Vincent Van Gogh Most Famous Paintings
Who is Vincent Van Gogh?
Vincent van Gogh was born in Groot-Zundert, the Netherlands. Son of a priest, raised in a religious and cultured environment, he immediately becomes sensitive but with little self-confidence. Between 1860 and 1880, when he finally decided to become an artist, he had two unrequited love affairs, worked without satisfaction as a clerk in a bookstore, made an art dealer, and preacher in a coal mine.
In 1886 he went to Paris with his brother Theo, manager of the Goupil Galleries, and met Pissarro, Monet, Gauguin: his painting changed significantly, turning towards bright colors and "impressionistic" brushstrokes. Suffering from unstable health, he moved to Arles, where for a certain period he collaborated with Gauguin until an episode of madness in which he threatened the latter with a razor and then cut off a part of his left ear. He decides to go to the asylum of Saint-Remy for treatment.
Impressions Painting: The Sunrise he made at Le Havre was his famous painting that could lift his name in the ranks of other Impressionism painters when it was exhibited in 1874, at the first exhibition held by a group of radical young painters who regarded Monet as their leader. The term "Impressionism" is used by Critics to ridicule Monet and his group in general. But then they considered the name under the flow of their art and finally used it continuously.
In 1890, significantly improved, he went to live in Auvers-Sur-Oise under the fraternal and friendly tutelage of Dr. Gachet. Two months later he dies, shooting himself in the chest "for the good of all".
During his short career, he sold only one painting, but he produced masterpieces in less than three years during an unparalleled stylistic development: the intense, symbolic brushstroke, the vibrant shapes and the drama of his highly emotional images remain to us as proof of his attempt to express a personal idea of spiritual essence and connection between man and nature."I dream of a painting and then I paint my dream " - Vincent Van Gogh
Below are 23 of Vincent Van Gogh's most famous paintings:
- The starry night by Vincent Van Gogh
- Van Gogh self-portrait by Vincent Van Gogh
- Café terrace at Night by Vincent Van Gogh
- Irises by Vincent Van Gogh
- Almond Blossoms by Vincent Van Gogh
- The Potato Eaters by Vincent Van Gogh
- Wheatfield with Crows by Vincent Van Gogh
- The Church at Auvers by Vincent Van Gogh
- The Red Vineyard by Vincent Van Gogh
- Cypresses by Vincent Van Gogh
- Van Gogh's chair by Vincent Van Gogh
- View of Arles - Flowering Orchards by Vincent Van Gogh
- Beach at Scheveningen in Stormy Weather by Vincent Van Gogh
- Tree Roots by Vincent Van Gogh
- Landscape with snow by Vincent Van Gogh
- Agostina Segatori Sitting in the Café du Tambourin by Vincent Van Gogh
- Vincent van Gogh's farmhouse in Provence by Vincent Van Gogh
- The Olive Trees by Vincent Van Gogh
- Sunset in Montmajour by Vincent Van Gogh
- Farms near Auvers by Vincent Van Gogh
- Auvers' houses by Vincent Van Gogh
- Daubigny's Garden by Vincent Van Gogh
- Portrait of Père Tanguy by Vincent Van Gogh
Vincent Van Gogh Artworks
In 1888, before his internment in Saint-Rémy, van Gogh wrote: With a painting, I wish I could express something as moving as music. I would like to paint men and women with an eternal that I know, of which the halo was once a symbol and that we try to do with the same ray, with the vibration of the colors [...]. Ah, the portrait, the portrait that shows the thoughts, the soul of the model: this is what I think should be seen - (Vincent Van Gogh, Arles, 3 September 1888).
The starry night, surely one of the most famous works of the Vangoghian perfectly satisfies this need. In this painting, the painter certainly sought direct contact with reality, painting what could be seen from the window of his room in the asylum of Saint-Rémy. Van Gogh, however, has not faithfully adopted this night vision but has manipulated it with plastic means, internalizing it to spasm and transforming it into a powerful dreamlike vision in which to be able to bring out his emotions, his fears, his travels of the 'soul.
The starry night, therefore, does not offer the observer a faithful image of reality, but a form of "expression" of the latter. On the left, the scene is closed by a tall and severe cypress like an "Egyptian obelisk" which, standing against the night sky, acts as a vegetable intermediary between earth and sky, between life and death: another of a tree would seem almost a dark flame that suddenly burns in search of infinity. Next to the solitary cypress, we find a small village - perhaps it is Saint-Rémy, perhaps Nuenen, perhaps a reminiscence of the native village - which, dispersing over a valley, seems lost in the immensity of the cosmic movement that flows over it.
The self-portrait is an oil painting on canvas (65x54 cm) made in 1889 by the painter Vincent van Gogh. It is kept in the Musée d'Orsay in Paris. Van Gogh painted a large number of self-portraits during his artistic career, and this is considered one of his most beautiful, if not the best.
It was made in the asylum of Saint-Rhémy when the painter had just recovered from a long two-month crisis of madness, during which he attempted to kill himself by ingesting the colors. About this canvas, Van Gogh will write to his brother Theo: "You will notice how the expression of my face is calmer, although it seems to me that the look is more unstable than before".
And it is precisely the hallucinated gaze that strikes immediately, enough to remain fixed in the observer. To this must be added the backdrop formed by gray-green spirited spirals, very similar to the foliage of the cypresses painted in that period, but also to the flames of a furnace. Note the perfection in the touches, where every single trait denotes the creative genius after a crisis. Everything turns out to be perfect both in perspective and in the nuances of the colors.
Café Terrace at Night by Vincent Van Gogh
It was painted in 1888 and kept in the Kröller-Müller Museum in Otterlo and the full name of the research work is: "Cafe terrace in the evening, Place du Forum, Arles". execution of this work, in the case of Bel-Ami by Guy de Maupassant. The work is a night vision of the Place du Forum in Arles.
The vision, interrupted on the left by the blue jamb of a door, continues through a platform on which three rows of green tables are arranged: tourists, casual passers-by, habitùe are accompanied, intent on enjoying the evening and maybe sipping a liqueur, while a waiter collects orders.
Note how it is impossible to recognize the physiognomy and identity of the customers, who seem to almost merge with the surrounding landscape, a testimony of how Gogh was attracted rather by the nocturnal gaze. Finally, finally, it unfolds in rue du Palais, outlined by the windows still lit by shops and some buildings for sleeping: on the street that shows some Arlesians who, wrapped in the joyful atmosphere of the cafe, walk on the wet cobblestones and chat softly, touching us physically or perhaps with the gaze and the load we want a scene of lively conviviality.
Iris is an oil painting on canvas (71 x 93 cm) made in 1889.
It is one of his first works carried out during his hospitalization at the hospital of San Paul-de-Mausole in Saint-Rémy in the year preceding his death in 1890. The tension that is noticeable later in his compositions is missing.
The artist considered this work to be a study of nature, which is probably why there are no known drawings or sketches, even though his brother Theo judged it positively and sent it to the annual exhibition of the Société des Artistes Indépendants in September 1889, together at the starry night over the Rhone.
He wrote to Vincent about the exhibition: "Irises are a study full of air and life." The first owner was the French anarchist and art critic Mirbeau, who was also one of the first supporters of Van Gogh: he paid 300 francs for the painting. In 1987 it was purchased by Alan Bond for 53.9 million and became the most expensive painting ever sold, marking an undefeated record for two and a half years; subsequently, the Portrait of Dr. Gachet was in fact sold for 82.5 million dollars.
Almond Blossoms by Vincent Van Gogh
This is an oil painting on canvas (73.5x92 cm) made by the painter in Saint Rémy in 1890. The canvas was a gift that the painter himself gave to his brother Theo Van Gogh and his wife Johanna Bonger for the birth of their son, of name Vincent Willem.
The work is the representation of a flowering almond branch, with white, almost pearly petals, which stand out in a blue sky, with turquoise shades. As a symbol of life, Van Gogh chose the branches of the almond tree, one of the first flowering trees that, in the sunny south, in that February announced the imminent spring.
The work was certainly inspired by Japanese prints, probably the first of a series that Vincent was unable to finish because he was upset by a crisis: we realize this by observing the unfinished plant contours (especially in the foreground branch), and some parts left in the initial sketch state (the thin twigs on the left in the center, and on the top right). The painting is now exhibited in the Van Gogh Museum in Amsterdam in the 1889-90 Saint Rémy section.
Van Gogh himself points out that the gnarled hands that are grabbing the potatoes are the same ones that, during the day, have sown and harvested them: By working, I wanted to make it clear that these poor people, who by the light of a lamp eat potatoes using the plate with their hands, have themselves hoed the land where those potatoes grew; the painting, therefore, evokes manual labor and suggests that those farmers honestly deserved to eat what they eat.
I absolutely would not want everyone to find it beautiful or valuable "(Vincent van Gogh). The work depicts the interior of a poor house in Nuenen, barely illuminated by a dim light which, flowing from the oil lamp hanging from one of the ceiling beams, is reflected on the white caps, on the coffee cups, and on the meager meal of diners. At the center of the composition is a peasant family who, after spending the day working hard in the fields, gather around a table to have dinner.
An elderly lady, bent over with fatigue, pours the coffee into the cups, while the man on her right, probably her husband, holds a potato in her hand; the woman on the left dips her fork in the potato tray.
The woman's gaze is turned to the man next to her, whose features are marred by fatigue and resignation, for a destiny that will not change. In the foreground, a little girl, from behind, perhaps holds her hands clasped to her chest, in the act of reciting a prayer before the meal (according to another interpretation, it is assumed that the author, hiding his face, wanted to "save her" From the fate that lies ahead). The eyes are elusive, they do not cross and the girl in the foreground reinforces the idea that the observer is sneaking in an intimate moment, acting as a real distancing factor.
The girl also tries to remedy the clumsy disposition of the family by connecting the two parts and placing herself in an intermediate position between the observer and the light source.
Generally, critics and art historians see in this picture a representation of the tormented and anguished mood of the artist: the canvas is a heartbreaking cry of pain, accentuated by the swirling rhythm of the brush strokes, through which the painter projects his state of mind and one's own dimension of suffering on the surrounding reality.
A storm, almost like a presentiment of mourning, is about to fall on a field of wheat from which rises, dark and gloomy, a flock of black crows in a low disordered flight, almost as if they were vultures on a corpse. It is known that the artist had a deep respect for the forces of nature, and this explains why he painted agitated skies in many of his works: in fact, he believed that the subject had an incalculable artistic potential if reproduced on canvas.
The cornfield, mercilessly shaken by the wind, was created through real whips of yellow, while the sky, initially clear, is now a harbinger of a storm, to the point of being clouded by the intense black color of the clouds which, relentlessly, they drop hostile and threatening. The wheat field is also furrowed by three meandering paths: the first in the lower-left corner, the second in the center, and the third in the lower right corner.
Note how the two lateral paths seem to have neither a point of origin nor seems to lead to a precise point of the picture.
The path at the center, which over the years has proven to be the most pregnant with interpretations, represents a road with no way out, potentially traveled by those who have no destination to go to and do not even know what to look for and which, precisely, for this reason, best represents the strong existential anguish that worried the painter. So he described the canvas in one of the letters to his brother Theo: "They are extensive fields of wheat under rough skies and I didn't need to get out of my condition to express sadness and extreme solitude".
The Church at Auvers by Vincent Van Gogh
Here van Gogh renounces a photographically exact reproduction of "stereoscopic reality" and projects his torments into Auvers' architecture, manipulating shapes and colors in a free and subjective way, with an explicit distancing from impressionist and neo-impressionist naturalism] in this way that the 12th-century church does not stand with precision, but staggers as if it were about to collapse.
The low and compact mass of the church is identified by soft and tortuous lines, used by the painter to generate a dynamism that is amplified by the two streets that, bifurcating, tighten the building on one side and the other, without giving you access. On the left path, then, a peasant woman ventures who, however, turns her back on the viewer, isolating him in a sense of anguished solitude.
All the shades of the painting are pregnant with meanings: this is the case of the green-yellow of the meadows, the red of the tiles, but above all of the cobalt blue that pollutes the sky, making it harbinger of swirling storms, almost as if it were night (even if it is daylight, as evidenced by the shadow cast by the church on the grassy triangle ahead).
Through the unreal colors and the absence of perspective, the real image of the church is as transfigured, filtered by the inner world of the artist. The line, the colors become for Van Gogh the means of expression with which he communicates the beauty and drama of existence.
Painted in Arles in November 1888. It is the only painting he certainly managed to sell during his lifetime. However, it is likely that the same painter had managed to sell at least one of his canvases, as, as stated in the letter to his brother No. 506, he claims to have received 20 francs for the portrait of a friend of Father Tanguy, probably in early 1888.
The painting represents the harvest in the Arlesian countryside, probably in Trébon, north of the city in the direction of Montmajour. The work is noteworthy for its colors, especially for the opposition of the complementary yellow and purple, announcing in some ways Fauvism. In a letter dated October 2, 1888, Vincent spoke of his intentions to Eugène Boch: Well, I have to go to work at the vineyard near Mont Major.
It's all purple, yellow and green under the blue sky, a beautiful color scheme. During this period of September-October 1888, Vincent van Gogh experimented with various color models; this concern is evident in his reflections on some works of the period, such as Il caffè at night, the Starry Night on the Rhone or the Terrazza del caffè in the evening.
The red vineyard was exhibited for the first time at the annual XX group show in 1890 in Brussels. There he was sold, a few months before the painter's suicide, for the sum of 400 francs (corresponding to the current 800/850 euros) to Anna Boch, an impressionist painter member of the XX and Belgian patron. Anna Boch was the sister of Eugène Boch, an impressionist painter and personal friend of Van Gogh, to whom he also made a portrait (Portrait of Eugène Boch) in Arles in the autumn of 1888.
The painting dates back to June 1889, in the period immediately following his admission to the Saint Paul hospital of Saint-Rémy. Cypresses attract Van Gogh's interest for their perfect shape that stands out straight in the surrounding landscape. The artist said that the cypress "is beautiful in line and proportions like an Egyptian obelisk".
The style is typical of the last Van Gogh period: very clear strokes of saturated color spread in a sinuous and curved way. In these paintings, Van Gogh manages to transmit a deep charge of energy making every single brush stroke that he places on the canvas vital. The resulting impression is of a sort of electric current that runs through the whole image, with the cypresses becoming electrodes that transmit energy from the earth to the sky and vice versa.
They are two paintings by the Dutch painter, made in December 1888 and preserved connected to the National Gallery in London and the Van Gogh Museum in Amsterdam.
This came from his "friendship" with Gauguin, who never agreed on anything. Vincent's chair, compared to Gauguin's, is decidedly less elegant, of simple raw wood with straw seat. The delicate color scheme is decidedly more sunny and lively, as has already been observed. Then, on his chair, van Gogh chooses to place two very eloquent objects that compensate for the apparent austerity of the composition: the pipe and tobacco, attributes of simplicity, easily narrate the daily habits of van Gogh, who was notoriously a hardened smoker (still van Gogh's pipes are kept in a museum in Amsterdam).
Curiously, the painter used to smoke only when he felt happy: it is in this way that a banal tool, like a pipe, becomes an excellent interpreter of the artist's subjectivity. At the end of the room, on the floor (expertly defined by a wavy and irregular mesh of red, brown, and green brush strokes), we find a wooden basket containing some sunflowers, flowers to which the name of van Gogh is inextricably linked.
The painter himself does not struggle to recognize himself in the sunflowers, so much so that he affixes his signature on the box, which is as usual in the first name, "Vincent". In this way, van Gogh intended to distance himself from his mother and father, with whom he had a tormented and unsolved relationship.
Painted in the spring of 1889, one of the numerous paintings he produced in his series of Flowering Orchards while living in Arles. Original title, in French: "Vue d'Arles, vergers en fleurs", German title: "Blick auf Arles, blühende obstgärten" Provides a view across a canal and the poplars on its edge towards the historic center of Arles, with the towers of Saint-Trophime and College St Charles to the left, contrasted by the recent Casvin Calvin building, which houses the Zouave Regiment, at the right.
Van Gogh met several Zouave officers, painted one in a native uniform and his portrait of Lieutenant Milliet is known as The Lover. Poplar trees are still found along the canal today, but the orchards and Caserne are gone. Van Gogh has incorporated this painting into his selection of works which will be exhibited at Les XX in Brussels in 1890.
Legend has it that it almost blew him off while implanting sand particles on the canvas. Women can be viewed heading home while a group of men uses a horse cart to pull a fishing boat from the sea.
Van Gogh started this artwork in 1881, but later abandoned the project for a live painting that he completed on the site in August 1882. The inspiration for this painting was van Gogh's experience of Scheveningen, which was a fishing village he frequented while he lived in The Hague.
Van Gogh believed that a good painter should be adept at drawing figures and sketching landscapes. This approach made him effective at recreating scenery before imbuing it with life through the use of color. Van Gogh was a follower of impressionism and used elements of this movement in this composition, such as capturing the sea and the activities happening on the foreground.
Van Gogh spent the last few months of his life in Auvers-Sur-Oise, a small town just north of Paris after he left an asylum at Saint-Rémy in May 1890. The painting is considered by some to be his last painting before his death in late July 1890. The viewer thinks he can identify tree roots and trunks but is hard put to identify the subject as a whole.
The painting itself and not the subject is pre-eminent, heralding abstract painting, and German expressionism. As far back as 1882, while at The Hague, van Gogh had made a study of tree roots, Study of a Tree (below), which he had completed at the same time as a larger version (now lost) of Sorrow.
In a letter to his brother Theo, van Gogh said that he wanted to express something of life's struggle in these drawings It is not known whether he had returned to the same thoughts with his 1890 Tree Roots. The letters give no hint and the colors are perhaps too bright for such somber thoughts.
Vincent van Gogh left Paris in mid-February 1888 for Arles. When he got off the train in the southern city, he was faced with a snowy landscape, the result of a record-breaking cold spell. Van Gogh painted Landscape with Snow around February 24, when the snow it had almost melted.
The artist implies the irregular covering of the snow through spots of brown paint and leaving areas of the canvas to the bright lighting and feverish colors of the paintings of the summer harvest made by Van Gogh during the year. Here, it presents the looming and purple light of an impending snowstorm.
This canvas and a similar one painted a day later, Snowy Landscape with Arles, are less detailed than the more elaborate and descriptive landscapes that Van Gogh created a few months later, thus suggesting the artist's attempt to approach his recently chosen house.
Agostina Segatori was a native woman of the Marche (Italy) who made her fortune in Paris posing for Corot, Degas, and Gérôme and opening an appreciated cabaret "the Cafè Le Tambourin": with her van Gogh would have a short-lived relationship. Tambourin was the scene of an exhibition organized by Vincent and other painters, self-defined "peintres du petit Boulevard" ("Painters of the little Boulevard)", in opposition to that "Grand Boulevard" where Monet, Sisley, Pissarro exhibited, Degas and other impressionists who, despite the initial frictions, gradually began to gain notoriety in the beautiful Parisian world.
Van Gogh depicts Segatori sitting at a coffee table, with a cigarette left between his fingers, a mug of beer in front, and his gaze lost in emptiness, melancholy. The sad atmosphere of the painting is accentuated by the showy headdress of the woman, as well as by the gloomy background still tied to the painter's previous Dutch period. In a certain sense, the work seems to want to convey the feeling of abandonment and confusion of numerous women who, having arrived in the capital with ephemeral dreams of success, found themselves lost in prostitution or alcohol.
This painting is also called "Entrance Gate to a Farm with Haystacks", is an oil-on-canvas painting produced in 1888. Van Gogh used several pairs of complementary colors in the Farmhouse in Provence, the color contrast bringing an intensity to his work.
The painting is owned by the National Gallery of Art in Washington, D.C. Van Gogh used three pairs of complementary or contrasting colors which, if put together, intensified the brilliance and intensity of the reciprocal colors.
The pair is orange and blue. Another would be red and green of the plants. Finally, pink clouds against the turquoise sky. Van Gogh used complementary and contrasting colors to give intensity to his work. Two complementary colors of the same degree of vividness and brightness placed side by side produce an intense reaction, called "law of simultaneous contrast".
Vincent van Gogh painted at least 15 paintings of olive trees, these plants have a very precious meaning for Van Gogh, they demonstrate the relationship between man and nature which represents one of the cycles of life, harvesting or death.
It is also an example of how individuals, through interaction with nature, can connect with the divine. “Here are some beautiful fields with olive trees with silver-gray leaves, like clipped willows. I never get tired of the blue sky, "wrote Van Gogh to his mother on July 2, 1889. Between June and December of that year, he painted about fifteen olive groves, most of them in the autumn.
The painting depicts twilight in the hilly and wooded landscape of Montmajour, Provence, with wheat fields and the ruins of a Benedictine abbey in the distance. The area around Montmajour was a topic that van Gogh often revisited during his time in Arles. In the 90s, the painting was shown to the staff of the Van Gogh Museum but was rejected because it was not Van Gogh's work because it was not signed.
With the development of improved investigative techniques, however, in 2011 a two-year investigation was initiated by the Van Gogh Museum to examine the possible authenticity of the painting. The painting has undergone a detailed investigation of style and materials. It was discovered that it had been painted in the same range of paints that appears in van Gogh's works during that period, which led to further research.
Among the evidence that confirmed the authenticity of the painting was a letter written by Vincent van Gogh to his brother Theo on July 5, 1888, describing a landscape he had painted the previous day.
The artist spent the last months of his life in Auvers-Sur-Oise. Shortly after arriving in Auvers, Van Gogh wrote to his sister Wil: "Here are thatched, mossy roofs that are superb and worth doing." Van Gogh loved the "mossy roofs" he saw near his last home in Auvers, near Paris.
A row of dilapidated farm buildings dominates this painting, made a month before the artist's death. To paint the cottages nestled in the hills around Auvers-Sur-Oise, Vincent selected a high viewpoint, recalling his constant interest in landscapes in Japanese prints. The outline of the roofs of farm buildings and hills, the trunks of trees, and the outline of their foliage, are all endowed with a dynamic quality that expresses great vitality.
The same goes for brush strokes, bars, commas, and paint hooks. that fills the contours. The painting seems unfinished.
The quiet dirt roads of Auvers were lined with old traditional French cottages, with their charming rustic colored shutters. It was not a rich area and the houses were mostly small, with several poor peasant villages with thatched roofs.
The village was dominated by two larger structures: the church and house of Dr. Gachet and was surrounded by open cornfields and the Oise marsh. Despite Van Gogh's growing mental instabilities, he was enthusiastic about Auvers and wrote to Theo: "It is of serious beauty, the real countryside, characteristic and picturesque". He painted the village and houses numerous times.
In most of these paintings, the slightly ramshackle buildings huddle together in a mass of sloping and irregular roofs and merge with the surrounding environment so that they become part of the landscape from which they arise. Here the overall hue includes buildings, sky, and green, although the colors are lighter and more delicate than many of his works. There is also a finer quality in the drawing with less of the heavy outline that came to characterize his later paintings.
Van Gogh was a lifelong admirer of the work of Charles-François Daubigny. This famous landscaper had lived in Auvers. So when Vincent got to the village, he went to find Daubigny's house and garden as soon as possible.
This is the first painting in Van Gogh's garden. He later made two larger ones on canvas. Since Van Gogh had no canvas on hand, he painted the garden on a red and white striped canvas. First, he covered the towel with a layer of bright pink earth of lead white pigment mixed with red.
This pink base formed a vivid contrast to the green paint he used for the garden. The bottom layer is visible between the paint strokes. The red pigment has faded over time, so the pink base now looks gray. Van Gogh was a lifelong admirer of the work of Charles-François Daubigny. This celebrated landscape painter had lived in Auvers. So when Vincent arrived in the village, he went to see Daubigny's home and garden as soon as he could. This is Van Gogh's first painting of the garden. He later made two larger ones on canvas.
The person portrayed is Julien François Tanguy, affectionately nicknamed by his friends père [father] for his charitable and generous spirit. He opened a paint factory and, in the formidable hope of contributing to a better world, he agreed to help all those penniless artists not appreciated by the artistic establishment.
He trusted them, fed them, sold their works in their back shop, and even accepted their paintings as a form of payment for the various materials for painting. Around the père, Tanguy workshop gravitated artists such as Pissarro, Gauguin, Cèzanne, and of course Vincent van Gogh, who formed an affectionate friendship with that old dreamer. He dedicated three paintings to Julien Tanguy van Gogh: if the first is very conventional and is still immersed in the earthy tones of the Nuenen period, the other two are much more vivid from the chromatic point of view and follow a substantially similar setting between them.
The most famous version portrays Père Tanguy in the foreground with his hands, large, rough, and vital, the fixed, contemplative expression is seated, wearing a double-breasted jacket and on his head, he has a yellow peasant hat. Particularly interesting is the background, composed of a riot of Japanese prints, to testify to the visceral interest that at the end of the nineteenth century was aroused by the art of the Rising Sun, the decorative backdrop behind Père Tanguy is lined with several ukiyo-e representing actors, courtesans and, of course, the sacred mountain of Fujiyama.
Vincent Van Gogh Paintings For Sale!
- Avenue of Poplars in Autumn by Vincent Van Gogh
- Bible by Vincent Van Gogh
- Child with Orange by Vincent Van Gogh
- Girl in White by Vincent Van Gogh
- Portrait Of Dr.Gachet by Vincent Van Gogh
- Self-Portrait with Straw Hat by Vincent Van Gogh
- Still Life with Irises by Vincent Van Gogh
- The Night Cafe by Vincent Van Gogh
- Vincent Van Gogh Self-portrait Dedicated To Paul Gauguin
- Weaver Facing Left with Spinning Wheel by Vincent Van Gogh
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