Van Gogh created more than 43 self-portraits between 1885 and 1889.
They were usually completed in series, such as those painted in Paris in mid-1887, and continued until shortly before his death.
Generally the portraits were studies, created during introspective periods when he was reluctant to mix with others, or when he lacked models, and so painted himself.

The self-portraits reflect an unusually high degree of self-scrutiny.
Often they were intended to mark important periods in his life; for example, the mid-1887 Paris series were painted at the point where he became aware of Claude Monet, Paul Cezanne and Signac.
In Self-Portrait with Grey Felt Hat, heavy strains of paint spread outwards across the canvas.
It is one of his most renowned self-portraits of that period, "with its highly organized rhythmic brushstrokes, and the novel halo derived from the Neo-impressionist repertoire was what Van Gogh himself called a 'purposeful' canvas".

They contain a wide array of physiognomical representations.
Van Gogh's mental and physical condition is usually apparent; he may appear unkempt, unshaven or with a neglected beard, with deeply sunken eyes, a weak jaw, or having lost teeth.
Some show him with full lips, a long face or prominent skull, or sharpened, alert features.
His hair may be the usual red, or at times ash coloured.

Van Gogh's gaze is seldom directed at the viewer.
The portraits vary in intensity and colour, and in those painted after December 1888 especially, the vivid colours highlight the haggard pallor of his skin.
Some depict the artist with a beard, others without.
He can be seen with bandages in portraits executed just after he mutilated his ear.
In only a few does he depict himself as a painter.
Those painted in Saint-Rémy show the head from the right, the side opposite his damaged ear, as he painted himself reflected in his mirror.
Van Gogh created more than 43 self-portraits between 1885 and 1889. They were usually completed in series, such as those painted in Paris in mid-1887, and continued until shortly before his death. Generally the portraits were studies, created during introspective periods when he was reluctant to mix with others, or when he lacked models, and so painted himself.
The self-portraits reflect an unusually high degree of self-scrutiny. Often they were intended to mark important periods in his life; for example, the mid-1887 Paris series were painted at the point where he became aware of Claude Monet, Paul Cezanne and Signac. In Self-Portrait with Grey Felt Hat, heavy strains of paint spread outwards across the canvas. It is one of his most renowned self-portraits of that period, "with its highly organized rhythmic brushstrokes, and the novel halo derived from the Neo-impressionist repertoire was what Van Gogh himself called a 'purposeful' canvas".
They contain a wide array of physiognomical representations. Van Gogh's mental and physical condition is usually apparent; he may appear unkempt, unshaven or with a neglected beard, with deeply sunken eyes, a weak jaw, or having lost teeth. Some show him with full lips, a long face or prominent skull, or sharpened, alert features. His hair may be the usual red, or at times ash coloured.
Van Gogh's gaze is seldom directed at the viewer. The portraits vary in intensity and colour, and in those painted after December 1888 especially, the vivid colours highlight the haggard pallor of his skin. Some depict the artist with a beard, others without. He can be seen with bandages in portraits executed just after he mutilated his ear. In only a few does he depict himself as a painter. Those painted in Saint-Rémy show the head from the right, the side opposite his damaged ear, as he painted himself reflected in his mirror.
Vincent van Gogh