Vincent van Gogh

van Gogh, Vincent

Dutch, 1853 - 1890

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A profusion of white roses bursting from the neck of a tan jug almost fills the height of this horizontal still life painting. The roses have large, round blooms with petals tinged with denim and aquamarine blue, sage green, mauve pink, teal, and butter yellow. Emerald-green leaves fill the spaces between blossoms. The jug has a short, rounded handle and sits on a sea glass-green surface. A few blooms lie in the lower left corner and at the foot of the vessel. Many of the flowers, leaves, and vase are outlined with navy blue or black. A mint-green wall with wavy, diagonal streaks of cream white fills the background. The paint is applied thickly with visible strokes.
Vincent van Gogh, Roses, 1890, oil on canvas, Gift of Pamela Harriman in memory of W. Averell Harriman, 1991.67.1

Roses

Vincent van Gogh · 1890 · oil on canvas ·  Accession ID  1991.67.1

Verdant green fields roll in undulating waves back alongside a road in this horizontal landscape painting. The fields take up the left and center of the composition and are painted with thick, curling strokes of emerald, pea, and celery green, and corn yellow to suggest grasses and plants. The pale green road runs up along the right edge of the painting, and is layered with strokes and daubs in butter yellow, spring green, and faint blue. The fields and road meet the horizon line about halfway up the canvas, where an aquamarine-blue sky swirling with white and periwinkle-blue clouds fills the top half of the painting.
Vincent van Gogh, Green Wheat Fields, Auvers, 1890, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 2013.122.1

Green Wheat Fields, Auvers

Vincent van Gogh · 1890 · oil on canvas ·  Accession ID  2013.122.1

Shown from the knees up, a pale-skinned woman wearing a floppy, canary-yellow hat and a long white dress stands in a field of spring green in this vertical painting. Brushstrokes and loose dabs of paint are visible throughout. The woman’s body is angled to our left, and she looks off in that direction with bright green eyes. Her nose, eyebrows, and narrow chin are outlined with medium brown, and her pink lips are closed. Her black hair is pulled back under the hat, the wide brim of which droops down either side of her face. A sky-blue ribbon or decoration is on the front of the crown. Her dress has a high collar, a fitted bodice, long sleeves, and a long skirt. Pale pink daubs on the white dress are thickly applied so the texture of the paint can be seen on the surface of the canvas. The background is painted with long and short curved dashes of celery green layered over laurel and cool green. Several tangerine-orange dots, a few shell-pink dabs, and some angular, heart-shaped forms in cobalt blue to each side of the woman suggest flowers.
Vincent van Gogh, Girl in White, 1890, oil on canvas, Chester Dale Collection, 1963.10.30

Girl in White

Vincent van Gogh · 1890 · oil on canvas ·  Accession ID  1963.10.30

Vincent van Gogh, Paul Louis Lucien Gachet, Dr. Gachet (Man with a Pipe), 1890, etching on Japanese paper, Rosenwald Collection, 1943.3.8221

Dr. Gachet (Man with a Pipe)

Vincent van Gogh, Paul Louis Lucien Gachet · 1890 · etching on Japanese paper ·  Accession ID  1943.3.8221

Shown from the chest up, a man with short, orange hair and green-tinted, pale skin looks at us, wearing a vivid blue painter's smock in this vertical portrait painting. His smock and the background are painted with long, mostly parallel strokes of cobalt, azure, and lapis blue. His shoulders are angled to our left, and he looks at us from the corners of his blue eyes. He has a long, slightly bumped nose, and his lips are closed within a full, rust-orange beard. He holds a palette and paintbrushes in his left hand, in the lower left corner of the canvas. The background is painted with long brushstrokes that follow the contours of his head and torso to create an aura-like effect.
Vincent van Gogh, Self-Portrait, 1889, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1998.74.5

Self-Portrait

Vincent van Gogh · 1889 · oil on canvas ·  Accession ID  1998.74.5

Nine oranges and lemons sit in a shallow basket with dark green, spiky branches behind and a pair of cobalt-blue gloves in front in this horizontal still life painting. The scene is painted with long, loose brushstrokes, which are visible throughout. The muted orange and golden yellow fruit are outlined with blue, as is the woven basket in which they sit. The two cypress branches behind and to either side of the basket are painted with sky blue along the stems and long, bristly needles. The gloves sit one atop the other near the lower right corner, and the top glove has three brown stripes down the back. The surface beneath the still life is sand brown, and the pale turquoise background takes up the top third of the composition. The artist signed and dated this with the location in the lower right corner, “Vincent Arles 89.”
Vincent van Gogh, Still Life of Oranges and Lemons with Blue Gloves, 1889, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 2014.18.13

Still Life of Oranges and Lemons with Blue Gloves

Vincent van Gogh · 1889 · oil on canvas ·  Accession ID  2014.18.13

Three women stand on or next to a ladder picking olives in an orchard in this horizontal landscape painting. The women, trees, ground, and sky are all painted with long, parallel brushstrokes that curve and swirl over the canvas. The palette is dominated by sage and laurel green, tan and chocolate brown, spruce blue, and eggshell white. The women are outlined with dark brown lines. All three wear long skirts and long-sleeved shirts, and all reach for olives on the trees or into baskets. One woman, to our left, stands on the ladder and faces us; the second woman leans or sits against the right side of the ladder and faces away, her hair covered in a cloth; and the third woman stands at the foot of the ladder to our right, turning away from us. The tan and pale green of their clothing is echoed in trees around them. Short, distinct brushstrokes in pine and light green, with a few touches of silvery blue, create leaves on trees whose gnarled trunks are outlined with dark brown. The horizon line comes about a third of the way up the composition, and the sky above is painted with distinct strokes of ivory, pale mint green, and a few touches of shell pink. The ground around the women and trees is painted with sage and celery green, slate blue, and brown. The brushstrokes are spaced far enough apart in places that bare canvas is visible underneath, especially in the ground.
Vincent van Gogh, The Olive Orchard, 1889, oil on canvas, Chester Dale Collection, 1963.10.152

The Olive Orchard

Vincent van Gogh · 1889 · oil on canvas ·  Accession ID  1963.10.152

Vincent van Gogh, The Harvest, 1888, reed pen and brown ink over graphite on wove paper, Collection of Mr. and Mrs. Paul Mellon, 1985.64.91

The Harvest

Vincent van Gogh · 1888 · reed pen and brown ink over graphite on wove paper ·  Accession ID  1985.64.91

Drawn with brown ink on tan paper, fields stretch away from us toward three farm buildings and a man walking behind a plough pulled by a horse in this horizontal landscape. The grass and plants in the field closest to us are suggested by tightly packed clusters of parallel, short, vertical strokes and curlicues. Just beyond it is a gap, suggesting a road, and another field made up of rows of short strokes angled slight to the left or right that recede toward the man and buildings. Two twisted trees, each with a gnarled trunk and spiky branches, stands to our left and right where the more distant fields meet the road, near the sides of the paper. The trees reach high into the blank sky above them. Farther back and to our left, the man and horse are drawn with only a few strokes each, shown facing our right in profile. Beyond them, vertical lines of varying heights, with some intersected by horizontal lines, separate the field from the farmhouses. We see the top level of the three loosely drawn buildings along the horizon line, which comes just under halfway up the composition. The largest is a long rectangular structure just right of center with a few windows scattered across its facade. To the left, beyond the horse and ploughman, is a smaller square structure with a peaked roof. On the far left, the third building has two dots suggesting windows. More thin, vertical strokes appear beyond the buildings, and a low bank of puffy clouds hovers just above the horizon on the right side. Some outlines in graphite are visible under or near the ink lines.
Vincent van Gogh, Ploughman in the Fields near Arles, 1888, reed pen and brown ink over graphite on wove paper, Collection of Mr. and Mrs. Paul Mellon, 1992.51.6

Ploughman in the Fields near Arles

Vincent van Gogh · 1888 · reed pen and brown ink over graphite on wove paper ·  Accession ID  1992.51.6

In shades of mint, laurel, and eucalyptus green, the head and shoulders of a chubby baby fill this vertical portrait painting. It is created with long, visible brushstrokes, some of which are thick enough to cast shadows onto the canvas beneath. The baby’s skin is painted with cool, light green, with peach-colored highlights. The baby has large, vivid blue eyes gazing intently down and off to our right, full lips, and chubby cheeks. The white garment comes to the baby’s elbows, and the pudgy fingers touch. The baby wears a gold bracelet and a gold ring with a round, red stone on the right hand, to our left. The garment and white cap on the head are outlined in sky or royal blue. Painted with vertical strokes, the background is a darker shade of laurel green.
Vincent van Gogh, Roulin's Baby, 1888, oil on canvas, Chester Dale Collection, 1963.10.31

Roulin's Baby

Vincent van Gogh · 1888 · oil on canvas ·  Accession ID  1963.10.31