (1948): 26 (ill.).
Katharina Bromig-Kolleritz von Novisancz, “Die Selbstbildnisse Vincent van Gogh: Versuh einer kunsthistorischen Erfassung der Darstellungen” (PhD diss., Ludwig-Maximilians-Universität, Munich, 1954), 46–48, 101–102.
Art Institute of Chicago, Annual Report 1954–1955 (Chicago: Art Institute of Chicago, 1955), n.p. (ill.).
Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago: Art Institute of Chicago, 1956), 36.
Abraham Marie Hammacher, Van Gogh Self-Portraits, exh. cat. (London: Merlborough Fine Arts Gallery, 1960), fig. d.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), 181–82, 331 (ill.).
Frank Th. Gribling, A Detailed Catalogue with Full Documentation of 272 Works by Vincent van Gogh Belonging to the Collection of the State Museum Kröller-Müller (Otterlo: Kröller-Müller Museum, 1966), under no. 198.
Abraham Marie Hammacher, Genius and Disaster: The Ten Creative Years of Vincent van Gogh (New York: H. N. Abrams, 1968), 37 (ill.), 183.
Fritz Erpel, Die Selbstbildnisse Vincent van Goghs (Berlin: Henschelverlag und Gesellschaft, 1963), no. 22 (ill.); English trans. Greenwich, CT: New York Graphic Society, 1969, no. 22 (ill.).
Jacob-Baart de la Faille, The Works of Vincent van Gogh, His Paintings and Drawings (New York: Reynal, 1970), 162-63, 165 (ill.) F345.
Bogomila Welsh-Ovcharov, Vincent Van Gogh: His Paris Period 1886-1888 (Utrecht: Editions Victorine, 1976), 225.
Vincent van Gogh: Paintings and Drawings From the Collection of the Vincent van Gogh Foundation, Amsterdam, exh. cat. (London: Hayward Gallery, 1986), under no. 91.
John Maxon, The Art Institute of Chicago (London: Thames and Hudson, 1977), 94 (ill.).
Paolo Lecaldano, L'opera pittorica completa di Van Gogh e i suoi nessi grafici vol. 1: Da Etten a Parigi (Milan: Rizzoli, 1977), no. 369.
The Art Institute of Chicago, 100 Masterpieces (Chicago: Art Institute of Chicago, 1978), no. 70 (ill.).
Jan Hulsker, The Complete van Gogh, Paintings, Drawings, Sketches (New York: H.N. Abrams, 1980), 278, 279 (ill.), no. 1249.
Robert H. Pelfrey and Mary Hall-Pelfrey, Art and Mass Media (New York: Harper & Row, 1985), 182-3, fig. 7.22.
Susan Alyson Stein, ed., Van Gogh: A Retrospective (New York: Hugh Lauter Levin Associates, 1986), 15 (ill.).
Peter C. Sutton, A Guide to Dutch Art in America (Washington, D.C.: Netherlands-American Amity Trust; Grand Rapids: Eerdmans, 1986), 54.
Richard R. Brettell, Post-Impressionists (Chicago: Art Institute of Chicago, 1987), 8 (ill.), 9.
Walter Feilchendeldt, Vincent van Gogh and Paul Cassirer, Berlin: the reception of Van Gogh in Germany from 1901 to 1914 (Zwolle: Van Gogh Museum, 1988), 89 (ill.), 149, 150, 157.
J. D. McClatchy, ed., Poets and Painters: Essays on the Art of Painting by Twentieth-Century Poets (Berkeley: University of California Press, 1988), ill.
Ronald Picavance, “Van Gogh en het pointillisme,” in Ellen Wardwell Lee, Neo-Impressionisten: Seurat tot Srtuycken, exh. cat. (Zwolle: Waanders, 1988), 94 (ill.).
James N. Wood and Katherine C. Lee, Master Paintings in The Art Institute of Chicago (Chicago: Art Institute of Chicago, 1988), 63 (ill.).
Pascal Bonafoux, Van Gogh (Chene: Profils de l'art, 1989), 52-3, ill.
Hans Bronkhorst, Vincent van Gogh (New York: Portland House, 1990), 27, 29 (ill.).
“Special Advertising Section,” Life (May 1991): np. (ill.).
Carol Zemel, Vincent van Gogh (New York: Rizzoli, 1993), fig. 1.
Bernard Denvir, A Complete Portrait: All of Vincent van Gogh’s Self-Portraits, With Excerpts From His Writings (Philadelphia: Running Press, 1994), 34 ill.
Margherita Andreotti, “The Joseph Witerbotham Collection,” in Museum Studies 20, no. 2 (1994): covr ill., 122-23 (ill.).
Uwe M. Schneede and Christoph Heinrich, Van Gogh: Die Pariser Selbstbildnisse, exh. cat. (Hamburg: Hamburger Kunsthalle; Stuttgart: Hatje, 1995), 128, no. 10.
Carol Zemel, Van Gogh’s Progress: Utopia, Modernity, and Late-Nineteenth-Century Art (Berkeley: University of California Press, 1997), 146-47 (ill.).
Naomi Margolis Maurer, The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent van Gogh and Paul Gauguin (Madison, NJ: Fairleigh Dickinson University Press, 1998), 58, pl. 94.
George T. M. Schackelford, Vincent van Gogh: the Painter and the Portrait (New York: Universe Publishing, 2000), 22, pl. 18.
Patrick Shaw Cable, Questions of Work, Class, Gender and Style in the Art and Life of Gustave Caillebotte PhD. diss. (Case Western Reserve University, 2000), p. 114, 311, fig. 67.
Chris Stolwijk and Han Veenenbos, The Account Book of Theo van Gogh and Jo van Gogh-Bonger (Amsterdam: Van Gogh Museum; Leiden: Primavera Pers, 2002), 11 (ill.), 54, 130, 169 (ill.).
Walter Feilchenfeldt, “By Appointment Only”: Schriften zu Kunst und Kunsthandel: Cézanne und Van Gogh (Wändeswil am Zürichsee, 2005), 114 (ill.).
Araxie Toutghalian, Le Néo-Imoressionnisme de Seurat á Paul Klee, Exh. cat. (Réunion des Musées Nationaux, 2005), 284, ill. 285.
Gloria Groom and Douglas Druick, eds., The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 57, 122–23 (ill.).
Walter Feilchendeldt, Vincent van Gogh: The years in France, Complete paintings 1886-1890. Dealers, collectors, exhibitions, provenance (London: Philip Wilson, 2013), 43 (ill.)
Gloria Groom, Van Gogh's Bedrooms, Exh. Cat. (Art Institute of Chicago, Yale University Press, 2016), 21, plate 8.
Karen Serres, ed., Van Goh: Self-Portraits, exh. cat. (London: Paul Holberton, 2022), 29 (detail ill.), 43, 92-93 cat. 5, 143 fig. 10.
Bregje Gerritse and Jacquelyn N. Coutre, Van Gogh and the Avant-Garde: Along the Seine, exh. cat. (New Haven: Yale University Press, 2023), 67 fig. 29, 68, 198.
James Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 93 (ill.).
Источник: Art Institute of Chicago
Сведения о произведениях предоставляются музеями и могут обновляться. Энциклопедический контекст предоставляется Wikipedia и не заменяет музейную классификацию.
