Self-Portrait

"Self-Portrait with Halo and Snake" also known simply as "Self-Portrait" is an enthralling 1889 oil painting on wood by the esteemed French artist Paul Gauguin. This artwork mirrors Gauguin's stay in the charming fishing village of Le Pouldu in Brittany, northwestern France. During this time, Gauguin, along with his friend Meijer de Haan and a group of other artists, participated in adorning the interior of Marie Henry's inn with various murals.

In this self-portrait, Gauguin depicts himself against a dramatic red backdrop imbued with religious motifs such as a halo, apples, and a snake. These elements draw inspiration from Japanese wood-block prints and the cloisonnist technique. This piece is one of over 40 self-portraits Gauguin created over his career.

Originally part of Marie Henry's collection from the Le Pouldu era, the painting was sold in 1919. It changed hands multiple times before being acquired by American financier Chester Dale in 1928. Upon Dale's passing in 1962, the painting was generously bequeathed to the National Gallery of Art in Washington, D.C.

Gauguin, a pivotal figure in the Post-Impressionist movement, profoundly influenced the Symbolist movement and the Synthetist style. He had a complex relationship with Vincent van Gogh and spent time in various artist colonies before establishing himself in Le Pouldu. Together with de Haan, Gauguin adorned the dining room of Marie Henry's inn, drawing inspiration from Van Gogh's prior room decorations.

"Self-Portrait with Halo and Snake" along with its companion piece "Portrait of Jacob Meyer de Haan" showcases Gauguin's distinctive self-representation, bifurcating the canvas to depict himself as both saint and sinner. The painting is rich with literary references and reflects Gauguin's personal mythology as an artist. The influence of Japanese art and cloisonnism is evident, with Gauguin's attire resembling that of a Buddhist monk.

The painting's provenance includes its sale by Marie Henry in 1919 and subsequent ownership by various individuals until Chester Dale acquired it in 1928. Dale's bequest to the National Gallery of Art in 1962 ensured that the painting became a cherished part of the Chester Dale Collection.