Self-Portrait 1887

Curator: This is Vincent van Gogh’s Self-Portrait from 1887, now residing at the Wadsworth Atheneum. Editor: My first impression is one of immediacy. The visible brushstrokes and intense gaze suggest a raw vulnerability, don't you think? Curator: Absolutely. Self-portraits served as a way for Van Gogh to explore his own identity. The symbolic weight he gave to color is interesting. Note how the muted blues and violets in the background almost swallow the subject. It anticipates his descent into darkness. Editor: It’s all about the materiality for me. Observe the heavy impasto, that thick application of paint. You can almost feel the physical effort, the labor involved in its creation. The rough surface speaks to the difficult circumstances of the artist, doesn't it? What colors would have been easily accessible, what could he afford. It brings up fascinating questions. Curator: Certainly. And this wasn't simply a technical choice; that expressive use of impasto underscores the inner turmoil of the subject, mirroring the post-impressionist emphasis on subjective experience. It's as if he's sculpting himself with pigment, striving to capture something intangible. Editor: Exactly, and this physical act becomes deeply psychological. Think about the relationship between artist and canvas— the direct transfer of emotion through material gesture. Curator: Considering the era, this representation of the self defies conventions. We're not seeing a glorification or idealization but an unvarnished portrayal, laden with symbolism hinting at the artist’s mental state. Editor: And the sheer amount of self-portraits he produced! It raises a question about artistic labour, and how much of it went towards works with no guarantee for market value or fame. Curator: True. There's so much we read into Van Gogh’s life. These symbols are heavy with the meaning projected on them ever since. Editor: I keep coming back to the physical properties of this work and imagining the artistic labour of someone under tremendous financial and psychological pressure. It challenges our ideas of artistic creation. Curator: Yes, the painting operates on multiple levels – personal, psychological, cultural…a powerful synthesis. Editor: Absolutely, seeing it in person reveals the raw intimacy created through sheer materiality.