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Vincent
Van Gogh


HTMLText_FC6D48C2_E16A_F4C7_41E0_B50BFF5743EC_mobile.html =







Vincent
Van Gogh


HTMLText_274171DD_3566_5967_41AA_F5745EB98339.html =
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01.
Almond Blossom
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02.
The Sower
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03.
Starry Night
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04.
Seascape near Les Saintes
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05.
Wheatfield
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06.
Head of a Woman
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07.
The Furrows
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08.
Woman with a Mourning Shawl
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09.
The Hill of Montmartre with Stone Quarry
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10.
Portrait of an Old Woman
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11.
Frontispiece of the series Elles
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12.
Window in the Studio
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13.
Congregation Leaving the Reformed Church in Nuenen
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14.
Tulip Fields near The Hague
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15.
The Little Laundress
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16.
Worn Out
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17.
Pollard Birches
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18.
Irises
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19.
The Rock of Montmajour with Pine Trees
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19.
Peasant Woman Digging
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Almond Blossom (February 1890)
Vincent van Gogh


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.
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Congregation Leaving the Reformed Church in Nuenen
(January-February 1884 and Autumn 1885)
Vincent van Gogh


The Reformed Church is a Christian denomination that was founded by Martin Luther. It is different from Catholicism in various ways, such as the administration of sacraments, the belief in the authority of scriptures, and the use of the vernacular in worship services. The church has congregations all over the world, but the departure of a congregation from any church leaves a dent, and it is essential to understand the reasons behind it.
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Frontispiece of the series Elles
(1896)
Henri de Toulouse-Lautrec


The print series Elles shows scenes from Parisian maisons closes – brothels tolerated and inspected by the French state. Henri de Toulouse-Lautrec was a regular visitor, and even lodged in them at times. His series of prints explores the daily life of the prostitutes.


We see the women in their private rooms, sleeping, eating breakfast, washing or waiting for clients. By modern standards, these intimate scenes do not have an explicitly erotic character, but prints like this were considered scandalous and immoral in Lautrec’s time.


Lithography was an immensely popular technique among nineteenth-century artists, and it is clear from this series that Lautrec was a master of it. Some of his lithographs comprise large expanses of colour and leap from the paper. In others, he used a single colour, building up the image purely from subtle lines. He also made use of the crachis or spatter technique. The exclusive character of this famous series is emphasized by the deluxe paper on which it has been printed and by the limited print run.
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Head of a Woman
(April 1885)
Vincent van Gogh


This woman is Gordina de Groot, who posed with her family for The Potato Eaters. To prepare for that painting, Van Gogh made over 40 studies of farmworkers' heads, including this one. He hoped this would make him a better figure painter.
Van Gogh wanted to portray peasants as people of a special kind, who had been working the land for centuries. 'They remind one of the earth, sometimes appear to have been modelled out of it,' Vincent wrote to his brother Theo.
This work was a study in colour. Van Gogh concentrated on the complementary colours red and green.
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Irises
(May 1890)
Vincent van Gogh


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.
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Peasant Woman Digging
(July-September 1885)
Vincent van Gogh


Van Gogh struggled for a long time to represent figures convincingly: they tended to look too flat. He realised in 1885 that he needed to build them up from large round forms rather than contours. This burly peasant woman is a successful example. The proportions may not be accurate, but this was deliberate: Van Gogh wanted to make the drawing more expressive.


In a letter to his brother Theo, Vincent described his drawings of farm workers as 'the start of a whole series about all kinds of work in the fields'. He hoped that scenes of this kind would establish his reputation as an artist of peasant life.
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Pollard Birches
(March 1884)
Vincent van Gogh


Van Gogh loved pollard trees with their gnarled trunks. They feature prominently in many of his paintings and drawings, including this one. In a letter to his brother Theo, he compared a row of pollard trees to a 'procession of orphan men'. What he meant was that nature had a soul of its own.


This work is part of a series of seven pen and ink drawings of Brabant landscapes from 1884. The compositions are compelling. The way he drew it, with a great deal of hatching, shows his individual style. The drawings form a high point of Van Gogh's work in the Netherlands.
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Portrait of an Old Woman
(December 1885)
Vincent van Gogh


The old woman's grey hair sticks out from under her white cap. Van Gogh liked bonnets like this, which made a fine contrast with dark clothing and backgrounds. Using rough brushstrokes, Van Gogh suggested the shadows in her face.


In Antwerp (BE), Van Gogh wanted to master portrait painting. He heard from local art dealers that women's heads sold better than men's. From that time on, he focused on female models.
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Seascape near Les Saintes
(June 1888)
Vincent van Gogh


We can tell that Van Gogh painted this view of the sea from the beach, as grains of sand have been found in the paint layers. It was done at the fishing village of Les Saintes-Maries-de-la-Mer, during a trip he took from Arles in the south of France.


In addition to the blue and white that he brushed onto the canvas with bold strokes, he used green and yellow for the waves.


He applied these colours with a palette knife, neatly capturing the effect of the light through the waves. Van Gogh was enthusiastic about the colours of the Mediterranean Sea. He wrote that it ‘has a colour like mackerel, in other words, changing – you don’t always know if it’s green or purple – you don’t always know if it’s blue – because a second later, its changing reflection has taken on a pink or grey hue’. The bright red signature has been placed prominently in the foreground: it was intended as a ‘red note in the green’.
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Starry night
(1989)
Vincent van Gogh


The Starry Night is an oil painting by Dutch artist Vincent van Gogh, created in 1889. It depicts a night sky filled with swirling clouds, a bright crescent moon, and shining stars above a small town with a prominent cypress tree in the foreground. The painting is considered one of van Gogh's greatest works and is known for its vivid colors and bold brushstrokes. It is currently on display at the Museum of Modern Art in New York City.
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The Furrows
(September 1888)
Vincent van Gogh


Van Gogh applied the paint thickly here, in all directions, to depict the overturned clods of earth. He was fairly satisfied with this landscape. In a letter to his brother, he wrote that Theo would like it too, because it was 'calmer than some other canvases'. He hoped that this quality would attract a buyer. But the painting was never sold.


Van Gogh wanted to hang it in the Yellow House in Arles, which had become his new home a week earlier. He ordered a frame made of white deal, a light wood that he chose to match the colours in the painting.
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The Hill of Montmartre with Stone Quarry
(June-July 1886)
Vincent van Gogh


The Paris district of Montmartre is well known for the artists who live and work there. That was already true in Van Gogh's day. But the hill of Montmartre then had buildings only on one side. Here, Van Gogh painted the other side. You can see quarries and a view of the mills, which had already been absorbed into the built-up part of the district. In the foreground is a pile of wood; behind it are blocks of stone.


Van Gogh was not the only artist to paint this picturesque place. He hoped that if he depicted a familiar scene, his painting would sell well. Unfortunately, it did not work out that way.
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The Little Laundress
(1896)
Pierre Bonnard


The French artist Pierre Bonnard was brilliant at representing intimate, everyday scenes. This laundrywoman is a beautiful example. The little figure with her big basket creates a simple, touching atmosphere, which is heightened by the little dog.


Bonnard constructed the scene from a series of planes, to which the lithography technique lent itself well. The grey street with its white stones takes up a large part of the image. The silhouette of the laundrywoman stands out strongly against the light background – a pictorial style that derives from Japanese printmaking. The shadow theatre of the print artist Henri Rivière was another source of inspiration. Performances at Le Chat Noir nightclub used figures cut from sheets of zinc, the shadows of which were cast onto a white screen by a bright light. Bonnard and his fellow artists were regular members of the audience.


The Little Laundress comes from the Album des peintres-graveurs, which contained twenty-two prints in a variety of styles and techniques, each by a different artist or engraver. It was offered for sale by the art dealer Ambroise Vollard at 150 francs a copy. Publishing a compilation like this was a way to meet strong demand for prints.
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The Rock of Montmajour with Pine Trees
(July 1888)
Vincent van Gogh


Van Gogh drew this jagged rock with pine trees using a reed pen – a drawing tool that lent itself to supple and vigorous lines. He developed his own drawing style with it, consisting of stipples and stripes in all sizes, thicknesses and directions.


Van Gogh made this drawing on the hill of Montmajour, near Arles. His fascination with the landscape around the hill inspired a series of pen drawings, which form a high point in his oeuvre. He accepted the fierce mistral wind and the many mosquitoes as the price he had to pay. 'If a view makes one forget those little vexations, there must be something in it,' he wrote to his brother Theo.
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The Sower
(1888)
Vincent van Gogh


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.
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Tulip Fields near The Hague
(1886)
Claude Monet


Claude Monet was enormously impressed by the brightly coloured bulb fields of Holland. In the early spring of 1886, he wrote to a friend that the sight was ‘impossible to convey with our poor colours’. Monet had been to the Netherlands before, but was painting the sea of flowers for the first time.


Back in Paris, he sold the painting via art dealers Boussod, Valadon & Cie, where Theo van Gogh worked. It’s quite possible that his brother Vincent saw it there. Vincent gradually came to admire Monet’s swift brushstrokes and bright colours.
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Wheatfield
(June 1888)
Vincent van Gogh


'I've had a week of concentrated hard work in the wheatfields right out in the sun,' Vincent wrote to his brother Theo. He was busy experimenting with brushwork and colour – for example, in this painting. Here he juxtaposes the golden yellow of the ripe wheat with a swirl of many different colours for the plants in the foreground. The horizon is high, so the field takes up almost the entire painting.


Van Gogh painted this subject many times that summer. He wrote to his friend Émile Bernard, 'Old gold yellow landscapes — done quick quick quick and in a hurry, like the reaper who is silent under the blazing sun, concentrating on getting the job done.'
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Window in the Studio
(Sep-Oct 1889)
Vincent van Gogh


Van Gogh was allowed to use this room with a barred window as a studio in the hospital in Saint-Rémy. The window looks out over the walled garden. Pots and bottles stand on the windowsill. Several of Van Gogh's own paintings hang on either side of the window.


Van Gogh began by setting out his design in black chalk. Then he developed the drawing further using thinned oil paint and a little watercolour. Between the bars and the blue of the sky he left the paper visible, which adds depth to the scene.
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Woman with a Mourning Shawl
(March-May 1885)
Vincent van Gogh


Here, Van Gogh was practising painting strong contrasts between light and dark, using only a few colours – ochre for hands and face and green for background and clothing.


The woman is wearing a ‘falie’ or mourning shawl. If you look carefully, you can just spot a white bonnet peeping out from under it. In the spring and summer of 1885, Van Gogh drew and painted other women wearing shawls over their heads in this way. They were worn at funerals or when in mourning.
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Worn Out
(November 1882)
Vincent van Gogh


'What a fine sight an old working man makes, in his patched bombazine suit with his bald head,' Van Gogh wrote about this drawing. The artist had a penchant for working-class figures, marked by life, and the title Worn Out emphasizes the dramatic element of his chosen theme.


This tired, bent old man lived at the Dutch Reformed Almshouse for Men and Women in The Hague. Residents of the home posed for Van Gogh in old, worn-out clothing in return for a small payment.


Van Gogh made dozens of large figure drawings in The Hague, in which he practised representing human proportions, poses and facial expressions.
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01.
Almond Blossom
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02.
The Sower
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03.
Starry Night
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04.
Seascape near Les Saintes
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05.
Wheatfield
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06.
Head of a Woman
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07.
The Furrows
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08.
Woman with a Mourning Shawl
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09.
The Hill of Montmartre with Stone Quarry
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10.
Portrait of an Old Woman
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11.
Frontispiece of the series Elles
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12.
Window in the Studio
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13.
Congregation Leaving the Reformed Church in Nuenen
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14.
Tulip Fields near The Hague
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15.
The Little Laundress
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16.
Worn Out
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17.
Pollard Birches
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18.
Irises
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19.
Peasant Woman Digging
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19.
Peasant Woman Digging
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19.
The Rock of Montmajour with Pine Trees
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Congregation Leaving the Reformed Church in Nuenen
(January-February 1884 and Autumn 1885)
Vincent van Gogh


The Reformed Church is a Christian denomination that was founded by Martin Luther. It is different from Catholicism in various ways, such as the administration of sacraments, the belief in the authority of scriptures, and the use of the vernacular in worship services. The church has congregations all over the world, but the departure of a congregation from any church leaves a dent, and it is essential to understand the reasons behind it.
HTMLText_160BC388_35A7_D9ED_41CA_3459C4FDEFAE_mobile.html =
Frontispiece of the series Elles
(1896)
Henri de Toulouse-Lautrec


The print series Elles shows scenes from Parisian maisons closes – brothels tolerated and inspected by the French state. Henri de Toulouse-Lautrec was a regular visitor, and even lodged in them at times. His series of prints explores the daily life of the prostitutes.


We see the women in their private rooms, sleeping, eating breakfast, washing or waiting for clients. By modern standards, these intimate scenes do not have an explicitly erotic character, but prints like this were considered scandalous and immoral in Lautrec’s time.


Lithography was an immensely popular technique among nineteenth-century artists, and it is clear from this series that Lautrec was a master of it. Some of his lithographs comprise large expanses of colour and leap from the paper. In others, he used a single colour, building up the image purely from subtle lines. He also made use of the crachis or spatter technique. The exclusive character of this famous series is emphasized by the deluxe paper on which it has been printed and by the limited print run.
HTMLText_16946C5A_35A9_CF6D_41C8_85AF452245F0_mobile.html =
Head of a Woman
(April 1885)
Vincent van Gogh


This woman is Gordina de Groot, who posed with her family for The Potato Eaters. To prepare for that painting, Van Gogh made over 40 studies of farmworkers' heads, including this one. He hoped this would make him a better figure painter.
Van Gogh wanted to portray peasants as people of a special kind, who had been working the land for centuries. 'They remind one of the earth, sometimes appear to have been modelled out of it,' Vincent wrote to his brother Theo.
This work was a study in colour. Van Gogh concentrated on the complementary colours red and green.
HTMLText_11BF2016_35AA_D6E5_41B3_CA1E362A6975_mobile.html =
Irises
(May 1890)
Vincent van Gogh


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.
HTMLText_4DCFE53E_755D_76BA_41CC_64752279A5ED_mobile.html =
Peasant Woman Digging
(July-September 1885)
Vincent van Gogh


Van Gogh struggled for a long time to represent figures convincingly: they tended to look too flat. He realised in 1885 that he needed to build them up from large round forms rather than contours. This burly peasant woman is a successful example. The proportions may not be accurate, but this was deliberate: Van Gogh wanted to make the drawing more expressive.


In a letter to his brother Theo, Vincent described his drawings of farm workers as 'the start of a whole series about all kinds of work in the fields'. He hoped that scenes of this kind would establish his reputation as an artist of peasant life.
HTMLText_046BF065_7755_AECE_41B3_013398861CEF_mobile.html =
Peasant Woman Digging
(July-September 1885)
Vincent van Gogh


Van Gogh struggled for a long time to represent figures convincingly: they tended to look too flat. He realised in 1885 that he needed to build them up from large round forms rather than contours. This burly peasant woman is a successful example. The proportions may not be accurate, but this was deliberate: Van Gogh wanted to make the drawing more expressive.


In a letter to his brother Theo, Vincent described his drawings of farm workers as 'the start of a whole series about all kinds of work in the fields'. He hoped that scenes of this kind would establish his reputation as an artist of peasant life.
HTMLText_11D9571E_35AA_DAE4_41AE_467B6FF0C733_mobile.html =
Pollard Birches
(March 1884)
Vincent van Gogh


Van Gogh loved pollard trees with their gnarled trunks. They feature prominently in many of his paintings and drawings, including this one. In a letter to his brother Theo, he compared a row of pollard trees to a 'procession of orphan men'. What he meant was that nature had a soul of its own.


This work is part of a series of seven pen and ink drawings of Brabant landscapes from 1884. The compositions are compelling. The way he drew it, with a great deal of hatching, shows his individual style. The drawings form a high point of Van Gogh's work in the Netherlands.
HTMLText_16025500_35A7_DEDC_41B7_28F016C50F48_mobile.html =
Portrait of an Old Woman
(December 1885)
Vincent van Gogh


The old woman's grey hair sticks out from under her white cap. Van Gogh liked bonnets like this, which made a fine contrast with dark clothing and backgrounds. Using rough brushstrokes, Van Gogh suggested the shadows in her face.


In Antwerp (BE), Van Gogh wanted to master portrait painting. He heard from local art dealers that women's heads sold better than men's. From that time on, he focused on female models.
HTMLText_2AA2B3A7_35A6_D923_41C0_899110461E57_mobile.html =
Seascape near Les Saintes
(June 1888)
Vincent van Gogh


We can tell that Van Gogh painted this view of the sea from the beach, as grains of sand have been found in the paint layers. It was done at the fishing village of Les Saintes-Maries-de-la-Mer, during a trip he took from Arles in the south of France.


In addition to the blue and white that he brushed onto the canvas with bold strokes, he used green and yellow for the waves.


He applied these colours with a palette knife, neatly capturing the effect of the light through the waves. Van Gogh was enthusiastic about the colours of the Mediterranean Sea. He wrote that it ‘has a colour like mackerel, in other words, changing – you don’t always know if it’s green or purple – you don’t always know if it’s blue – because a second later, its changing reflection has taken on a pink or grey hue’. The bright red signature has been placed prominently in the foreground: it was intended as a ‘red note in the green’.
HTMLText_2E6FCF30_355E_493C_41A4_AEC36600E57A_mobile.html =
Starry Night
(1989)
Vincent van Gogh


The Starry Night is an oil painting by Dutch artist Vincent van Gogh, created in 1889. It depicts a night sky filled with swirling clouds, a bright crescent moon, and shining stars above a small town with a prominent cypress tree in the foreground. The painting is considered one of van Gogh's greatest works and is known for its vivid colors and bold brushstrokes. It is currently on display at the Museum of Modern Art in New York City.
HTMLText_168BAAD1_35A9_CB7F_41B3_31C341180910_mobile.html =
The Furrows
(September 1888)
Vincent van Gogh


Van Gogh applied the paint thickly here, in all directions, to depict the overturned clods of earth. He was fairly satisfied with this landscape. In a letter to his brother, he wrote that Theo would like it too, because it was 'calmer than some other canvases'. He hoped that this quality would attract a buyer. But the painting was never sold.


Van Gogh wanted to hang it in the Yellow House in Arles, which had become his new home a week earlier. He ordered a frame made of white deal, a light wood that he chose to match the colours in the painting.
HTMLText_1619E671_35A7_DB3C_41A0_CCA383170D1C_mobile.html =
The Hill of Montmartre with Stone Quarry
(June-July 1886)
Vincent van Gogh


The Paris district of Montmartre is well known for the artists who live and work there. That was already true in Van Gogh's day. But the hill of Montmartre then had buildings only on one side. Here, Van Gogh painted the other side. You can see quarries and a view of the mills, which had already been absorbed into the built-up part of the district. In the foreground is a pile of wood; behind it are blocks of stone.


Van Gogh was not the only artist to paint this picturesque place. He hoped that if he depicted a familiar scene, his painting would sell well. Unfortunately, it did not work out that way.
HTMLText_10F35DBB_35A7_C923_41C0_C6EEEC48FEAE_mobile.html =
The Little Laundress
(1896)
Pierre Bonnard


The French artist Pierre Bonnard was brilliant at representing intimate, everyday scenes. This laundrywoman is a beautiful example. The little figure with her big basket creates a simple, touching atmosphere, which is heightened by the little dog.


Bonnard constructed the scene from a series of planes, to which the lithography technique lent itself well. The grey street with its white stones takes up a large part of the image. The silhouette of the laundrywoman stands out strongly against the light background – a pictorial style that derives from Japanese printmaking. The shadow theatre of the print artist Henri Rivière was another source of inspiration. Performances at Le Chat Noir nightclub used figures cut from sheets of zinc, the shadows of which were cast onto a white screen by a bright light. Bonnard and his fellow artists were regular members of the audience.


The Little Laundress comes from the Album des peintres-graveurs, which contained twenty-two prints in a variety of styles and techniques, each by a different artist or engraver. It was offered for sale by the art dealer Ambroise Vollard at 150 francs a copy. Publishing a compilation like this was a way to meet strong demand for prints.
HTMLText_119BAEC0_35AA_CB5C_41B5_54D1ACE9EA16_mobile.html =
The Rock of Montmajour with Pine Trees
(July 1888)
Vincent van Gogh


Van Gogh drew this jagged rock with pine trees using a reed pen – a drawing tool that lent itself to supple and vigorous lines. He developed his own drawing style with it, consisting of stipples and stripes in all sizes, thicknesses and directions.


Van Gogh made this drawing on the hill of Montmajour, near Arles. His fascination with the landscape around the hill inspired a series of pen drawings, which form a high point in his oeuvre. He accepted the fierce mistral wind and the many mosquitoes as the price he had to pay. 'If a view makes one forget those little vexations, there must be something in it,' he wrote to his brother Theo.
HTMLText_2E6A60BF_355E_5723_41C4_A098A3A230B6_mobile.html =
The Sower
(November 1888)
Vincent van Gogh


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.
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Tulip Fields near The Hague
(1886)
Claude Monet


Claude Monet was enormously impressed by the brightly coloured bulb fields of Holland. In the early spring of 1886, he wrote to a friend that the sight was ‘impossible to convey with our poor colours’. Monet had been to the Netherlands before, but was painting the sea of flowers for the first time.


Back in Paris, he sold the painting via art dealers Boussod, Valadon & Cie, where Theo van Gogh worked. It’s quite possible that his brother Vincent saw it there. Vincent gradually came to admire Monet’s swift brushstrokes and bright colours.
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Wheatfield
(June 1888)
Vincent van Gogh


'I've had a week of concentrated hard work in the wheatfields right out in the sun,' Vincent wrote to his brother Theo. He was busy experimenting with brushwork and colour – for example, in this painting. Here he juxtaposes the golden yellow of the ripe wheat with a swirl of many different colours for the plants in the foreground. The horizon is high, so the field takes up almost the entire painting.


Van Gogh painted this subject many times that summer. He wrote to his friend Émile Bernard, 'Old gold yellow landscapes — done quick quick quick and in a hurry, like the reaper who is silent under the blazing sun, concentrating on getting the job done.'
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Window in the Studio
(September-October 1889)
Vincent van Gogh


Van Gogh was allowed to use this room with a barred window as a studio in the hospital in Saint-Rémy. The window looks out over the walled garden. Pots and bottles stand on the windowsill. Several of Van Gogh's own paintings hang on either side of the window.


Van Gogh began by setting out his design in black chalk. Then he developed the drawing further using thinned oil paint and a little watercolour. Between the bars and the blue of the sky he left the paper visible, which adds depth to the scene.
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Woman with a Mourning Shawl
(March-May 1885)
Vincent van Gogh


Here, Van Gogh was practising painting strong contrasts between light and dark, using only a few colours – ochre for hands and face and green for background and clothing.


The woman is wearing a ‘falie’ or mourning shawl. If you look carefully, you can just spot a white bonnet peeping out from under it. In the spring and summer of 1885, Van Gogh drew and painted other women wearing shawls over their heads in this way. They were worn at funerals or when in mourning.
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Worn Out
(November 1882)
Vincent van Gogh


'What a fine sight an old working man makes, in his patched bombazine suit with his bald head,' Van Gogh wrote about this drawing. The artist had a penchant for working-class figures, marked by life, and the title Worn Out emphasizes the dramatic element of his chosen theme.


This tired, bent old man lived at the Dutch Reformed Almshouse for Men and Women in The Hague. Residents of the home posed for Van Gogh in old, worn-out clothing in return for a small payment.


Van Gogh made dozens of large figure drawings in The Hague, in which he practised representing human proportions, poses and facial expressions.
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Almond Blossom
(February 1890)
Vincent van Gogh


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.
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