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Framed artwork 29.7 x 29.4 cm
Painted on the occasion of the birth of Vincent Van Gogh's godson, this painting is inspired by the Japanese art of engraving. This can be seen in the precision of the lines used and the positioning of the tree within the whole. The flowers depicted are now mainly white, whereas they were originally more pink. They have faded under the effect of light and their colour has, unfortunately, lost its strength. See more
Although Vincent Van Gogh's time in Saint-Rémy de Provence was darkly marked by his internment in the Sant-Paul-de-Mausole asylum, this withdrawal from the world in an attempt to curb his bouts of madness in no way resulted in a dryness of inspiration, and on the contrary, the painter proved to be very productive. Although he remained faithful to his atypical style, applied in thick, full, curved strokes, his attraction to other artistic models was reflected in his interest in the trend towards Japonism, which arrived in France in the last quarter of the 19th century. This historical period coincided with the forced opening of Japan to the rest of the world, with the advent of the Meiji era (1868-1912), which put an end to the isolationist policy of the Japanese archipelago known as Sakoku, which had lasted throughout the Edo period, i.e. for over two centuries. Vincent van Gogh discovered this artistic trend while living in the Netherlands, in Nuenen, a small town near Eindhoven.
About Vincent Van Gogh
On 30 March 1853, Vincent Van Gogh was born in Groot Zundert in North Brabant. From childhood, he showed a moody and restless temperament that, throughout his life, thwarted his plans. Son of a Protestant pastor, he first chose to turn his life towards Protestantism, becoming in turn a preacher in London, a student of theology and an evangelizer among the mining populations of the Borinage. See more
Listening to the latter, he practiced painting, leaving us the first traces of a dark work, marked by the misery of these miners, but to which Van Gogh attached a fervour and an exacerbated exaltation.
In 1886, he moved to Paris and lived with his brother Theo who ran a small gallery of paintings. He quickly got to know the young painters who animated the most innovative artistic movements. Influenced by the work of the Impressionists and Japanese artists, Van Gogh's style began to evolve. The colours became lighter, the brush strokes became more refined by following the shape of the object represented. As early as 1888, he adopted clear and brilliant shades, present in the paintings of his French friends, and left Paris for the south of France.
Under the sun of Provence, he painted landscapes and southern life scenes. The artist, based in Arles, began to use curved, whirling touches and pure colours: yellow, green and blue in particular. This technique, so specific to Van Gogh's work, appears in the famous paintings representing his bedroom (1888) and the Starry Night (1889). Any visible phenomenon, painted or drawn by Van Gogh, seems to have physical and spiritual vitality. In his enthusiasm, he persuaded Paul Gauguin, whom he had met in Paris, to join him.