A self-portrait believed to be Paul Gauguin's final work has been confirmed as authentic by the Kunstmuseum Basel, following extensive research that began after allegations the painting was a fake. The investigation was launched in May after Gauguin researcher Fabrice Fourmanoir claimed the artwork was actually painted in 1916, thirteen years after the French Post-Impressionist artist's death. However, the museum's technical analysis revealed that certain areas of the face were indeed retouched after Gauguin's death in 1903.
Fourmanoir had alleged that the painting was created by Nguyen Van Cam, also known as Ky-Dong, a Vietnamese friend of Gauguin who lived on the Marquesas island of Hiva Oa. In their official statement, the Kunstmuseum Basel rejected this theory while maintaining that the Gauguin attribution remains valid. The museum's conservators discovered retouching visible under ultraviolet light on several areas including the forehead, eyes, nose, chin beard, and throat.
The discovery holds particular significance in understanding Gauguin's artistic legacy, as this self-portrait has shaped public perception of the artist during his final year. Unlike his earlier self-portraits that depicted him as brash and confident, this work shows Gauguin appearing weak and vulnerable. The painting's condition provides insight into the artist's state of mind and physical health near the end of his life.
Technical analysis provided crucial evidence about the timing of the alterations. Museum conservators found titanium white pigment in the overpainted areas, including above the left eye. Since this pigment was not available until 1918, the overpainting must have occurred after that date. The retouching was visible in a 1926 photograph, indicating the work was completed by then.
While rejecting Fourmanoir's argument that the original painting was created by Gauguin's Vietnamese friend from a photograph, the Kunstmuseum Basel acknowledged it was "possibly done with the artist enlisting the help of Nguyen Van Cam," though they noted the evidence remains inconclusive. The museum concluded it is "highly unlikely that the painting is a later forgery" and "more likely that it was produced by Gauguin."
The painting's authenticity received additional validation when specialists from the Wildenstein Plattner Institute, which publishes the Gauguin catalogue raisonné, examined the work on October 9 and confirmed the attribution. This endorsement from the authoritative source on Gauguin's works adds significant weight to the museum's conclusions.
The artwork's provenance traces back to 1903, when Gauguin gave the painting to Ky Dong. Two years later, Ky Dong passed it to Louis Grélet, a friend. Grélet attempted to sell the piece at Sotheby's in 1924, but it failed to find a buyer. The painting was subsequently purchased by Louis Francis Ormond, who was related to the renowned artist John Singer Sargent.
The painting changed hands again in 1928 when Basel-based pediatrician Karl Hoffmann acquired it. Hoffmann kept the work until his death, bequeathing it to the Kunstmuseum Basel in 1945, where it has remained part of the collection ever since.
Museum experts believe the retouching was most likely performed just before or after the failed 1924 Sotheby's auction by an unknown individual. The timing suggests someone may have attempted to improve the painting's appearance for sale. Despite identifying these alterations, the museum has no plans to remove the retouches, citing two important factors: some of Gauguin's original paint on the face has been damaged, and the 1918-1926 additions now form part of the picture's historical narrative. The self-portrait has been returned to the Kunstmuseum Basel's permanent collection display, where visitors can appreciate both Gauguin's original vision and the complex history that has shaped the artwork over more than a century.
