Masterpieces by Vincent van Gogh Created in Paris

Living in Paris immersed Vincent van Gogh in the heart of Europe's most advanced art scene. His brother Theo ran a modern art gallery, exposing Vincent to the newest creations by Claude Monet, Edgar Degas, and Camille Pissarro.

During his time in Paris, van Gogh connected with rising artists like Henri de Toulouse-Lautrec, Paul Signac, and Emile Bernard. Together with his brother, he explored various artists' studios and, in November 1887, encountered Paul Gauguin, who shared his vibrant tropical paintings inspired by his time in Martinique.

Van Gogh eagerly embraced these fresh influences, striving to develop his unique artistic voice. Above all, he was deeply focused on understanding and perfecting the use of color in his work.

During his Parisian period, van Gogh revitalized his color palette by creating floral arrangements in diverse combinations to explore natural shades. In a letter to Theo, he likened color to life's energy, stating, "Just as color brings vibrancy to a painting, enthusiasm brings vitality to life."

Van Gogh's stay in Paris marked a turning point, rejuvenating both his personal life and artistic journey. His deep dive into color theory revolutionized his painting style and solidified his belief that art was the driving force of his existence. The following pages showcase the masterpieces he crafted during this transformative phase.

In Wheatfield with a Lark, a solitary lark glides across the sky. Dive into the details of this Vincent van Gogh masterpiece in the following section.

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Wheatfield with a Lark by Vincent van Gogh

Vincent van Gogh created Wheatfield with a Lark in 1887 while working in the fields near Asnières. The painting captures grain stalks at their peak summer height, swaying in the breeze of an oncoming storm.

A lark glides across the still-luminous sky. While the bird's flight traditionally symbolizes joy, van Gogh might have used it to represent the liberation he experienced while painting in the open countryside.

In his painting A Pair of Shoes, Vincent van Gogh infused a rich, golden hue into his otherwise muted brown palette. Proceed to the next section to explore the details of this artwork.

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A Pair of Shoes by Vincent van Gogh

Vincent van Gogh created A Pair of Shoes in 1885. The artwork's straightforward subject—a pair of well-worn work boots—allowed van Gogh to focus intensely on color techniques and brushwork.

Van Gogh depicted the boots using the muted browns typical of his Nuenen palette but contrasted them with a vibrant golden background. He applied the paint thickly, with visible brushstrokes in the foreground and a crosshatched pattern in the background, emphasizing texture as much as the subject itself.

Discover how the Parisian art scene influenced van Gogh's The Hill of Montmartre with Stone Quarry, featured in the next section.

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The Hill of Montmartre with Stone Quarry by Vincent van Gogh

Inspired by the artistic advancements in Paris, Vincent van Gogh painted The Hill of Montmartre with Stone Quarry in 1886.

Van Gogh frequently attended exhibitions in Paris and sought connections with fellow artists, often visiting their studios. These influences encouraged him to experiment, as evident in his bold use of violet and pink in the dramatic sky and the textured brushstrokes that emphasize the solidity of the quarry's rock formations.

Discover how Vincent van Gogh utilized pointillism techniques in his self-portrait, featured in the next section.

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Self-Portrait of Vincent van Gogh

Drawing inspiration from the techniques of Georges Seurat, Vincent van Gogh created this self-portrait in 1887. In this work, he explored the pointillist technique, applying distinct brushstrokes to achieve a unique effect.

Van Gogh's application of complementary colors, such as red and green, highlights his fascination with Neo-Impressionism. However, his brushwork retained a highly expressive quality, diverging from the neutral, optical effects the technique aimed to produce. Unlike the calculated precision of Seurat's theories, van Gogh's work conveys a sense of emotional intensity.

Continue reading to see how van Gogh's outdoor painting approach enhanced the vibrancy of colors in Le Moulin de la Galette.

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Le Moulin de la Galette by Vincent van Gogh

Vincent van Gogh finished Le Moulin de la Galette in 1886 while residing with his brother in a Montmartre apartment on the outskirts of Paris.

From their apartment, van Gogh could easily walk to the city's edges, where small farms dotted the hills. Painting en plein air allowed him to study the effects of natural light, infusing his rural scenes with a vibrant, sunlit quality that replaced their usual darker tones.

The café featured in the next painting, Terrace of a Café on Montmartre (Le Guinguette), has been portrayed by numerous artists. Continue reading to uncover what sets van Gogh's version apart.

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Terrace of a Cafe on Montmartre (Le Guinguette) by Vincent van Gogh

Vincent van Gogh created Terrace of a Café on Montmartre (La Guinguette) in 1886. While this outdoor café scene is often depicted as lively and carefree, especially in works by Pierre-Auguste Renoir, van Gogh's rendition adopts a more subdued tone under the soft autumn light.

Van Gogh's figures are rendered as abstract forms, using bold, expressive strokes and a muted palette of browns and carmine red. The aqua highlight on the lamppost creates a striking contrast, while the loose, dynamic treatment of the trees and sky adds a sense of movement and energy.

Vincent van Gogh further explored his fascination with color in Vegetable Gardens and the Moulin de Blute-Fin on Montmartre. Continue reading to delve into the details of this artwork.

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Vegetable Gardens and the Moulin de Blute-Fin on Montmartre by Vincent van Gogh

Vincent van Gogh persisted in his exploration of color during his time in Paris, producing works such as his 1887 piece Vegetable Gardens and the Moulin de Blute-Fin on Montmartre.

As van Gogh painted outdoors, his palette grew even lighter, and his focus shifted from the interplay of red and green to that of yellow and blue. In this depiction of a rural farm and its windmill, he also experimented with different brush techniques, employing pointillism for the fields and a fragmented stroke for the sky.

Proceed to the next section to examine how van Gogh utilized complementary colors in Agostina Segatori Sitting in the Café du Tambourin.

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Agostina Segatori Sitting in the Cafe du Tambourin by Vincent van Gogh

Vincent van Gogh created Agostina Segatori Sitting in the Café du Tambourin in 1887. The subject, Agostina Segatori, owned the Café Tambourin, a popular spot among artists.

Segatori allowed van Gogh to display his collection of Japanese prints in her café and modeled for him multiple times. In this painting, he surrounds her with varying shades of green, accented with red and aqua. The result is both ornamental and unsettling, as the complementary colors create a vibrant, almost pulsating effect. The tambourine-shaped table references the café's name.

Vincent van Gogh expanded his color palette once more in Boulevard de Clichy. Discover more about this painting in the next section.

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Boulevard de Clichy by Vincent van Gogh

After years of studying floral subjects, Vincent van Gogh introduced more vibrant colors to his palette with Boulevard de Clichy, a work he completed in 1887.

Using floral shades like violet and rose, along with jewel tones such as turquoise and burnished gold, van Gogh infused Boulevard de Clichy with a newfound lightness and vibrancy. His brushwork, both expressive and refined, demonstrates his mastery of Neo-Impressionist techniques, which he adapted to suit his unique style.

Vincent van Gogh frequently chose to paint en plein air, outside the confines of a studio. To see how this approach influenced his work, examine Fishing in the Spring, the Pont de Clichy (Asnieres), featured in the next section.

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Fishing in the Spring, the Pont de Clichy (Asnieres) by Vincent van Gogh

Vincent van Gogh finished Fishing in the Spring, the Pont de Clichy (Asnières) in 1887. This piece was painted during his frequent visits to the Parisian suburb of Asnières, where he worked alongside fellow artists Paul Signac and Emile Bernard.

Van Gogh and his companions often set up their easels in parks and along riverbanks to capture natural light. In this work, van Gogh constructed the composition primarily through his use of color.

While in Paris, Vincent van Gogh produced multiple sunflower studies. Continue reading to explore how he employed contrasting colors in Garden with Sunflower.

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Garden with Sunflower by Vincent van Gogh

Vincent van Gogh created Garden with Sunflower in 1887. This painting showcases his dedication to studying flowers as a means of mastering vibrant color techniques.

The previous year, van Gogh adopted a high vantage point on Montmartre to capture sweeping views of cultivated fields dotted with charming windmills on the northern hills and the cityscape to the south. By the summer of 1887, he shifted his focus to cottage gardens, painting towering sunflowers that loomed over fences, their golden blooms swaying on sturdy stems.

Continue reading to see how Vincent van Gogh showcases a complete spectrum of colors in Flowers in a Blue Vase.

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Flowers in a Blue Vase by Vincent van Gogh

The 1887 painting Flowers in a Blue Vase by Vincent van Gogh reflects the successful outcome of his color experiments, presenting a vibrant and radiant mixed bouquet.

Van Gogh's palette, both bold and natural, spans a full spectrum of tones, from deep browns and violet shadows to soft whites and shimmering pinks. In letters to his sister Wil, he detailed the colors he incorporated: "pink, soft or bright green, light blue, violet, yellow, glorious red."

Proceed to the next section to explore the distinctive color palette of Vincent van Gogh's Self-Portrait.

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Self-Portrait by Vincent van Gogh

During the summer of 1887, Vincent van Gogh created a series of self-portraits. This particular piece stands out for its distinctive color scheme.

While many of van Gogh's 1887 self-portraits feature a warm, yellow-dominated palette, this work showcases a range of tones, from the ginger red of his beard and hair to the muted greens of his jacket and the pale tones of his skin. The dark, shadowed background evokes the influence of Rembrandt, who also produced numerous self-portraits with varied styles.

Vincent van Gogh employed a vibrant palette and complementary colors in Courting Couples in the Voyer d'Argenson Park at Asnieres. Discover more about this painting in the next section.

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Courting Couples in the Voyer d'Argenson Park at Asnieres by Vincent van Gogh

In his 1887 work Courting Couples in the Voyer d'Argenson Park at Asnières, Vincent van Gogh depicted couples strolling through the park using a vibrant palette and lively brushstrokes.

The trees' foliage showcases van Gogh's exploration of complementary colors, while the sky is delicately brushed with faint strokes of blue, violet, and green. In a letter to his sister Wil, van Gogh likened the harmonious pairing of colors to a couple, stating that they "shine brilliantly" together, much like a man and woman complement each other.

Continue reading to discover how van Gogh utilized bold, contrasting colors to fully explore the spectrum of yellow in Two Cut Sunflowers.

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Two Cut Sunflowers by Vincent van Gogh

Two Cut Sunflowers belongs to a series of studies featuring cut sunflowers that Vincent van Gogh painted during the summer of 1887.

To highlight the spectrum of yellow—ranging from light citron to rich ocher—van Gogh placed the flower heads against a vivid blue background. The thick application of paint used to depict the vibrant petals and twisted stems captures the flower's vitality and strength.

Continue reading to discover our final painting, Le Pere Tanguy, Vincent van Gogh's portrayal of a Parisian art shop owner.

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Le Pere Tanguy by Vincent van Gogh

Vincent van Gogh created Le Père Tanguy in 1887. Julien Tanguy, affectionately called "Père" or "Papa," ran a shop selling art supplies, which van Gogh often visited to buy paints and view the informal gallery in the back.

Tanguy showcased works by avant-garde artists like Georges Seurat and Paul Cézanne, as well as Japanese prints. Van Gogh, who began collecting ukiyo-e prints in Antwerp, painted Tanguy's portrait against a backdrop of these iconic prints, reflecting their shared passion.

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ABOUT THE AUTHOR:

Debra N. Mancoff is an art historian, lecturer, and author of several books on 19th-century European and American art, including Publication International, Ltd.'s Monet and Impressionism. Her other works include Sunflowers, Monet's Garden in Art, Van Gogh: Fields and Flowers, and Mary Cassatt: Reflections of Women's Lives. She serves as a scholar in residence at the Newberry Library.