Where? Floor 5, Gallery 1 of the Museum of Modern Art
When? June 1889
What do you see? This painting is an imaginative version of a starry night in Saint-Rémy in France where Van Gogh was staying at that time. The various elements in this painting are certainly inspired by what Van Gogh observed in reality, but he created his own ideal version of the starry night.
In the painting, we can observe some trees, a village, and mountains under a night sky full of stars (or more precisely a collection of 12 celestial bodies). In the foreground, you can observe a big wavy cypress tree. The cypress is an element that comes back in multiple Van Gogh paintings, such as the Wheat Field with Cypresses in the Metropolitan Museum of Art.
On the top right is a crescent moon. The brightest celestial body in the painting, just to the right of the cypress tree, is the planet Venus. The celestial bodies light up the sky (indicated by the use of white paint in the night sky). The church tower in the middle foreground is probably the Saint-Martin church in Saint-Rémy. Van Gogh, however, did not include the dome of the church in this painting. In the village surrounding the church, several houses still have their lights on. On the right side of the painting, between the village and the mountains, you can see a forest.
The curvy lines used for the cypress tree and the clouds in the sky create a sense of movement in this painting. Notice also the clear contrast between the turbulent sky and the quiet life on earth. The cypress in the form of a big fire is the only element that connects the earth and sky with each other.
Backstory: The painting is created between June 16 and 18, 1889 when Van Gogh was staying in the hospital of Saint-Paul-de-Mausole at Saint-Rémy. In a letter to his brother Theo, he wrote: “This morning I saw the countryside from my window a long time before sunrise, with nothing but the morning star, which looked very big.” He mixed this view both with some other elements that he observed in the area of Saint-Rémy and his imagination to create this painting.
Van Gogh used thick broad strokes of oil paint to create this painting and it was probably created in a single day (even though the idea for this painting was already occupying his mind for over a year). If you look carefully, you can still see some pieces of the canvas in between the broad strokes of paint.
Symbolism: There is some debate on whether this painting should be interpreted symbolically. One symbolic explanation for this painting centers around the cypress which connects the earth to the sky in this painting. The cypress tree is associated with cemeteries and death. In this painting, it could be the connection between life (which happens on earth) and death (which is when you go to the stars according to Van Gogh).
Van Gogh wrote in one of his letters “We take death to go to a star.” Van Gogh, who would eventually commit suicide, was interested in death and he expressed some ideas that one would go to the stars after death.
Other versions of the Starry Night? Van Gogh was already interested in the idea of painting a starry night in 1888 as expressed in several letters to his friends and brother. Indeed, in 1888 he painted two versions of a starry night. The first version is Café Terrace at Night which is in the Kröller-Müller Museum in The Netherlands. The second version is Starry Night over the Rhône which is in the Musée d’Orsay in Paris.
However, these two paintings did not fulfill his idea of a perfect starry night. Instead of a starry night above a town, he was more interested in a starry night above a landscape and a more imaginative version of the night sky.
Who is Van Gogh? Vincent van Gogh (1853-1890) was born in Zundert in The Netherlands. At the end of his life, he created many paintings that fall under the Post-Impressionist style. Van Gogh has produced a large number of paintings during his life and most of them have been painted in the last two years of his life.
Vincent van Gogh wrote many letters during his life -- many of which to his brother Theo -- which have been saved. In these letters, he explained his ideas about painting and they form a valuable source to interpret his works. The work of Van Gogh was not really appreciated during his life, but his work has become famous after his suicide in 1890.
Fun fact: While this is nowadays considered to be one of the best paintings by Vincent van Gogh, he did not seem very proud of this painting. When he wrote a letter to his brother Theo after he left Saint-Rémy, he did not mention this painting as a good one. In fact, he listed several paintings, including the Wheatfield with Cypresses, as “a little good.” About the other paintings from that period, including this painting, he writes “the rest says nothing to me.”
His brother Theo seemed to agree that The Starry Night is not his best work. He was worried about the more imaginary nature of this work compared to the somewhat more realistic paintings he created before. He advised Vincent to stick to still lifes and flowers as that would have more therapeutic value for the mentally troubled Vincent.
Where? Gallery 243 of The Art Institute of Chicago
What do you see? Behind a balustrade in one of the most popular nightclubs in Paris, three men and two women sit at a table, leaning into conversation. There are drinks on the table and each member of the party wears a fancy hat. The woman with orange hair is Jane Avril, a famous entertainer. Behind their table, one tall and one short man are passing by. In the right background, two women stand by a green mirror. The one fixing her hair is dancer La Goulue.
Looking deeper into the room, there are many more guests sitting at tables with yellow lights hanging above them. Such a light may hang above the dancer May Milton in the left foreground. She stares at us with her bright teal skin, and her features have become grotesque and distorted under the harsh nightclub lights.
Backstory: In the risky neighborhood of Montmartre, Paris, nightlife flourished through the end of the 19th century. People of various classes came to the nightclubs and dance halls in Montmartre to experience a social life unlike any other. In its heyday, the area was actually quite dangerous, but it has since been romanticized and sensationalized so that images and music associated with it evoke great nostalgia.
Henri de Toulouse-Lautrec frequently visited the Moulin Rouge, a nightclub in the neighborhood. As such, he was very familiar with the other regulars. In At the Moulin Rouge, he was able to capture these characters on canvas and portray the true grunge of the Paris nightlife culture. Using bright colors and thick brush strokes, Toulouse-Lautrec paints in an Avant-Garde style, apt for his subject matter.
What is the Moulin Rouge? Established in 1889, the Moulin Rouge was a cabaret and nightclub located in the Montmartre district of Paris. Featuring live performances from the stars of Paris, drinks, and room for socialization, the Moulin Rouge was a truly modern space. The iconic can-can dance was first performed at the Moulin Rouge, and, at the time, it was considered a very improper dance.
Henri de Toulouse-Lautrec created several advertising posters for the Moulin Rouge, as well as several paintings of the Moulin Rouge. Among those paintings are At the Moulin Rouge: The Dance in the Philadelphia Museum of Art and La Goulue at the Moulin Rouge in the Museum of Modern Art.
Who is Toulouse-Lautrec? Henri Marie Raymond de Toulouse-Lautrec was born in Albi, France in 1864 to a wealthy family. As his mother and father were first cousins, Toulouse-Lautrec suffered from congenital health issues that affected his bones and growth. Due to these health issues, he became slightly isolated from society and spent his time making art. Painting in the Post-Impressionist style and printmaking in the Art Nouveau style, Toulouse-Lautrec captured the Bohemian lifestyle of 19th-century Paris. This was the lifestyle Toulouse-Lautrec immersed himself in Montmartre’s Moulin Rouge. He created a series of posters advertising the cabaret and displayed his artworks there.
Fun fact: The two men walking behind the table in the center of the painting are actually Henri de Toulouse-Lautrec himself and his cousin, Dr. Gabriel Tapié de Céleyran.
Where? Floor 5, Gallery 1 of the Museum of Modern Art
What do you see? The arrival of the evening in Grandcamp on the Northwest coast of France. The sky is a beautiful combination of white, silver, and gray. On the right is the Atlantic Ocean with a single sailboat.
Seurat painted the sea and the sky using small horizontal brush strokes to indicate the direction in which the sea and sky are moving. In contrast, he painted the using dots of paint, which you can see very clearly when standing close to the painting. Some of the objects are very unclear from up-close. For example, look at the sailboat on the sea. However, from a distance, all the dots and small brush strokes come together, and the different elements of the painting become very clear. From a distance, we have no problem identifying a sailboat in this painting.
Backstory: In 1885, Seurat spent his Summer in Grandcamp, Normandy, on the French coast. That Summer he painted several seascapes. Two examples of other works he created in Grandcamp that Summer are Ruins at Grandcamp in the Musée d’Orsay and Le Bec du Hoc, Grandcamp in Tate Modern.
Beyond Impressionism: Impressionism developed under the lead of Édouard Manet in the 1860s, and by the 1880s, Impressionism gained quite some popularity. However, among the next generation of artists, there were several innovative painters that went beyond Impressionism, usually labeled under the umbrella term Post-Impressionism.
What is Neo-Impressionism? An art movement created by Georges Seurat in 1884. Neo-Impressionism involved a scientific interpretation of colors and lines. The paint was applied in pure, unmixed dots and blocks of colors, creating a strong sense of organization. Scientific principles guided the choice of contrasting colors such that the colors interacted optically (instead of mixing the colors in the painting). This creates a special effect for the viewer.
Looking at the paintings from nearby, one sees a lot of dots of pure colors. However, from a distance, these colors interact beautifully, and the painting becomes a unified whole of almost unmatched clarity. One great example of this style from 1892 is Femmes au Puits by Paul Signac in the Musée d’Orsay. A later example from 1902 is Old Woman by Pablo Picasso in the Philadelphia Museum of Art.
Who is Seurat? Georges-Pierre Seurat (1859-1891) was born and raised in Paris. He only became 31 years old and died in the midst of his career from an unknown disease. He was a Post-Impressionist painter. He can be classified even more accurately as a Neo-Impressionist painter.
Seurat received a classical art training at the traditional École des Beaux-Arts in Paris. While his painting style was far from traditional, his ideas benefited greatly from his education. He used a scientific approach to painting, whereby different colors can create different emotions and combining specific colors can create harmony in a painting.
Seurat decided not to combine colors in a painting, but instead to apply the colors separately, using small dots, and let the viewer combine the colors in his/her mind. The best-known painting by Seurat is A Sunday at La Grande Jatte – 1884 in the Art Institute of Chicago.
Fun fact: Seurat completed this painting in 1885. Only three years later, he added the border of the painting. He did this to increase the brightness of the colors. This addition perfectly fits with the ideas and style of painting that Seurat used. The colors are carefully chosen to complement each other, and the contrasting colors in the border make the painting itself, and especially the sea and the sky stand out more.
Interested in a copy for yourself? Poster
Where? Gallery 825 of the Metropolitan Museum of Art
What do you see? This painting contains five people. On the right is Mary with her naked child Jesus sitting in an odd pose on her shoulder. Both have a halo around their head and are looking at the viewer. Mary is wearing a red pareo (which is a dress that is wrapped around the middle or higher and is typical for people in Tahiti and the Cook Islands) wrapped around her with a hibiscus flower motif on it. On the left, you can see a female angel (probably representing the Archangel Gabriel) dressed in pink and with blue and yellow wings. The angel is partly hidden behind a flowering tree. The angel points out the presence of Mary and Jesus to the two Tahitian women on the purple path. These two women are dressed in a pareo from the waist down, and they fold their hands in devotion.
In the foreground is a collection of fruit laying on a fata, which is a wooden altar that Polynesians use to make offers to their gods. These fruits may be an analogy to the gifts that the three Magi brought to Jesus after his birth. The fruit includes red and yellow Tahitian bananas (some of which are in a wooden bowl) and the green breadfruit in the center. In the background, you can see the dark mountains, a lake, palm trees, and flowering bushes. There is a boathouse on the right side of the lake.
What is Hail Mary? Also known as the Angelic Salutation or Ave Maria, Hail Mary is a prayer in the Catholic Church. The full text of this prayer is:
“Hail Mary, full of grace, the Lord is with thee. Blessed art thou amongst women and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now, and in the hour of our death. Amen.”
This prayer is the most popular prayer aimed at Mary and asks for her help in intervening between the person praying and God.
Who is Gauguin? Eugène Henri Paul Gauguin (1848-1903) is a Post-Impressionist artist who is known for his experimental use of colors. Vincent van Gogh and Edgar Degas were important for Gauguin in developing his unique style.
In 1891, Gauguin moved to Tahiti to start a new life. His idea was to set up a community of painters, called l’atelier des tropiques in an area that was far away from home and did not suffer from the materialism that was present in France. The main idea behind this initiative was to stimulate the role of spirituality in their artworks and to expose themselves to different cultures and religions.
In the end, no other painters joined him, and he left alone to Tahiti. However, this did not have a negative effect on the quality of Gauguin’s work, and he produced some of his best works during this period, including By the Sea (Fatata te Miti) in the National Gallery of Art and Spirit of the Dead Watching (Manao Tupapau) in the Albright–Knox Art Gallery in Buffalo.
Most of Gauguin’s paintings are based on his imagination, and he expressed in a letter to his wife that he believed that his artistic center was in his mind and did not need to be inspired by other painters.
Fun fact: Gauguin did not have any models from Tahiti in front of him to paint this picture, but rather painted this based on his imagination and some other stimuli that he brought to Tahiti. For example, as Tahitians were not walking around half-naked, the two women in the middle are modeled after the figures of dancers on a bas-relief of the Javanese Borobudur temple of which he had brought a picture. Also, the pose of Jesus on top of Mary’s shoulder was based on a postcard that Gauguin bought during his trip to Tahiti. Moreover, Gauguin was one of the first artists to depict Mary and Jesus with a colored skin, something that was not allowed yet by the Catholic Church.
Where? Gallery 165 of the Philadelphia Museum of Art
What do you see? The couple in the middle is dancing the can-can in the Moulin Rouge. The man is dressed in a black suit with a black top hat. The woman wears a beige-orange dress with red socks. The man teaches the woman some new moves of the can-can dance.
In the foreground is an mysterious, unknown woman in an elegant pink dress. A group of dressed-up people, most of which are men, surrounds the dancing couple. These people engage in conversations, look at the dancing couple, or just hang out on the bar in the background.
Toulouse-Lautrec knew most of the people in the Moulin Rouge as he was a regular there. Toulouse-Lautrec used a combination of plain colors with some bright colors to take the viewer on a journey through the Moulin Rouge. Most viewers start by looking at the woman in pink in the foreground, look at the dancing couple next, and then look at the man in the bright red jacket in the background. The light in this painting is provided by the electric chandeliers on the ceiling. This painting is lauded for its beautiful composition.
Backstory: After Toulouse-Lautrec completed the painting, the owners of the Moulin Rouge bought it and put it on display on top of the bar. An inscription on the back of this painting reads: “The instruction of the new ones by Valentine the Boneless.” This identified the dancing man as Valentin le Désossé (which means ‘the boneless’). He was a star can-can dancer at the Moulin Rouge. Valentin le Désossé was the stage name of Jacques Renaudin. He had a slim build with long arms and legs, giving him the perfect body for a can-can dancer. He was very elastic and could perform the expressive can-can dance moves with unequalled grace. He did not accept money for his dance performances as he did it for the love of dancing.
The woman dancing with Valentine is Louis Weber, a popular dancer from that period. She was so flexible that she could keep her body straight while standing on a single leg and with the other leg raised above her head.
What is the Moulin Rouge? The Moulin Rouge is a cabaret and nightclub in Paris established in 1889. As its French name suggests, the Moulin Rouge is a building with a large red windmill on top of it. It is the birthplace of the modern can-can dance.
The Moulin Rouge provided entertainment for all layers of society. The extravagant shows, innovative and unique interior, and the world-famous dancers performing there were the key ingredients for the immediate and lasting success of this place. Below is an image of an 1891 poster to advertise the Moulin Rouge by Toulouse-Lautrec. The Moulin Rouge is still open to visitors today.
What is the can-can dance? The can-can (or cancan) is a dance developed in France in the first half of the 19th century. It is a high-energy dance originally performed by both sexes. It involved kicking the legs above the head, splits, and cartwheels (check out this video). It developed over time into a dance mainly performed by women. The female dancers used an elaborate and provoking routine with their long skirts.
In the 19th century, the can-can was considered a scandalous dance and it was often performed by prostitutes. However, its status improved over time and by the time the Moulin Rouge opened, there were professional can-can dancers that could make could make a living dancing full-time.
Who is Toulouse-Lautrec? Henri Marie Raymond de Toulouse-Lautrec-Monfa (1864-1901) was born in the South of France and was the first child of a wealthy family. From a young age, his artistic skills were present, and he developed himself into a very productive artist.
Toulouse-Lautrec is an important representative of the Post-Impressionist art movement, together with artists like Cézanne, Gauguin, Seurat, and Van Gogh. Unlike some of these other painters, Toulouse-Lautrec could sustain himself by making advertising posters for nightclubs and other businesses. Two of those posters are shown below. The first is an 1895 advertisement for the American literary magazine The Chap-Book. The second poster is from 1900 and advertises a Simpson bicycle chain.
Fun fact: The parents of Henri de Toulouse-Lautrec were first cousins and as a result Toulouse-Lautrec suffered from serious health problems throughout his life. One health problem he faced was that his legs stopped growing as a child and, as a result, he became only 4 ft 8 in (1.42) tall.
His atypical stature (the legs of a child combined with the torso of an adult) led to a lot of mockery from other people and Toulouse-Lautrec resorted to drinking a lot of alcohol. To make sure that he always had a supply of alcohol with him, he had a hollow cane – which he needed to walk – filled with alcohol.
Interested in a copy for yourself? Poster or canvas
Where? Room 822 of the Metropolitan Museum of Art
The painting shows a large ripe gold-colored wheat field which is ready for harvest. On the right are two darker cypresses that draw the attention. To the left are lighter and smaller cypresses. The whirling clouds and blue mountains in the background complete this landscape. You can almost feel the wind that is affecting the clouds and the wheat field. This movement is emphasized by the impasto technique used for this painting, in which the paint is applied in thick layers.
Backstory: Van Gogh painted this wheat field (by some referred to as a cornfield) with cypresses when he was in a mental asylum in Saint Remy in the south of France. He painted this when he was allowed to make short walks and paint outside of the asylum. He was particularly impressed by the cypresses he saw there as he felt that this tree reflected some of his emotions.
Van Gogh liked this painting so much that he repeated this painting three more times. One version is in the National Gallery in London (and was acquired in 1923 for ₤300, which was similar to the price of a house at that time). Another (smaller) version is part of a private collection. The last version (a pen drawing) is in the Van Gogh Museum in Amsterdam.
Symbolism: Van Gogh used his paintings to express his ideas of the meaning of life. The wheat fields represent the cycle of life, where people celebrate their growth, but at the same time are susceptible to the powerful forces of nature. The cypresses are a symbol of stability in a wild landscape (though at the same time the cypress was associated with cemeteries and death in the south of France, though many believe that this was not the intended meaning of the cypresses for Van Gogh).
Who is Vincent van Gogh? Vincent van Gogh (1853 – 1890) was born in The Netherlands. His work is classified as Post-Impressionism and includes landscapes, portraits, self-portraits, and still lifes. Well-known are his depictions of cypresses, sunflowers, and wheat fields.
In 1886, Van Gogh moved to Paris, where he connected with the French Impressionists, such as Paul Gauguin and Claude Monet. In 1888, Van Gogh moved further south in France to Arles where he painted his famous series of sunflower paintings, including the version that is in the National Gallery in London. A year later he moved to a nearby mental asylum in Saint Remy, due to his poor mental state, but continued to produce his paintings. During this time, he produced not only this painting but also The Starry Night which is in the Modern Museum of Art in New York.
Van Gogh was a heavy drinker and smoker, and his mental state is often reflected in his paintings. In 1890, Van Gogh died at 37 years old from a self-inflicted gunshot wound.
What is post-impressionism? Post-Impressionism is a French art movement which developed in response to Impressionism. It is an extension of Impressionism, which is characterized by paintings with bright colors, real-life subject matters, and a thick application of paint.
Post-impressionism extended on Impressionism by adding emotions and symbolism to the paintings to reflect the artist’s state of mind. Besides Van Gogh, well-known painters in this movement include Paul Gauguin, Georges Seurat, and Paul Cézanne.
Fun fact: On the list of the 100 most expensive paintings ever sold, Pablo Picasso, Andy Warhol, and Vincent van Gogh are best represented. Van Gogh has most paintings on this list (at least seven). For example, Wheat Field with Cypresses was bought in 1993 for $57 million and donated to the Metropolitan Museum of Art.
But unlike Picasso and Warhol, Van Gogh did not get rich during his life. In fact, the only known painting that Van Gogh sold during his life, The Red Vineyard, was sold for 400 Belgian Francs, which is worth about $1,500 nowadays.
Interested in a copy for yourself? Poster or canvas (Amazon links)
Where? In the Museum of Modern Art, but currently not on display.
What do you see? A nude girl from Tahiti sits on a blue and white blanket. She is sitting in a dignified position with her back very straight, like the old Egyptians depicted people in art. She has some white flowers in her hair and in her left hand she holds a flowering mango (seed) that she seems to offer to the viewer. This flowering mango symbolizes fertility and was the sacred fruit of the Areoi society. On the bottom right is a three-legged table (called an umete in Polynesian) with more mangos in different colors. The girl is sitting against a background of pink flowers.
In the background is the beautiful landscape of Tahiti which shows some mountains, water, trees, and a piece of the sky. Gauguin kept this painting relatively simple and did, for example, not include any shadows. He created a very colorful painting where the colors are not all very realistic.
Backstory: This painting is also known under the Polynesian title Te Aa No Areois as can be seen in the bottom left corner. The painting was bought in 1936 by William S. Paley, a trustee, and the later president of the Museum of Modern Art. It was the first Gauguin painting acquired by the MoMA.
Gauguin signed and dated the painting on the left side of the table with fruit in the foreground. The composition of the painting is similar to another Gauguin painting entitled Her Name is Vaïraümati (or Vairaumati Tei Oa) which is in the Pushkin Museum in Moscow. This painting deals with a similar theme, which is the origin of the Areoi society.
Who are the Areoi? Also referred to as the Arioi, it is a secret religious society in French Polynesia which does not exist anymore. At its origin is a myth about the god Oro who has intercourse with the most beautiful woman on earth, Vaïraümati, which results in the creation of a new race. The society had a hierarchical structure with several classes or ranks. While everyone, both men and women, could theoretically enter into each class within the Areoi, the highest classes were in practice mainly accessible for people from the higher classes of society. The highest class was reserved for priests.
Access to the society depended on your beauty, religious knowledge, recitation skills, and dancing skills. Moving up through the ranks was confirmed by increasingly large tattoos. Members of the society had sexual freedom until they married and were not allowed to get children. Most of the French Polynesian islands had their Areoi order, and they all had a place of worship and several houses in which the members met and where members of the other islands could stay.
Who is Gauguin? Eugène Henri Paul Gauguin (1848-1903) was a Post-Impressionist artist from Paris. He was a self-taught painter without any formal education. He spent a large time of his youth in Peru where he developed his taste for traveling and exotic countries. In 1891, he moved to Tahiti in French Polynesia where he stayed until 1893 when he temporarily moved back to France. In 1895, he returned to Tahiti where he spent most of his time until his death in 1903.
Gauguin is widely known for the idyllic and colorful paintings he made in French Polynesia. His work has had a big influence on artists such as Henri Matisse and Pablo Picasso. Other well-known works of Gauguin from his first period in French Polynesia are Hail Mary in the Metropolitan Museum of Art and In the Vanilla Grove, Man and Horse in the Guggenheim Museum in New York.
Fun fact: The girl in this painting is the Tahitian mistress/wife of Gauguin. Her name is Tehura, and she is 13 years old at the time of this painting. Soon after this painting, she was pregnant. She is depicted as Vaïraümati, the wife of the god Oro, who gave birth to a son who formed the beginning of the Areoi.
Gauguin wanted to paint the origins of this secret society which he claimed to have learned from Tehura. However, it is now assumed that Gauguin learned about this society through a travel book by Jacques-Antoine Moerenhout. In fact, Tehura was not aware at first that she was depicted as the mother of the Areoi.
Interested in a copy for yourself? Poster of canvas.
Where? Room W204 of the Getty Museum
What do you see? In the foreground are blooming blue irises with green stems and leaves with pointy tips. One the left is a single white iris with large petals. In the background are orange marigolds. The flowers are planted in the red-brown earth. On the top right is a meadow lit up by the Mediterranean sunlight.
Van Gogh used bright blue and violet colors for the irises and this color contrast nicely with the other colors in this painting. The contrast makes the flowers stand out and makes the flowers come alive. Van Gogh also used the contrast in texture, and you can see that the different elements in this painting have their unique look and texture. For example, the earth in the foreground has a rough texture which contrasts nicely with the smooth texture of the stems and leaves of the irises. The somewhat disorganized petals of the irises also contrast with these smooth leaves and stems.
The marigolds in the background have again a different texture. Van Gogh was probably sitting on the ground while painting these irises, which emphasizes the presence of the green stems and leaves.
Backstory: Van Gogh painted this work several days after he was admitted to the mental asylum in Saint-Rémy-de-Provence, France. In his first letter from the asylum to his brother Theo, Vincent wrote that he was focusing on painting irises and lilies. These colorful flowers may have provided him with feelings of hope that may have helped him temporarily with his mental state. However, one year after he was admitted to the asylum, he died because of a self-inflicted gun wound.
Van Gogh's death was the result of a troubled life, though not everybody could understand that. Monet commented on the death of Van Gogh that he could not understand how a man that loved flowers so much and could depict them in such a beautiful way could be unhappy with his life.
What are irises? There are almost 300 different types of irises. The iris exists in many different colors, explaining its name which is derived from the Greek word for rainbow. The most common color for irises is violet-blue, which is the color of the irises depicted in Van Gogh’s painting. The iris can grow from a root or a bulb. Irises have a long stem and one or more six-lobed petals. For bearded irises, the type depicted in this painting, three of these petals curve up and the other three bend down. These irises grow up to about 120 centimeters.
Why irises? The simplest explanation is that irises where blooming in the garden of the asylum to which Van Gogh was admitted. Van Gogh was not allowed to leave the asylum and its garden in the first month, so the availability of the blooming irises was a good reason to paint them. Another reason that he painted irises was that Van Gogh loved flowers and flower paintings. Flowers are colorful, and they allowed Van Gogh to experiment with different colors.
Van Gogh liked to play around with different colors to provide contrasting effects and to make certain elements in his painting stand out more. His use of colors was inspired by Eugène Delacroix, who he called ‘the greatest colorist of all.' A third reason is that flowers were a popular subject among the masses and Van Gogh hoped throughout his career for some commercial success (which he never got during his life).
Who is Van Gogh? Vincent Willem van Gogh was born in 1853 in Zundert, The Netherlands. He only started to fully focus on painting in 1883. In 1886 he moved to Paris, and, two years later he moved to the south of France, to Arles. He struggled with mental illness and died in 1890 from the results of a self-inflicted gunshot wound.
Most of Van Gogh’s famous paintings come from the last three years of his life. Examples include his famous series of sunflowers, of which one version is in the National Gallery in London. Another example is his Wheat Field with Cypresses in the Metropolitan Museum of Art (he made two other versions of that painting, one in the National Gallery and another in a private collection). His later work can be characterized by broad brush strokes, the unique combination of colors, and the use of innovative perspectives and designs.
Fun fact: Irises was sold in 1987 for a record-breaking fee of $53.9 million to the Australian businessman Alan Bond. However, he failed to repay a substantial loan he got from the auction house, and the painting was resold in 1990 to the Getty Museum.
Van Gogh created more paintings with irises as the main subject. In the Metropolitan Museum of Art hangs the painting Irises and the Van Gogh Museum in Amsterdam has another version of a vase with irises. The National Gallery of Canada exhibits Iris, a painting with a single iris.
Where? Gallery 255 of the Museum of Fine Arts
What do you see? This painting shows a story on the cycle of life. It consists of three parts corresponding to the three questions in the title of the painting.
Backstory: The French title of this painting is D'où Venons Nous? Que Sommes Nous? Où Allons Nous? Gauguin included this title on the top left of the painting. A valuable source of information to understand this painting are the letters that Gauguin wrote to George-Daniel de Monfreid, an art collector and painter in France.
Based on these letters, we know that when Gauguin started to work on this painting, he was in a dark period of this life. He faced quite some debt, bad health, the death of his favorite daughter, and he wanted to kill himself. However, before dying, he wanted to complete a large canvas about the meaning of life.
For about one month, he worked day and night on the painting. When it was finished, he considered this to be his best work ever and wrote that he would never make a better painting. Some other works that he completed during this dark period of his life are the Landscape with Two Goats (also known as Tarari Maruru) and Man Picking Fruit from a Tree.
After Gauguin completed the Where Do We Come From painting, he attempted suicide but failed at it. The painting was exhibited in 1898 in Paris and received mixed reviews. In 1901, the painting was sold for 2500 French Francs (which is equivalent to about $15,000 today).
Who is Gauguin? Eugène Henri Paul Gauguin was born in 1848 in Paris, France, and died in 1903 in French Polynesia. Gauguin is considered to be a Post-Impressionist artist, though his work differs from the Post-impressionists by the unique colors that he used and the feelings he expressed in his paintings. Just like paintings by Van Gogh, who was a friend of Gauguin, the works of Gauguin are often recognizable from a distance.
Gauguin was only a full-time artist during the last 20 years of his life. Until the crash of the French stock market and the art market in 1882, Gauguin was a successful stock and art broker, yearly making the equivalent of about $250,000 today.
In 1891, he decided to move to Tahiti in French Polynesia where he stayed for two years. Upon his arrival, he created some of his famous paintings, like Hail Mary in the Metropolitan Museum of Art and In the Vanilla Grove, Man and Horse in the Guggenheim Museum in New York. After an unsuccessful return to France for two years, Gauguin returned to French Polynesia where he lived until his death.
Fun fact: This painting is featured in the book Origin (Amazon Link) by Dan Brown. In the book, the painting hangs in Casa Mila in Barcelona, which was a private house designed by Antoni Gaudí. The painting refers to the search for the existential questions of ‘where do we come from?’ and ‘where are we going?’. The painting by Gauguin does not answer these questions.
Gauguin kept the painting and symbolism in this painting quite vague to stimulate the viewer to think about these questions. That has certainly worked for some people in Dan Brown’s book as some characters are actively looking for the answers to these questions.
Where? Room 43 of the National Gallery
What do you see? A total of 15 sunflowers is depicted. The sunflowers are actually dying, and you can see that almost half of the sunflowers does not have any petals left. Specifically, six sunflowers only have their flower head left, and the sunflower on the top right only has a single petal on it. This is an indication that they are at the end of their life.
The sunflowers that we often adore are the ones with the petals still on it, and in combination with the flower head, they make the sunflower look like a sun with rays. The petals of the sunflowers that still have them are quite spiky.
Notice also the colors that Van Gogh used. Besides some green, he used different shades of yellow. It is very difficult to create a painting with a clear subject and interpretation with such a limited array of colors, yet Van Gogh succeeded in creating a painting of sunflowers that can be recognized from a large distance. This still-life painting beams of the wall and energizes people around the world, something that is very uncommon for still-lifes which are often considered to be somewhat dull.
Backstory: A painting of sunflowers is immediately associated with Van Gogh. He created a total of 11 paintings of sunflowers. The first series of four paintings shows sunflowers lying on the ground and the second series of seven paintings shows sunflowers in a vase. This second series contains four originals which he created in a single week.
Van Gogh also made three copies of the paintings in the second series. Two of these three copies are copied from the Sunflowers version in the National Gallery. One of these copies is currently in the Van Gogh Museum in Amsterdam, and the other copy is in the Seiji Togo Memorial Sompo Japan Museum of Art in Tokyo (this version was sold for almost $40 million in 1987, making it the most expensive painting ever sold at that time).
Sunflowers for Paul Gauguin: Van Gogh’s idea was to create these sunflower paintings as a decoration for the room of Paul Gauguin who would join him in Arles to paint. He knew that Gauguin liked sunflowers as, in the year before, Gauguin had exchanged one of his paintings for two of the earlier sunflower paintings of Van Gogh. Van Gogh was very excited that Gauguin would visit him and was in a fantastic mood when he created his second series of sunflower paintings.
When Gauguin arrived, he was indeed impressed by these paintings and even Van Gogh himself was quite happy with the results (which was uncommon for him). The interest of Van Gogh in flowers was probably stimulated by his nationality as flowers are a very big part of the culture in The Netherlands. In fact, The Netherlands is the biggest flower exporting country in the world.
Symbolism: These sunflowers also have a symbolic value (though it is not clear how important this symbolic value was to Van Gogh). Flowers are a symbol of life. They have a period in which they bloom beautifully and they are in their prime, but eventually, they die. The cycle of a flower’s life is often used as an analogy for human life and should remind us of our own mortality. However, inside the flower head are the seeds of new life. These seeds refer to the cycle of life on this planet.
Who is Van Gogh? Vincent van Gogh (1853-1890) was born in Zundert in The Netherlands. He only started his artistic career in 1881 and so all the works we know from him are made within one decade.
For many of his later paintings, Van Gogh studied a landscape, the sky, or some flowers in front of him while working on the painting. He liked to be outside while painting. His favorite color, which you can see in many of his paintings, is yellow. He considered yellow to be the color of life (as the sun is also yellow).
Van Gogh developed a unique style of painting, which is very recognizable. Especially in his later years, he applied thick layers of paint to the canvas and used heavy brushstrokes. His work appeals worldwide to many people that are otherwise not so interested in art.
Fun fact: Van Gogh’s idea was to create a painting community in Arles, where he moved in February 1888, but nobody wanted to join him there initially because of his difficult personality. However, the brother of Vincent convinced Paul Gauguin to join him and Vincent was very excited about this.
On October 23, 1888, Gauguin joined Van Gogh in Arles. But the collaboration did not turn out well and Gauguin left in December 1888. According to Gauguin, Van Gogh threatened him with a razor and Gauguin ran away. That same night Van Gogh mutilated his own ear with a razor blade, which caused severe bleeding. He applied a bandage to his ear and packaged his ear in a piece of paper, which he brought to a woman in the brothel nearby that he frequented. He painted a self-portrait with a bandaged ear and pipe which is currently in a private collection.
Written by Eelco Kappe