14th September 2024 - 19 January 2025
Seventh visit Monday November 4th. There was no significant queue again but there was also a new route into the building for card holding members so I found my way to the security check, quickly!
Once again I was very early but was let through to find that the exhibition was probably more crowded than I had seen it previously.
Once again I was very early but was let through to find that the exhibition was probably more crowded than I had seen it previously.
Still Life: Vase with Fifteen Sunflowers, Arles: January, 1889
oil on canvas
100.5 x 76.5 cm
Sompo Japan Museum of Art, Tokyo
oil on canvas
100.5 x 76.5 cm
Sompo Japan Museum of Art, Tokyo
(detail)
The colour here is quite elusive and I do wonder if the darker tones are the result of the chemical changes in chrome based pigments.
I note that the stylistic tendencies get copied but not understood. Van Gogh was desperate to get the paint onto the canvas 'just so' and one can sense just how fraught that process could be...
The colour here is quite elusive and I do wonder if the darker tones are the result of the chemical changes in chrome based pigments.
I note that the stylistic tendencies get copied but not understood. Van Gogh was desperate to get the paint onto the canvas 'just so' and one can sense just how fraught that process could be...
Olive Grove, Saint-Rémy, June 1889
oil on canvas
73 x 93 cm
The Nelson-Atkins Museum of Fine Art, Kansas City
oil on canvas
73 x 93 cm
The Nelson-Atkins Museum of Fine Art, Kansas City
(detail)
(detail)
This detail is cooler and quite well focused but I think that the blue elements should be pushed a bit more towards violet.
This detail is cooler and quite well focused but I think that the blue elements should be pushed a bit more towards violet.
Another full shot Tuesday 12th November.
Vincent van Gogh (1853-1890)
Self-Portrait with Bandaged Ear 1889
oil on canvas
This painting is at The Courtauld Gallery in London.
Self-Portrait with Bandaged Ear 1889
oil on canvas
This painting is at The Courtauld Gallery in London.
Self-Portrait, Saint-Rémy: late-August, 1889
oil on canvas
57 x 43.5 cm
National Gallery of Art, Washington
oil on canvas
57 x 43.5 cm
National Gallery of Art, Washington
Portrait of Milliet, Second Lieutenant of the Zouaves, Arles: late September, 1888
oil on canvas
60 x 49 cm
Kröller-Müller Museum, Otterlo
oil on canvas
60 x 49 cm
Kröller-Müller Museum, Otterlo
Portrait of Eugene Boch, Arles: September, 1888
oil on canvas
60 x 45 cm
Musee d'Orsay, Paris
oil on canvas
60 x 45 cm
Musee d'Orsay, Paris
L'Arlesienne (Madame Ginoux), Saint-Rémy: February, 1890
oil on canvas
60 x 50 cm
Galleria Nazionale d'Arte Moderna, Rome
oil on canvas
60 x 50 cm
Galleria Nazionale d'Arte Moderna, Rome
An alternative image as focus may have been lacking... but a dramatically cooler rendition!
On Tuesday 12th November proofing it looked like the 'correct' values would be about halfway between the previous two images.
L'Arlesienne (Madame Ginoux), Saint-Rémy: February, 1890
oil on canvas
66 x 54 cm
Private collection
oil on canvas
66 x 54 cm
Private collection
Another alternative image, also much cooler.
Another alternative image, Tuesday 12th November.
Olive Trees with Yellow Sky and Sun, Saint-Rémy: November, 1889
oil on canvas
73.7 x 92.7 cm
Lent by the Minneapolis Institute of Art, Minneapolis. The William Hood Dunwoody Fund
oil on canvas
73.7 x 92.7 cm
Lent by the Minneapolis Institute of Art, Minneapolis. The William Hood Dunwoody Fund
Alternative image with less 'yellow' maybe a better representation.
Also on Tuesday 12th November another take on the yellow saturation.
View of Arles, Flowering Orchards
1889
oil on canvas
72 x 92 cm
Bayerische Staatsgemäldesammlungen - Neue Pinakothek, Munich
1889
oil on canvas
72 x 92 cm
Bayerische Staatsgemäldesammlungen - Neue Pinakothek, Munich
An alternative image with better cropping but a consistent colour rendition.
I am constantly noticing the way that the buildings act as anchors in the compositions and are very precisely 'drawn'.
I am constantly noticing the way that the buildings act as anchors in the compositions and are very precisely 'drawn'.
(detail)
Site Updated February 2026 Felix Mottram