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"Two Peasant Women Digging On A Snow Covered Field" is a painting by Van Gogh which is inspired by and modelled after Millet's painting, "Morning: Going to Work." This painting features two women peasants who are working hard out in the field despite the weather. The two figures are digging the ground in a snowy landscape that stretches throughout the painting, seamlessly joining the cloudy sky in the background, where the sun is rising. A contrast of heat and cold, a balance of colours.
https://www.artworkonly.com/vincent-van-gogh/two-peasant-women-digging-on-a-snow-covered-field-famous-art-handmade-oil-painting-on-canvas
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According to the artist Paul Signac, Vincent van Gogh rounded off every day in the bar, where the ‘absinthes and brandies would follow each other in quick succession’.
Van Gogh himself later that he was ‘almost an alcoholic’ by the time he left for Arles. Henri de Toulouse-Lautrec had good reason, therefore, for sketching his friend at a table with a glass of absinthe. The French painter met Van Gogh, who was eleven years older than him, at Fernand Cormon’s studio, where they were both taking lessons. They probably worked together intensively for a while, as the style and technique of their paintings in this period look very similar. Toulouse-Lautrec sprang to his friend’s defence at the exhibition of ‘Les Vingt’ in Brussels in early 1890. Van Gogh had submitted six paintings, which caused a furore during the opening. Toulouse-Lautrec was so angry about some of the negative comments he heard about Vincent’s work that he almost got into a fight with another artist. The two painters might saw each other one last time a few months later, when Van Gogh visited his brother Theo in Paris from Auvers-sur-Oise. Little else is known about their friendship.
https://www.vangoghmuseum.nl/en/collection/d0693V1962
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In the last weeks of his life, Van Gogh completed a number of impressive paintings of the wheatfields around Auvers. This outspread field under a dark sky is one of them.
In these landscapes he tried to express 'sadness, extreme loneliness'. But the overwhelming emotions that Van Gogh experienced in nature were also positive. He wrote to his brother Theo, 'I'd almost believe that these canvases will tell you what I can't say in words, what I consider healthy and fortifying about the countryside.'
The elongated format of Wheatfields under Thunderclouds is unusual. It emphasizes the grandeur of the landscape, as does the simple composition: two horizontal planes.
https://www.vangoghmuseum.nl/en/collection/s0106v1962
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Large blossom branches like this against a blue sky were one of Van Gogh’s favourite subjects. Almond trees flower early in the spring making them a symbol of new life. Van Gogh borrowed the subject, the bold outlines and the positioning of the tree in the picture plane from Japanese printmaking.
The painting was a gift for his brother Theo and sister-in-law Jo, who had just had a baby son, Vincent Willem. In the letter announcing the new arrival, Theo wrote: ‘As we told you, we’ll name him after you, and I’m making the wish that he may be as determined and as courageous as you.’ Unsurprisingly, it was this work that remained closest to the hearts of the Van Gogh family. Vincent Willem went on to found the Van Gogh Museum.
https://www.vangoghmuseum.nl/en/collection/s0176v1962
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Painted in the town of Arles in southern France, The Old Mill depicts the standing mill structure standing in the foreground where two figures stand to the left and a mountainscape in the background. Van Gogh’s use of texture, color, angles, and vibrancy dictates his expression of feelings on the subject. The lapis mountain range and seafoam green sky are representative of the sense of the beauty and light in south France.
https://www.1000museums.com/shop/art/vincent-van-gogh-la-maison-de-la-crau-the-old-mill/
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Personal sentiment Van Gogh has long been toying with the idea of painting a night sky. Walt Whitman and Thomas Carlyle, authors that he admires, describe the starry night as ‘a manifestation of eternity’ and ‘the open secret of the mystery of the universe’. Van Gogh wants to introduce a personal sentiment into the painting. Nocturnal light effect The moon is just rising over the Alpilles, illuminating the wheat sheaves in the foreground. Van Gogh spends a long time working on the canvas. In the final phase, he paints a maze of small, light purple brushstrokes over the scene to enhance the nocturnal light effect. Over time, these have gradually discoloured to much whiter stripes, making the scene less ‘nocturnal’ than he had intended. Van Gogh paints this landscape largely in his studio. He believes that painting from reality is the most important, but Gauguin encouraged him to work from imagination and memory during their brief collaboration. He is ultimately not very satisfied with the result. He finds the composition exaggerated and the style too far-fetched: it lacks ‘deeply felt lines’.
https://krollermuller.nl/en/vincent-van-gogh-landscape-with-wheat-sheaves-and-rising-moon
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Pink Peach Tree, Souvenir to Mauve Van Gogh wrote of Pink Peach Tree in Blossom (Souvenir de Mauve) that he completed in March, "I have been working on a size 20 canvas in the open air in an orchard, lilac ploughland, a reed fence, two pink peach trees against a sky of glorious blue and white. Probably the best landscape I have done. I had just brought it home when I received from our sister a Dutch notice in memory of Anton Mauve, with his portrait (the portrait, very good), the text, poor and nothing in it a pretty water color. Something - I don't know what - took hold of me and brought a lump to my throat, and I wrote on my picture, 'Souvenir de Mauve'." Van Gogh knew Anton Mauve during his stay in The Hague. Mauve had taken an interest in Van Gogh and encouraged him to work in color. Van Gogh asked that Pink Peach Tree be sent to Mauve's widow Jet. To his sister Wil, Van Gogh explained that he chose the particular painting because of the "delicate palette" to express his deep fondness. "It seemed to me that everything in memory of Mauve must be at once tender and very gay, and not a study in a graver key."
https://en.wikipedia.org/wiki/Flowering_Orchards#:~:text=Van Gogh asked that Pink,to express his deep fondness.
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Starry Night , commonly known as Starry Night Over the Rhône, is one of Vincent van Gogh's paintings of Arles at night. It was painted on the bank of the Rhône that was only a one or two-minute walk from the Yellow House on the Place Lamartine, which van Gogh was renting at the time. The night sky and the effects of light at night provided the subject for some of van Gogh's more famous paintings, including Café Terrace at Night (painted earlier the same month) and the June, 1889, canvas from Saint-Remy, The Starry Night.
A sketch of the painting is included in a letter van Gogh sent to his friend Eugène Boch on 2 October 1888. Starry Night, which is now in the Musée d'Orsay in Paris, was first exhibited in 1889 at Paris' annual exhibition of the Société des Artistes Indépendants. It was shown together with van Gogh's Irises, which was added by Vincent's brother, Theo, although Vincent had proposed including one of his paintings from the public gardens in Arles.
https://en.wikipedia.org/wiki/Starry_Night_Over_the_Rhône
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The Church at Auvers is an oil painting created by Vincent van Gogh in June 1890, which now hangs in the Musée d'Orsay in Paris, France. The Church at Auvers - along with other canvases such as The Town Hall at Auvers and several paintings of small houses with thatched roofs - is reminiscent of scenes from the northern landscapes of his childhood and youth. A certain nostalgia for the north had already been apparent in his last weeks at Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote "While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North" He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890: I have a larger picture of the village church - an effect in which the building appears to be violet-hued against a sky of simple deep blue colour, pure cobalt; the stained-glass windows appear as ultramarine blotches, the roof is violet and partly orange. In the foreground some green plants in bloom, and sand with the pink flow of sunshine in it. And once again it is nearly the same thing as the studies I did in Nuenen of the old tower and the cemetery, only it is probably that now the colour is more expressive, more sumptuous. ” Photo of The Church at Auvers The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and "neither reflects nor emanates any light of its own."
After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted image from Henry V by Shakespeare, Part 1 of the dark emptiness inside a church to symbolize "empty and unenlightened preaching":
"Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'".
The motif of diverging paths also appears in his painting Wheatfield with Crows. The Church at Auvers has special meaning to Vincent van Gogh. On 27 July 1890, aged 37, Van Gogh shot himself in the chest with a revolver. Theo Van Gogh, Vincent's brother, wanted to organize the funeral in the church at Auvers, However, the priest refused categorically: Van Gogh was protestant, plus he committed suicide! In the end, Theo had to modify the funeral invitations manually and the ceremony took place in the inn's room. Vincent Van Gogh rests forever, together with his brother, in the town cemetery not far from the church.
https://www.vincentvangogh.org/the-church-at-auvers.jsp
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The Red Vineyard at Arles, which Vincent van Gogh was unusually pleased with, is the only work he sold during his lifetime, and was bought for 400 francs by Anna Boch (1848-1936)
In October, 1888 Gauguin arrived in Arles and moved in with Van Gogh, who was beside himself with excitement and dream of starting if not an artists' colony, at the very least a shared studio. Van Gogh had met Gauguin two years previously and was in awe of the slightly older artist, whose own opinion of himself was greatly inflated. The stay ended in disaster culminating in Van Gogh's self-mutilation, but prior to this the two artists had worked on similar projects, and Gauguin's influence can be seen on Van Gogh's paintings of this time. Van Gogh was particularly enraptured with a local vineyard, whose colours were turning to autumnal reds and yellows as the days shortened into autumn. He painted The Red Vineyard, capturing the mellowed tones and glistening light of the early evening sun reflecting in the river, while Gauguin painted Vineyard at Arles with Breton Women, clothing the women in the traditional Breton costume of his home. On October 2, 1888 Vincent van Gogh sends a letter to Eugene Boch mentioning his project to paint The Red Vineyard, in which he mentioned: "Ah well, I have to go to work in the vineyard, near Mont Majour. It's all purplish yellow green under the blue sky, a beautiful, colour motif."
https://www.vincentvangogh.org/the-red-vineyard.jsp
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The cypress tree was a motif that Van Gogh frequently used, although at first, he struggled to depict them. Their dominant form and dark colour mode them overpowering in a landscape, and dwarfed elements around them, which can be seen here in the relationship of the tree to the small figures. The broad path that winds up the canvas with a strangely distorted perspective also dominates the figures, appearing virtually to engulf them with its shining luminescence. Why was Van Gogh investigating the roots of his practice at this date? This painting provides some clues. After leaving Holland and moving to France, Van Gogh had attempted to situate himself in relation to such Parisian painters as Bernard and Gauguin. He had corresponded and exchanged work with the former and, in a sense, studied with the latter in late 1888. He felt that they all three shared a dissatisfaction with Impressionism and its successors and a common purpose in creating what he called 'la peinture consolante' - painting of consolation.
In June 1889 Van Gogh painted his famous painting The Starry Night, an imaginative composition, not painted from nature or the motif but composed from various sights and scenes of Brabant and Provence. He offered it to Bernard and Gauguin as his demonstration of a new form of religious painting. Both ignored the picture and thus overlooked Van Gogh's most ambitious painting in his French period, which had been conceived with reference to their joint concerns. Van Gogh responded to this cruel blow by angrily rejecting their work and the directions they had encouraged him to take. In June 1890, in a rare letter to Gauguin, Van Gogh mentioned Road with Cypress and Star. He called it a 'last attempt' at a star painting. It shares many features and motifs with the disregarded The Starry Night - a crescent moon, stars in the sky, Brabant cottages with lighted windows, a tall, solitary cypress. But there is no church; the theme has been 'secularized'. It is just a landscape with cottages, trees, wheatfields and workers. It signifies a decisive retrenchment and a rejection of his flirtation with the Paris vanguard.
https://www.vincentvangogh.org/road-with-cypress-and-star.jsp
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Van Gogh based this painting on a woodcut by the Japanese artist Kesai Eisen. The print had been reproduced on the cover of the magazine Paris illustré in 1886. Van Gogh used a grid to copy and enlarge the Japanese figure. He used bright colours and bold outlines, as if it were a woodcut. We can tell the woman is a courtesan by her hairstyle and the belt (obi) that she is wearing, which is tied at the front of her kimono rather than at the back. Van Gogh framed her with a pond full of water lilies, bamboo stems, cranes and frogs. This scene has a hidden meaning: grue (crane) and grenouille (frog) were French slang words for 'prostitute'.
https://www.vangoghmuseum.nl/en/collection/s0116V1962
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Van Gogh painted a series of pictures depicting sunflowers, having first been inspired by the yellow flowers H Paris where he saw them growing in the gardens of Montmartre. They were a motif that he returned to often, and in the summer of 1888 he embarked on a large number of paintings of sunflowers to decorate his studio and house in preparation for Gauguin's arrival. Sunflowers were symbolic of life and hope to the artist, and could also be associated with his concept of the sun - round, glowing, yellow, and hopeful. In a letter to Emile Bernard written around 21 August 1888 Vincent wrote:
"I'm thinking of decorating my studio with half a dozen paintings of Sunflowers. A decoration in which harsh or broken yellows will burst against various blue backgrounds, from the palest Veronese to royal blue, framed with thin laths painted in orange lead. Sorts of effects of stained-glass windows of a Gothic church."
It is extraordinary that the artist, who was so plagued with mental illness and depression, was able to have interludes marked by such a positive outlook, which was reflected in his works. In Vase with Twelve Sunflowers, he has reduced the elements of the composition so that the image is one of great simplicity, while also reducing the colours to primarily his favourite yellow, This reflects him synthesizing realism with pattern and ornament, so they are both highly decorative and almost symbolist in feel, but also retain a fundamentally real quality.
https://www.vincentvangogh.org/vase-with-twelve-sunflowers.jsp
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Van Gogh's paintings of sunflowers have reconstructed mankind's view of art and life. The painting dates back to 1888, when Van Gogh left Paris to paint in the gleaming sunshine of the South of France, requesting Paul Gauguin to join him. Waiting for his friend to arrive, Van Gogh painted a series of pictures of sunflowers to brighten his friend's bedroom. They were meant as a sign of friendship and welcome, but also of Vincent's devotion to Gauguin as his artistic leader.
https://www.vangoghstudio.com/still-life-vase-with-fifteen-sunflowers/
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Van Gogh's rolling night sky full of bright stars is probably one of the world's most famous artworks.
The Starry Night's home is at the Museum of Modern Art in New York. But how did it get there?
Vincent sold only a handful of artworks during his lifetime. When Vincent passed away, his brother Theo inherited all the remaining ones. Yet when Theo died shortly after, they all fell into the hands of Theo's wife Jo and their only son.
In order to establish Vincent's recognition in the art world, Jo strategically sold artworks to influential art collectors or well-known museums.
One day, Jo sold The Starry Night to Georgette van Stolk in Rotterdam. Then in 1941, MoMA acquired it from her. It was the first Van Gogh to enter a New York museum collection.
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Vase with Pink Roses was made in 1890 by Vincent van Gogh in Saint-Remy. At the time the work was painted Van Gogh was readying himself to leave the Saint-Remy asylum for the quiet town of Auvers-sur-Oise outside of Paris. The painting reflects the optimism Van Gogh felt at that time about his future, both in his choice of flowers as a subject and the colors used.
Sunflowers, irises and blazing cherry blossom: Vincent Van Gogh is more famous for these blooms, in all their painted variations. Even just to choose one of the sunflower pictures would have been hard enough. Here, instead, is a flower that lacks the brilliant colour he relished and which has such symbolic meaning (its pinks have faded to white) but which is just as stupendous: pale roses, incandescent against a light green wall. The flowers are in glorious, exuberant bloom, their furled forms animated by the ribbons of paint behind them. The surface feels still live with the artist's touch
As the end of his stay in Saint-Remy and the days ahead in Auvers-sur-Oise neared, Van Gogh conveyed his optimism and enthusiasm by painting flowers. About the time that Van Gogh painted this work, he wrote to his mother, "But for one's health, as you say, it is very necessary to work in the garden and see the flowers growing." To his sister Wil he wrote, "The last days in Saint-Remy I worked like a madman. Great bouquets of flowers, violet-colored irises, great bouquets of roses."
https://www.vincentvangogh.org/vase-with-pink-roses.jsp
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Vincent moved to Arles on 20 February 1888. After two years in Paris, he was tired of the bustle and demands of city life and longed for the sunshine and vibrant colours of the south. Upon arrival in Arles, Vincent took a room at the hotel-restaurant Carrel, and later, one at Café de la Gare.
In early September, he settled into the Yellow House, which he had begun using as a studio on 1 May. Vincent was highly productive during this period and made numerous paintings and drawings in and around Arles. He developed an expressive, individual painting style characterised by bold colours and dynamic brushstrokes. In Arles, he met the artists Eugène Boch, Dodge MacKnight and Christian Mourier-Petersen and befriended Joseph Roulin, the postal official at the train station. The artist Paul Gauguin came to join him in October, and they worked together in Arles for two months. In late December, Vincent suffered a psychosis during which he cut off part of his ear and handed it to a prostitute. Gauguin returned to Paris soon afterward. Vincent was admitted to hospital and discharged on 7 January. In late January and February, however, he suffered two more attacks and he returned to hospital for a longer stay. On 8 May 1889, Vincent left Arles to be voluntarily committed to a psychiatric institution in Saint-Rémy de Provence.
https://vangoghroute.com/france/arles/
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Vincent moved to Arles on 20 February 1888. After two years in Paris, he was tired of the bustle and demands of city life and longed for the sunshine and vibrant colours of the south. Upon arrival in Arles, Vincent took a room at the hotel-restaurant Carrel, and later, one at Café de la Gare. In early September, he settled into the Yellow House, which he had begun using as a studio on 1 May. Vincent was highly productive during this period and made numerous paintings and drawings in and around Arles. He developed an expressive, individual painting style characterised by bold colours and dynamic brushstrokes. In Arles, he met the artists Eugène Boch, Dodge MacKnight and Christian Mourier-Petersen and befriended Joseph Roulin, the postal official at the train station. The artist Paul Gauguin came to join him in October, and they worked together in Arles for two months. In late December, Vincent suffered a psychosis during which he cut off part of his ear and handed it to a prostitute.
Gauguin returned to Paris soon afterward. Vincent was admitted to hospital and discharged on 7 January. In late January and February, however, he suffered two more attacks and he returned to hospital for a longer stay. On 8 May 1889, Vincent left Arles to be voluntarily committed to a psychiatric institution in Saint-Rémy de Provence.
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Vincent van Gogh painted The Night Café (original French title: Le Café de nuit) in Arles in September 1888 The painting was executed on industrial primed canvas of size 30 (French standard). It depicts the interior of the cafe, with a half-curtained doorway in the center background leading, presumably, to more private quarters. Five customers sit at tables along the walls to the left and right, and a waiter in a light coat, to one side of a billiard table near the center of the room, stands facing the viewer. The five customers depicted in the scene have been described as "three drunks and derelicts in a large public room [...] huddled down in sleep or stupor."One scholar wrote, "The cafe was an all-night haunt of local down-and-outs and prostitutes, who are depicted slouched at tables and drinking together at the far end of the room." In wildly contrasting, vivid colours, the ceiling is green, the upper walls red, the glowing, gas ceiling lamps and floor largely yellow. The paint is applied thickly, with many of the lines of the room leading toward the door in the back. The perspective looks somewhat downward toward the floor. In a jocular passage of a letter Van Gogh wrote his brother, Theo, the artist said Ginoux had taken so much of his money that he'd told the cafe owner it was time to take his revenge by painting the place.
In August 1888 the artist told his brother in a letter:
"Today I am probably going to begin on the interior of the cafe where I have a room, by gas light, in the evening. It is what they call here a cafe de nuit (they are fairly frequent here), staying open all night. Night prowlers can take refuge there when they have no money to pay for a lodging, or are too drunk to be taken in.”
Van Gogh's Cafe Terrace at Night, showing outdoor tables, a street scene and the night sky, was painted in Arles at about the same time. It depicts a different cafe, a larger establishment on the Place du Forum. Van Gogh wrote many letters to his brother Theo van Gogh, and often included details of his latest work.
The artist wrote his brother more than once about The Night Café. In one of the letters he describes this painting:
"I have tried to express the terrible passions of humanity by means of red and green. The room is blood red and dark yellow with a green billiard table in the middle; there are four lemon-yellow lamps with a glow of orange and green. Everywhere there is a clash and contrast of the most alien reds and greens, in the figures of little sleeping hooligans, in the empty dreary room, in violet and blue. The blood-red and the yellow-green of the billiard table, for instance, contrast with the soft tender Louis XV green of the counter, on which there is a rose nosegay. The white clothes of the landlord, watchful in a corner of that furnace, turn lemon-yellow, or pale luminous green.”
The next day (September 9), he wrote Theo:
"I have tried to express the terrible passions of humanity by means of red and green. The room is blood red and dark yellow with a green billiard table in the middle; there are four lemon-yellow lamps with a glow of orange and green. Everywhere there is a clash and contrast of the most alien reds and greens, in the figures of little sleeping hooligans, in the empty dreary room, in violet and blue. The blood-red and the yellow-green of the billiard table, for instance, contrast with the soft tender Louis XV green of the counter, on which there is a rose nosegay. The white clothes of the landlord, watchful in a corner of that furnace, turn lemon-yellow, or pale luminous green.”
The violent exaggeration of the colours and the thick texture of the paint made the picture "one of the ugliest pictures I have done", Van Gogh wrote at one point. He also called it "the equivalent though different, of The Potato Eaters", which it resembles somewhat in its use of lamplight and concerns for the condition of people in need.
The work has been called one of Van Gogh's masterpieces and one of his most famous. Unlike typical Impressionist works, the painter does not project a neutral stance towards the world or an attitude of enjoyment of the beauty of nature or of the moment. The painting is an instance of Van Gogh's use of what he called "suggestive colour" or, as he would soon term it, "arbitrary colour" in which the artist infused his works with his emotions, typical of what was later called Expressionism. The red and green of the walls and ceiling are an "oppressive combination", and the lamps are "sinister features" with orange-and-green halos, according to Nathaniel Harris. "The top half of the canvas creates its basic mood, as any viewer can verify by looking at it with one or the other half of the reproduction covered up; the bottom half supplies the 'facts.'" The thick paint adds a surreal touch of waviness to the table tops, billiard table and floor. The viewer is left with a feeling of seediness and despair, Harris wrote. "The scene might easily be banal and dispiriting; instead, it is dispiriting but also terrible." The red and green of the walls and ceiling are an "oppressive combination", and the lamps are "sinister features" with orange-and-green halos, according to Nathaniel Harris.
"The top half of the canvas creates its basic mood, as any viewer can verify by looking at it with one or the other half of the reproduction covered up; the bottom half supplies the 'facts.'" The thick paint adds a surreal touch of waviness to the table tops, billiard table and floor. The viewer is left with a feeling of seediness and despair, Harris wrote. "The scene might easily be banal and dispiriting; instead, it is dispiriting but also terrible." The perspective of the scene is one of its most powerful effects, according to various critics. Schapiro described the painting's "absorbing perspective which draws us headlong past empty chairs and tables into hidden depths behind a distant doorway an opening like the silhouette of the standing figure." Lant described it as a "shocking perspectival rush, which draws us, by the converging diagonals of floorboards and billiard table, towards the mysterious, courtained doorway beyond."
Harris wrote that the perspective "pitches the viewer forward into the room, towards the half-curtained private quarters, and also creates a sense of vertigo and distorted vision, familiar from nightmares." Schapiro also noted, "To the impulsive rush of these converging lines he opposes the broad horizontal band of red, full of scattered objects [...]"
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Vincent van Gogh, the man who produced thousands of artworks and became a legend for future artists had a mental illness from which he suffered a lot during his last stages of life. In his last year 1890, either due to lack of inspiration or willingness to revisit a pencil drawing; he worked on the Sorrowing Old Man or At Eternity’s Gate.  “…the poorest woodcutter, heath farmer or miner can have moments of emotion and mood that give him a sense of an eternal home that he is close to.” This was the thought mentioned by van Gogh while he was about to work on the lithograph. Worn Out is the name of the pencil drawing that van Gogh gave, when he drafted an old war veteran sitting on his chair. The war veteran and pensioner was Adrianus Jacobus Zuyderland, who modeled for van Gogh. The drawing was done at Hague at an almshouse where van Gogh was studying Adrianus in the year 1882. In 1890, Vincent revisited the pencil drawing and created a coloured lithograph.
Sad fact, Sorrowing Old Man was completed two months prior to suicide/death of van Gogh. The suffering that van Gogh faced during his life can be viewed through Adrianus bending on his chair with face covered. This is the point where van Gogh believed that human life surpassed all Theology and realized something high [God] without having any awareness of it.
https://classicalartsuniverse.com/sorrowing-old-man-analysis/
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Vincent van Gogh’s energetic brushstrokes, vibrant palettes, and free-flowing forms turned the artist’s scenes into dynamic evocations of the artist’s inner life and extensive studies. His landscapes, portraits, still lifes, and interiors are among art history’s most recognizable and influential works.
Van Gogh’s signature style exemplified the tenets of Post-Impressionism and influenced German Expressionism and the development of modernism itself. Van Gogh did not find much success in his lifetime, but after his death in 1890, his works began to garner cachet thanks to the skillful promotion of his sister-in-law, Jo van Gogh-Bonger. Van Gogh’s paintings belong in the collections of institutions such as the Art Institute of Chicago, the Tate, the Museum of Modern Art, and the National Gallery of Art in Washington, D.C., and they consistently sell for tens of millions on the secondary market.
https://www.artsy.net/artwork/vincent-van-gogh-orchard-in-blossom-bordered-by-cypresses#:~:text=Vincent van Gogh's energetic brushstrokes,inner life and extensive studies.
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Wheatfield with Crows is one of Van Gogh's most famous paintings. It is often claimed that this was his very last work. The menacing sky, the crows and the dead-end path are said to refer to the end of his life approaching. But that is just a persistent myth. In fact, he made several other works after this one. Van Gogh did want his wheatfields under stormy skies to express 'sadness, extreme loneliness', but at the same time he wanted to show what he considered 'healthy and fortifying about the countryside'. Van Gogh used powerful colour combinations in this painting: the blue sky contrasts with the yellow-orange wheat, while the red of the path is intensified by the green bands of grass.
https://www.vangoghmuseum.nl/en/collection/s0149v1962
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When Van Gogh arrived in Arles (FR) in February 1888, winter still held the village in its grip. After a few weeks, spring came. Full of enthusiasm, he began a series of studies of trees in blossom. When he saw the paintings side by side, he had the idea of combining them into triptychs. In a triptych, three works are combined into one harmonious whole. Van Gogh was familiar with this idea from Japanese prints.
Van Gogh went on to produce no fewer than fourteen paintings of fruit trees in blossom in the space of a month. He hoped his orchard paintings would sell. To his brother Theo he wrote, 'You know these subjects are among the ones that cheer everyone up.'
https://www.vangoghmuseum.nl/en/collection/s0026V1962
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Yes, there are TWO "Irises".
Van Gogh painted this still life in the psychiatric hospital in Saint-Rémy. For him, the painting was mainly a study in colour. He set out to achieve a powerful colour contrast. By placing the purple flowers against a yellow background, he made the decorative forms stand out even more strongly. The irises were originally purple. But as the red pigment has faded, they have turned blue. Van Gogh made two paintings of this bouquet. In the other still life, he contrasted purple and pink with green.
https://www.vangoghmuseum.nl/en/collection/s0050v1962
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“Olive Trees with the Alpilles in the Background” by Vincent van Gogh depicts green olive trees twisting and swirling as if reflecting the radiating heat from the ground on a hot day in June 1889 in southern France. The olive grove is capped by the rolling blue hills of the distant Alps, beneath a light-washed sky with bundled clouds engaged in their own twisting dance of nature. The Chaîne des Alpilles in the background of this painting is a small range of low mountains in Provence, southern France. The landscape of the Alpilles is one of the arid limestone peaks separated by dry valleys. Vincent van Gogh painted many images of the Alpilles’ landscapes during his time in Saint-Rémy-de-Provence on the north side of the mountains. Van Gogh voluntarily entered the asylum at Saint-Rémy in the south of France in 1889, and from there he wrote his brother Theo: “The olive trees with the white cloud and the mountains behind, as well as the rise of the moon and the night effect, are exaggerations from the point of view of the general arrangement; the outlines are accentuated as in some old woodcuts.” This painting is the daylight partner to complement The Starry Night, the painting Van Gogh was writing about to his brother. Van Gogh felt that both pictures showed, in complementary ways, his belief, regarding the freedom of the artist to go beyond: “the photographic and silly perfection of some painters,” and intensify the experience of color and linear rhythms. Vincent van Gogh painted at least 15 paintings of olive trees, mostly in Saint-Rémy-de-Provence. He lived at an asylum there from mid-1889 through to mid-1890, painting the gardens and the surroundings of the asylum. With permission, he ventured outside its walls, to the nearby olive trees, cypress, and wheat fields. The olive tree paintings had special significance for van Gogh. His Olive Tree paintings represented life, the divine, and the cycle of life, while some of olive tree paintings were his attempt to symbolize his feelings about Christ in Gethsemane. The Garden of Gethsemane is where Jesus prayed on the night of His betrayal and arrest. Gethsemane was a garden at the foot of the Mount of Olives in Jerusalem. Today, Gethsemane has magnificent ancient olive trees that date back to hundreds of years ago, still producing olives today. Van Gogh found respite and relief in interaction with nature. When the series of olive tree paintings were made in 1889, he was ill and emotionally in turmoil, yet the pictures are considered to be among his most beautiful works.
https://joyofmuseums.com/museums/united-states-of-america/new-york-museums/museum-of-modern-art-nyc/olive-trees-with-the-alpilles-in-the-background-by-vincent-van-gogh/
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• There are over 35 self-portraits by Vincent but just one portrait photo of him. Only one portrait photo of Vincent has survived. It shows him at the age of 19 with a slightly gruff expression. Almost everything else we know about his appearance comes from the many self-portraits he painted. No fewer than 35 of them are known. They tell us that he had red hair, green eyes and an angular face. Yet each of those faces is different. Vincent himself wrote: ‘People say – and I’m quite willing to believe it – that it’s difficult to know oneself – but it’s not easy to paint oneself either.’
• Vincent didn’t paint self-portraits because he was vain. Vincent produced his self-portraits because he wanted to practise painting people. The majority of them – over 25 – were done while he was in Paris (1886–88). He was short of money in that period and struggled to find models. So the artist chose the simplest solution and painted himself. To save money, he sometimes painted self-portraits on the back of other paintings. By doing that, he avoided the costs not only of a model but also of expensive canvas. You can see five such self-portraits in the Van Gogh Museum's online collection. In July 2022 a hidden self-portrait was discovered in the collection of The National Galleries of Scotland in Edinburgh. Vincent van Gogh, Self-Portrait, 1887 Vincent van Gogh, Self-Portrait with Grey Felt Hat, 1887 Vincent van Gogh, Self-Portrait, 1887. Van Gogh painted this on the back of a study for The Potato Eaters, which he had made earlier in Nuenen.
• The self-portraits tell us something about his personality Vincent often presented himself as restrained and serious in his self-portraits, with a look of concentration on his face. All the same, something of Vincent’s personality can be found in each self-portrait. He described the last one he did in Paris as ‘quite unkempt and sad’ [...] something like, say, the face of – death’. That’s how he felt at the time: mentally and physically exhausted. Henri de Toulouse-Lautrec, Portrait of Vincent van Gogh, 1887 Vincent van Gogh, Self-Portrait as a Painter, 1888
• Three self-portraits hint at Vincent’s illness On 23 December 1888, Vincent cut off his left ear in a state of total confusion. It would be the first of a series of mental breakdowns. He was reluctant to discuss the incident in his letters, but he did ‘report’ on it in two self-portraits. Vincent did not portray himself as a sick, broken man for the sake of effect or to arouse pity. He was convinced that painting would help him to heal. ‘I retain all good hope’, he wrote to Theo.
• The self-portraits have shaped our image of Vincent Many artists have drawn inspiration from Vincent’s self-portraits. They have been reproduced an infinite number of times since the early 20th century. The self-portraits put a face to the man who became the archetype of the artist as tortured genius. The yellow straw hat is now firmly associated with Vincent and his love of the sun and the colour yellow. The French artist Guillaume Bruère (1976) frequently works in situ to make drawings of works of art that he admires. In September 2019, he drew a series of nine sheets at the Van Gogh Museum after Vincent’s Self-Portrait with Felt Hat.
https://www.vangoghmuseum.nl/en/art-and-stories/stories/all-stories/5-things-you-need-to-know-about-van-goghs-self-portraits
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This skeleton with a lit cigarette in its mouth is a juvenile joke. Van Gogh painted it in early 1886, while studying at the art academy in Antwerp. The painting shows that he had a good command of anatomy.
Drawing skeletons was a standard exercise at the academy, but painting them was not part of the curriculum. He must have made this painting at some other time, between or after his lessons.
https://www.youtube.com/watch?v=V0c-SmREhLs
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Van Gogh painted this still life in the psychiatric hospital in Saint-Rémy. For him, the painting was mainly a study in colour. He set out to achieve a powerful colour contrast. By placing the purple flowers against a yellow background, he made the decorative forms stand out even more strongly. The irises were originally purple. But as the red pigment has faded, they have turned blue. Van Gogh made two paintings of this bouquet. In the other still life, he contrasted purple and pink with green.
Credits (obliged to state): Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
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Van Gogh saw the Potato Eaters as a showpiece, for which he deliberately chose a difficult composition to prove he was on his way to becoming a good figure painter. The painting had to depict the harsh reality of country life, so he gave the peasants coarse faces and bony, working hands. He wanted to show in this way that they ‘have tilled the earth themselves with these hands they are putting in the dish ... that they have thus honestly earned their food’. He painted the five figures in earth colours – ‘something like the colour of a really dusty potato, unpeeled of course’. The message of the painting was more important to Van Gogh than correct anatomy or technical perfection. He was very pleased with the result: yet his painting drew considerable criticism because its colours were so dark and the figures full of mistakes. Nowadays, the Potato Eaters is one of Van Gogh’s most famous works.
https://www.vangoghmuseum.nl/en/collection/s0005v1962
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Vincent van Gogh painted at least 15 paintings of olive trees, mostly in Saint-Rémy-de-Provence in 1889. At his own request, he lived at an asylum there from May 1889 through May 1890 painting the gardens of the asylum and, when he had permission to venture outside its walls, nearby olive trees, cypresses and wheat fields. One painting, Olive Trees in a Mountainous Landscape, was a complement to The Starry Night. The olive tree paintings had special significance for van Gogh. A group in May 1889 represented life, the divine and the cycle of life while those from November 1889 arose out of his attempt to symbolize his feelings about Christ in Gethsemane. His paintings of olive pickers demonstrate the relationship between man and nature by depicting one of the cycles of life, harvesting or death. They also convey an example of how individuals, through communion with nature, can connect with the divine. Van Gogh found respite and relief in interaction with nature. When the series of olive tree paintings was made in 1889 he was subject to illness and emotional turmoil, yet the paintings are considered to be among his finest works.
https://en.wikipedia.org/wiki/Olive_Trees_(Van_Gogh_series)
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Van Gogh had a special interest in sowers throughout his artistic career. All in all, he made more than 30 drawings and paintings on this theme. He painted this sower in the autumn of 1888. At the time, Van Gogh was working together with Paul Gauguin (1848-1903). Gauguin believed that in his work Van Gogh should draw less on reality and more on his imagination. Here, Van Gogh used colours meant to express emotion and passion. He assigned the leading roles to the greenish-yellow of the sky and the purple of the field. The bright yellow sun looks like a halo, turning the sower into a saint.
https://www.vangoghmuseum.nl/en/collection/s0029V1962
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Yeah right! It's not for sale, but you can find it at MOMA in New York City.
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Dormitory in the Hospital in Arles
Oil on Canvas
1889
74 cm (29.1) in x 92 cm (36.2 in)


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Almond Blossom
1890
Oil on Canvas
73.5 cm (28.9 in) x 92 cm (36.2 in)
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Blick auf Arles
Oil on Canvas
1889
72 cm (28.3 in) x 92 cm (36.2 in)
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Irises
1890
Oil on Canvas
92 cm (36.2 in) x 73.5 cm (28.9 in)
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Irises
Oil on Canvas
1889
74.3 cm (29.2 in) x 94.3 cm (37.1 in)
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La Maison de la Crau (The Old Mill)
1890
Oil on Canvas
64.8 cm (25.5 in) x 54 cm (21.2 in)
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Landscape with Wheat Sheaves and Rising Moon
Oil on Canvas
1889
73 cm (28.7 in) x 92 cm (36.2 in)
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Olive Trees with the Alpilles in the Background
1889
Oil on Canvas
73 cm (28.7 in) x 92 cm (36.2 in)
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Orchard Bordered by Cypresses
1888
Oil on Canvas
32.5 cm (12.7 in) x 40 cm (15.7 in)
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Peach Tree in Blossom
Oil on Canvas
1888
80.5 cm (31.6 in x 59.5 cm (23.4 in)
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Portrait of Vincent van Gogh
1887
Pastel on Board
(21.2 in) x 45 cm (17.7 in)
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Road with Cypress and Star
1890
Oil on Canvas
50.4 cm (19.8 in) x 101.3 cm (39.8 in)
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Six Self-Portraits
Oil on Canvas


Vincent van Gogh is known to have painted 36 self-portraits during his lifetime.
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Skull of a Skeleton with Burning Cigarette
1886 (presumed)
Oil on Canvas
32.5 cm (12.7 in) x 24 cm (9.4 in)
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Sorrowing Old Man ("At Eternity's Gate")
1890
Oil on Canvas
81 cm (31.8 in x 65 cm (25.5 in)
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Starry Night
1888
Oil on Canvas
720 mm (28.34 in) x 920 mm (36.22 in)
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Still Life: Vase with Fourteen Sunflowers
1888
Oil on Canvas
92.1 cm (36.2 in) x 73 cm (28.7 in)
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Still Life: Vase with Twelve Sunflowers
1888
Oil on Canvas
91 cm (35.8 in) x 72 cm (28.3 in)
HTMLText_F6DDD5DC_8269_C79D_41DB_7791698EE343.html =
The Church at Auvers
1890
Oil on Canvas
94 cm (37 in) x 74 cm (29.1 in)
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The Courtesan (after Eisen)
1887
Oil on Canvas
100.7 cm (39.6 in) x 60.7 cm (23.8 in)
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The Night Café
1888
Oil on Canvas
72.4 cm (28.5 in x 92.1 cm (36.2 in)
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The Pink Orchard
1890
Oil on Canvas
65 cm (25.5 in) x 81 cm (31.8 in)
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The Potato Eaters
1890
Oil on Canvas
82 cm (32.2 in) x 114 cm (44.8 in)
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The Red Vineyard / Red Vineyard at Arles
1888
Oil on Canvas
75 cm (29.5 in x 93 cm (36.6 in)
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The Sower
1888
Oil on Canvas
64.8 cm (25.5 in) x 54 cm (21.2 in)
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The Starry Night
Oil on Canvas
1889
73 cm (28.7 in) x 92 cm (36.2 in)
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Two Peasant Women
1890
Oil on Canvas
49.3 cm (19.4 in) x 64 cm (25.1 in)
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Vase with Pink Roses
1890
Oil on Canvas
93 cm (36.6 in )x 74 cm (29.1 in)
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Wheatfield Under Thunderclouds
1890
Oil on Canvas
50.4 cm (19.8 in) x 101.3 cm (39.8 in)
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Wheatfield with Crows
1890
Oil on Canvas
50.2 cm (19.7 in) x 103 cm (40.5 in)
HTMLText_DA178354_1DB0_3BBE_4180_4AC132CC2BDF.html =
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Van Gogh Museum
Museumplein 6
1071 DJ Amsterdam, Netherlands info@360masterpiece.com
+31205705200


Vincent Willem van Gogh was a Dutch Post-Impressionist painter who posthumously became one of the most famous and influential figures in Western art history.


In a decade, he created about 2,100 artworks, including around 860 oil paintings, most of which date from the last two years of his life.





HTMLText_DA178354_1DB0_3BBE_4180_4AC132CC2BDF_mobile.html =
_____
Van Gogh Museum
Museumplein 6
1071 DJ Amsterdam, Netherlands info@360masterpiece.com
+31205705200


Vincent Willem van Gogh was a Dutch Post-Impressionist painter who posthumously became one of the most famous and influential figures in Western art history.


In a decade, he created about 2,100 artworks, including around 860 oil paintings, most of which date from the last two years of his life.





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