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Vincent van Gogh

Vincent van Gogh
“I dream my painting and I paint my dream.”
Vincent van Gogh
About the artist

Dutch Post-Impressionist painter (1853–1890) whose vivid colour, restless brushwork and emotional honesty reshaped modern art. In a single decade he produced some 2,100 works — about 860 of them oil paintings — most in the final two years of his life. Largely unrecognised while alive, he is now among the most influential figures in Western art.

Artist statement

I paint because I cannot help it — colour is the language I trust more than my own words. My work is built up in thick, deliberate strokes, the paint laid on wet and direct so that each mark stays visible: I want the hand and the hour to remain in the picture, not be smoothed away. My subjects are the ordinary ones — wheatfields under a heavy sun, a chair, a pair of worn boots, the faces of people who work the land. In them I look for the feeling underneath the thing. I exaggerate the colour and let it carry the emotion: yellows that almost burn, blues that ache, a contrast pushed until it sings rather than merely describes. Technique, for me, is not polish but pressure. I work quickly, often outdoors, chasing the light before it turns, and I let the rhythm of the brush echo the movement of cypresses, of stars, of a sky that will not hold still. What I am after is consolation — to make something that touches another person the way music does, plainly and without explanation.

Wheat Field with Cypresses
  • Wheat Field with Cypresses, view 2
  • Wheat Field with Cypresses, view 3
  • Wheat Field with Cypresses, view 4

Wheat Field with Cypresses

Oil on canvas · 1889 · 28 13/16 × 36 3/4 in. (73.2 × 93.4 cm)

Painted in the high summer of 1889 during his stay at the Saint-Rémy asylum, the view pits a churning, flame-like cypress against rolling wheat and a sky of thick, scrolling cloud. The cypress — a tree the painter linked to death and the eternal — anchors a landscape that seems to breathe and writhe, every element bound together by restless, rhythmic strokes of heavy impasto. He counted it among the strongest canvases of that summer.

Shoes

Shoes

Oil on canvas · 1888 · 18 × 21 3/4 in. (45.7 × 55.2 cm)

A battered pair of worn boots, set close-up against a bare ground, becomes an unlikely portrait. With no figure present, the scuffed leather, broken laces and caked mud carry the weight of a life of labour. A humble, almost anti-heroic subject is turned into a quiet meditation on hardship, endurance and the dignity of ordinary, used-up things.

L'Arlésienne: Madame Joseph-Michel Ginoux (Marie Julien, 1848–1911)

L'Arlésienne: Madame Joseph-Michel Ginoux (Marie Julien, 1848–1911)

Oil on canvas · 1888–89 · 36 × 29 in. (91.4 × 73.7 cm)

The sitter ran the café in Arles where the artist lodged, and she is shown seated in thought with books laid before her. Built from broad planes of flat colour and a firm contour line, the portrait reflects his ambition to make a modern likeness that felt monumental and iconic. He returned to the composition more than once, treating this strong, intelligent woman almost as a secular saint.

La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930)

La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930)

Oil on canvas · 1889 · 36 1/2 × 29 in. (92.7 × 73.7 cm)

The postman's wife holds the cord of a cradle just outside the frame, conceived as a comforting image — a "lullaby in colour" — meant to hang between two sunflower paintings like a secular altarpiece. Flowered wallpaper, a green dress and a red floor press forward in bold, decorative harmony, the whole intended to console sailors and the lonely with sheer warmth of colour.

Irises

Irises

Oil on canvas · 1890 · 29 x 36 1/4 in. (73.7 x 92.1 cm)

A dense, cropped still life in which a fistful of irises crowds the entire canvas, their violet-blue petals and twisting green leaves pushing against the edges. Made in the final year of his life, it shows his debt to Japanese prints in its flattened space and emphatic outlines, and his conviction that intense, unmixed colour could carry feeling on its own.

Madame Roulin and Her Baby

Madame Roulin and Her Baby

Oil on canvas · 1888 · 25 × 20 in. (63.5 × 50.8 cm) Framed: 37 3/8 × 32 in. (94.9 × 81.3 cm)

A tender double portrait of the postman's wife cradling their infant daughter against a pale, luminous ground. Stripped of any setting, the image concentrates wholly on the bond between mother and child, rendered in soft greens and yellows with the baby's wide-eyed face at its centre — one of the series of the Roulin family the painter made as a surrogate family during his Arles months.

Self-Portrait with a Straw Hat (obverse: The Potato Peeler)

Self-Portrait with a Straw Hat (obverse: The Potato Peeler)

Oil on canvas · 1887 · 16 x 12 1/2 in. (40.6 x 31.8 cm)

One of many self-portraits made in Paris, used as a way to study colour and brushwork when models were beyond his means. Short, directional strokes in complementary blues and oranges model the face and hat, the whole surface alive with energy. The reverse of the panel carries an earlier peasant study — evidence of his thrift and his ceaseless experiment.

Women Picking Olives

Women Picking Olives

Oil on canvas · 1889 · 28 5/8 x 36 in. (72.7 x 91.4 cm)

Three women gather olives among silvery, twisting trees in a frieze-like band set against green ground and pink hills. Painted at Saint-Rémy, the olive grove was a subject charged with meaning for him, an earthly counterpart to the sacred. He made several versions, refining the decorative rhythm of figures, foliage and earth into a single flowing pattern.

First Steps, after Millet

First Steps, after Millet

Oil on canvas · 1890 · 28 1/2 x 35 7/8 in. (72.4 x 91.1 cm)

A free translation into colour of a drawing by Jean-François Millet: a toddler is let go to take its first steps toward a father who kneels with open arms. Revering Millet's images of peasant life, the painter "translated" them as a musician plays a score — keeping the composition but making the surface his own with vibrant greens and thick, tender brushwork. Its quiet domestic warmth meant a great deal to him.

ArchiveEnter the archiveOne work beyond this page
List of plates
  1. 01Wheat Field with CypressesOil on canvas · 1889 · 28 13/16 × 36 3/4 in. (73.2 × 93.4 cm)
  2. 02ShoesOil on canvas · 1888 · 18 × 21 3/4 in. (45.7 × 55.2 cm)
  3. 03L'Arlésienne: Madame Joseph-Michel Ginoux (Marie Julien, 1848–1911)Oil on canvas · 1888–89 · 36 × 29 in. (91.4 × 73.7 cm)
  4. 04La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930)Oil on canvas · 1889 · 36 1/2 × 29 in. (92.7 × 73.7 cm)
  5. 05IrisesOil on canvas · 1890 · 29 x 36 1/4 in. (73.7 x 92.1 cm)
  6. 06Madame Roulin and Her BabyOil on canvas · 1888 · 25 × 20 in. (63.5 × 50.8 cm) Framed: 37 3/8 × 32 in. (94.9 × 81.3 cm)
  7. 07Self-Portrait with a Straw Hat (obverse: The Potato Peeler)Oil on canvas · 1887 · 16 x 12 1/2 in. (40.6 x 31.8 cm)
  8. 08Women Picking OlivesOil on canvas · 1889 · 28 5/8 x 36 in. (72.7 x 91.4 cm)
  9. 09First Steps, after MilletOil on canvas · 1890 · 28 1/2 x 35 7/8 in. (72.4 x 91.1 cm)
Biography

b. 1853, Groot-Zundert, Netherlands. d. 1890, Auvers-sur-Oise, France

Vincent van Gogh worked as an artist for barely a decade, yet in that time he produced roughly 2,100 works, among them some 860 oil paintings. Largely self-taught, he moved from the sombre earth tones of his early Dutch years to the vivid colour and restless, expressive brushwork of Arles and Auvers, painting the landscape, the labour and the light around him with an urgency that would reshape modern art.

He sold almost nothing in his lifetime and struggled with illness and isolation, sustained by his brother Theo and by a conviction that colour could carry feeling directly. Today he is among the most influential figures in Western painting, and the works he made in his final two years are among the most recognised images in the world.

Education

  • 1869Trainee, Goupil & Cie art dealers, The Hague and Paris
  • 1880Self-taught in drawing; briefly at the Académie Royale des Beaux-Arts, Brussels
  • 1885Antwerp Academy of Fine Arts
  • 1886Atelier of Fernand Cormon, Paris

Selected exhibitions

  • 1888Studio of the South, Yellow House, Arles
  • 1889Salon des Indépendants, Paris
  • 1890Les XX, Brussels
  • 1890Salon des Indépendants, Paris
  • 1891Memorial hang, Salon des Indépendants, Paris

Awards & residencies

  • 1890The Red Vineyard sold at Les XX, Brussels, his only documented sale in life
  • 1901First major retrospective, Galerie Bernheim-Jeune, Paris

Collections

  • Van Gogh Museum, Amsterdam
  • Kröller-Müller Museum, Otterlo
  • Musée d’Orsay, Paris
  • The Metropolitan Museum of Art, New York
  • The National Gallery, London
  • Museum of Modern Art, New York

Press

  • 1890Les Isolés: Vincent van Gogh, by Albert Aurier, Mercure de France
  • 1891Memorial notice, Mercure de France
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Vincent van Gogh · 9 works · 2026

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