Vincent van Gogh Art

Vincent van Gogh 1853-1890 I Dutch Still Life with Two Sacks and a Bottle Oil on canvas laid on panel This magnificent still life is by Post-Impressionist master Vincent van Gogh....

Vincent van Gogh 1853-1890 Dutch Head of a Fisherman Pencil and black lithographic crayon on paper An exquisite masterpiece by the legendary Vincent van Gogh, this drawing entitl...

Vincent van Gogh 1853-1890 Dutch Tête de paysanne à la coiffe blanche Oil on canvas laid down on panel A striking and evocative example of Vincent van Gogh’s early portraiture, Tête de paysanne à la coiffe blanche showcases the artists’ powerful ability to capture both the likeness and the essence of his sitters. Rendered in thick, deliberate brushstrokes, van Gogh paints his sitter with an unbroken forward gaze. The composition's tertiary palette conjures a dimly lit evening setting, accentuating the dramatic lighting of the subject's solemn face. The woman’s white headpiece...

Vincent van Gogh 1853-1890 Dutch View of La Crau with Tree in the Foreground Signed "Vincent" (lower left) Pencil, Reed Pen and Ink on Paper “In my opinion the two views of the Crau and of the country on the banks of the Rhone are the best things I have done in pen and ink”— Vincent van Gogh to his brother Theo, Letter 509. Drawn in the countryside of Arles, France in May of 1888, Vincent van Gogh’s View of La Crau with Tree in the Foreground, is an exceptional example of the artist’s groundbreaking artistic approach, innovative understanding of spatial planes and expressive rendering of untamed nature. Prior to his time in Arles, much of van Gogh’s work fell in line with the standards put forth by the Academy — traditional subject matters rendered in the accepted techniques. In 1888, upon his arrival in the French countryside, van Gogh entered a decisively new creative phase, experimenting with the thrilling abstraction and brushwork that would come to define his genius. Works produced between 1888 and 1890 are the best of van Gogh’s career and the most desired compositions among collectors and museums. Because of van Gogh’s prolific correspondence during this time, the creation of this drawing has been extremely well documented, emphasizing how importantly van Gogh himself viewed this work during his lifetime. In Arles, the hill of the Abbey of Mont Majour was a favorite drawing spot for van Gogh – it was within walking distance of his famed “Yellow House” studio and its slopes afforded excellent panoramic views of La Crau, the plain through which the river Rhone meanders towards the Mediterranean. Van Gogh made a number of drawings of the rocky hill and the ancient abbey, but his most impressive drawings were composed when the artist was perched atop the hill. This view of La Crau is taken from the vantage point at the top of Mont Majour. Van Gogh kept the horizon low and rendered an abundance of sky, against which he silhouetted a large tree swirling with voluminous branches and leaves. The expressive abstraction seen in the lines of the tree recalls the mystifying swirls of van Gogh’s later masterpiece Starry Night. The composition, with enlarged foreground and diminished middle distance and background offers a dramatic contrast and underscores van Gogh’s unique understanding of space. Van Gogh’s drawings of La Crau were not preparatory studies or sketches, but rather, conceived as individual works of art in their own right. This view of La Crau was part of a group of seven drawings that van Gogh executed during May 1888. Van Gogh was quite taken with this composition, writing to his brother Theo that, "The contrast between the wild romantic foreground, and the distant perspective, wide and still, with horizontal lines sloping into the chain of the Alps ... is very striking”(Letter no. 470), adding that the view to him was, “as beautiful and as infinite as the sea.” As evidenced by van Gogh’s own glowing writings on these works, it is clear that these drawings are some of the artist’s most beloved. Other drawings of La Crau from this series reside in the British Museum and at the Van Gogh Museum in Amsterdam. This drawing has been featured in several exhibitions, holding a privileged position in the Metropolitan Museum of Art’s 1984 exhibition Van Gogh in Arles, as reflected in the popular exhibition catalogue. Van Gogh’s period in Arles was marked by revelatory creative development and a most impressive artistic output against the backdrop of the artist’s growing mental duress. Van Gogh was open about his struggles, reflecting sentiments like, “My brain is still feeling tired and dried up.” However, he found solace in his work, noting that in spite of his deteriorating state, “some good canvases have come out of it.” This beautiful and rare drawing is an important work by the modern master and reflects van Gogh’s profound and persistent desire to create and evolve despite his struggles. Paper: 11 1/4“ high by 18 1/4" wide Framed: 21 7/8" high by 28 5/8" wide by 1 1/4" deep Exhibited: European Master Drawings of the Nineteenth and Twentieth Centuries, Mills College Art Gallery, Oakland, CA, February 19-March 29, 1939, no. 118. Exhibition traveled to Seattle, Art Museum, April 5-May 7, 1939 Master Drawings, Wildenstein, New York, NY, February-March, 1973 From Bosch to Klee, Wildenstein, New York, NY, September 11-October 12, 1974 Scenes of France, Wildenstein, New York, NY, September 7-October 2, 1976 Van Gogh in Arles The Metropolitan Museum of Art, New York, NY, October 18-December 30, 1984, no. 31, (cat. by Ronald Pickvance) References: Jacob-Baart de la Faille, L'Œuvre de Vincent van Gogh: catalogue raisonné, Paris and Brussels, 1928, III, p. 129, no. 1418. Illustrated IV, pl. CXLIX, no. 1418 Annet Tellegen, “Van Gogh en Montmajour,” Bulletin Museum Boymans-van Beuningen, XVIII, No. 1, 1967, p. 29. Illustrated fig. 23 Jacob-Baart de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, Amsterdam, 1970, pp. 497, no. F 1418; cited under no. F 1417; 662, no. F 1418. Illustrated p. 497 Charles W. Millard, “A Chronology for Van Gogh's Drawings of 1888,” Master Drawings, vol. XII, No. 2, 1974, p. 158 Jan Hulsker, The Complete Van Gogh: Paintings, Drawings, Sketches, New York, 1980, p. 324, no. 1431; also cited p. 322. Illustrated p. 324 Otterlo, Rijksmuseum Kröller-Müller, Vincent van Gogh, dessins, 1990, pp. 221, 222, 227 Jan Hulsker, The New Complete Van Gogh: Paintings, Drawings, Sketches, Amsterdam and Philadelphia, 1996, p. 324, no. 1431; also cited pp. 318/320. Illustrated p. 324 New York, The Metropolitan Museum of Art, and Amsterdam, The Van Gogh Museum, Vincent Van Gogh: The Drawings, 2005, cited in essay by Susan Alyson Stein, “First Encounters,” p. 150; and in essay by S. van Heugten, “Metamorphoses: Van Gogh’s Drawings Then and Now,” p. 55 note 10 Leo Jansen...

Vincent van GOGH (after) Father Tanguy (portrait) with Japanese background (1887) stone lithograph after original oil painting of 1887 which is Musée Rodin in Paris On edition paper...

Vincent van GOGH (after) Man with Blue Hat (Portrait de jeune homme, 1888) Stone lithograph after original oil painting of 1888 which is in Museum Folkwang in Essen On edition paper 75 x 50 cm This poster was printed in 1960 by Mourlot for Jacquemart André...

Vincent van GOGH (after) Le collégien "The pupil" (1888) Stone lithograph after original oil painting of 1888 which is in Museum of Art in Sao Paulo On edition paper 74 x 50 cm ...

Vincent van GOGH (after) Father Tanguy (portrait) with Japanese background (1887) stone lithograph after original oil painting of 1887 which is Musée Rodin in Paris On edition p...

Vincent VAN GOGH (After) Le Paysan (The Peasant) Etching and aquatint engraving on Arches Vellum paper, engraved by Jacques Villon from Van Gogh's original Signed in the plate ...