The yellow straw hat
The brim glows in thick yellow strokes laced with green, and it sits over the face like a halo of light. It is the brightest, most saturated color in the picture.

“Stop to see Van Gogh's intense self-portrait from 1887, where his signature bold brushwork and vibrant colors capture his direct gaze and the texture of his straw hat. Look closely at the energetic strokes that define his face and the lively background.”
This self-portrait captures Vincent van Gogh in 1887, a pivotal year when he moved to Paris and began to experiment with brighter colors. He looks directly at us, his face a mosaic of short, energetic brushstrokes in greens, blues, and oranges. The straw hat, a common motif in his work from this period, is rendered with thick, swirling impasto, creating a palpable texture that almost vibrates off the canvas. This small painting (just 16 by 12 1/2 inches) feels incredibly intimate, drawing us close to the artist's intense gaze. It is a striking example of his Post-Impressionist style, where color and brushwork convey emotion and light rather than just realistic representation. Interestingly, this canvas was reused; on the reverse side is an earlier work, "The Potato Peeler," from 1885, a testament to Van Gogh's thrifty nature and constant artistic exploration.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
The brim glows in thick yellow strokes laced with green, and it sits over the face like a halo of light. It is the brightest, most saturated color in the picture.
Two small pale green eyes with orange-red lids look out from under the brim. The steady, wary gaze gives the busy surface a calm center.
The orange beard is built from short, separate dabs of orange, yellow and red. They follow the curve of the jaw and make the face feel lit by sun.
Behind the head, short dashes of blue, pink and orange curve around the hat in rings. The tan ground shows through in places, which keeps the air lively.
The coat is made of long slanted strokes in blue, green and violet, with flecks of yellow. Cool color here makes the warm face stand out.
The full narration walks you through Self-Portrait with a Straw Hat (obverse: The Potato Peeler) — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Vincent van Gogh, whose vibrant brushwork and bold colors transformed landscapes and portraits, created 2,100 artworks in just over a decade.
Olive Trees
1853 · The Metropolitan Museum of Art
The Potato Peeler (reverse: Self-Portrait with a Straw Hat)
1885 · The Metropolitan Museum of Art
Sunflowers
1887 · The Metropolitan Museum of Art
L'Arlésienne: Madame Joseph-Michel Ginoux (Marie Julien, 1848–1911)
1888 · The Metropolitan Museum of Art
Madame Roulin and Her Baby
1888 · The Metropolitan Museum of Art
Corridor in the Asylum
1889 · The Metropolitan Museum of Art
Wheat Field with Cypresses
1889 · The Metropolitan Museum of Art
A Peasant Woman Digging in Front of Her Cottage
1880 · Art Institute of Chicago
Beyond van Gogh and Expressionism: works from the same years, and from the other movements Self-Portrait with a Straw Hat (obverse: The Potato Peeler) belongs to.
Same movement · Post-Impressionism
Albert (René) Grenier (1858–1925)
Henri de Toulouse-Lautrec · 1887 · The Metropolitan Museum of Art
Same era · 1870s–1900s
A Sunday on La Grande Jatte — 1884
Okada Saburosuke · 1884 · Art Institute of Chicago
Same movement · Post-Impressionism
The Seine at Pont de Grenelle
Paul Gauguin · 1875 · Wallraf–Richartz Museum
Same era · 1870s–1900s
Madame Léon Clapisson
Léon-Victor Dupré · 1883 · Art Institute of Chicago
Same movement · Post-Impressionism
Carmelina
Henri Matisse · 1903 · Museum of Fine Arts Boston
Same era · 1870s–1900s
Paris Street; Rainy Day
Kawabata Gyokushō · 1877 · Art Institute of Chicago
Same movement · Post-Impressionism
The Old Guitarist
Pablo Picasso · 1903 · Art Institute of Chicago
Same era · 1870s–1900s
Still Life with Crayfish
Mikhail Larionov · 1900 · Museum Ludwig
Same movement · Post-Impressionism
Gustave Boyer (b. 1840) in a Straw Hat
Paul Cézanne · 1870 · The Metropolitan Museum of Art
Same era · 1870s–1900s
Equestrienne (At the Cirque Fernando)
Henri de Toulouse-Lautrec · 1887 · Art Institute of Chicago
Same movement · Post-Impressionism
Lozenge Composition with Yellow, Black, Blue, Red, and Gray
Piet Mondrian · 1921 · Art Institute of Chicago
Same era · 1870s–1900s
Two Tahitian Women in a Landscape
Paul Gauguin · 1887 · Art Institute of Chicago
Same era · 1870s–1900s
Cows Drinking at a Pool
William Hart · 1886 · Museum of Fine Arts Boston
Same era · 1870s–1900s
Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress
Paul Cézanne · 1888 · The Metropolitan Museum of Art
Same era · 1870s–1900s
Rocks at Port-Goulphar, Belle-Île
Claude Monet · 1886 · Art Institute of Chicago
Same era · 1870s–1900s
Forêt de Compiègne
Berthe Morisot · 1885 · Art Institute of Chicago
Same era · 1870s–1900s
Studies of Pierre Renoir; His Mother, Aline Charigot; Nudes; and Landscape
Pierre-Auguste Renoir · 1885 · Art Institute of Chicago
Same era · 1870s–1900s
The Sick Child
Edvard Munch · 1885 · National Museum of Art, Architecture and Design