Van Gogh at Saint Paul-de-Mausole

This gallery features a collection of works by Vincent Van Gogh during his time at the Saint Paul-de-Mausole Asylum. The time period covered in this gallery is May 1889 to May 1890. Some of these paintings would be some his last works. During his stay in the asylum, Van Gogh would finish a canvas nearly every single day. All featured works are oil on canvas.

A view of a wheat field that Van Gogh would paint or draw around 12 times during his stay at the clinic in Saint Paul-de-Mausole. However, this scene of the field during a rainstorm would be the only one of it's kind that he would paint during his stay there. The diagonal slashes of paint to represent the falling rain relates to Van Gogh's interest in Japanese prints and the final effect feels deeply personal to the careful observer.
Painted in 1890, Undergrowth with Two Figures was painted after one of Van Gogh's rare walks outside the clinic. Immediately the color jumps off the canvas with a flurry of bright tones. The silvery poplar trees stand around the couple like columns and invite the viewer's gaze upon the couple themselves. The brushstrokes flow naturally and the whole scene itself is very serene. This painting reminds us to enjoy the beauty of nature and how small we are in it's scale.
Another landscape of the wheat field outside of the clinic. However, you can see the difference in brushstroke style as compared to "Rain". Van Gogh was very spiritual and felt a connection to the forces of nature, and in this painting, you can see every small detail feels somewhat personal. From the wavy, plowed field, to the flowing mountains, and the lone field worker. It would incorporate the cycle of life that Van Gogh envisioned for most of his paintings of this time.
Even in this landscape of the wheatfields, it feels as though we're looking at a different scene when it is actually the same as before. The brushstrokes and the colors used in this rendition are much softer and less detailed. The wheat itself swirls around the reaper as though it were flowing water and again portrays the circle of life aspect that Van Gogh liked to portray around this time.
Van Gogh captured more action and emotion than detail in this work but still sets up a scene that you can tell what is going on. The attention to colors and the subtlety of the brushstrokes as you gaze upon this piece really draw out life. Again Van Gogh portrays life and one of its many duties that he witnessed during one of his supervised walks around Saint Rémy. This is also one of the works he painted during his study of Jean-Francois Millet.
Another painting during his study of Jean-Francois Millet, Van Gogh was inspired by the way Millet captured everyday life. This calm evening scene would use an interesting pallet of colors to bring out the emotion in itself. The brushstrokes of this painting also differ from many of Van Gogh's other works in the way that they are straighter and not swirled in his usual manner.
As the wheat field became a focus on Van Gogh's work at Saint Paul-de-Mausole, so would it's garden. Here is where Van Gogh would be allowed to take his supervised walks more often than anywhere else. This painting would employ solid textures and outlines with the sporadic falling of the leaves. The figure amongst the trees signifies the loneliness that Van Gogh felt during some of his days at the clinic.
One of the paintings inspired by Van Gogh's supervised walks. The whole painting flows around the cypress trees. The grass looks like a running river, and even the tree branch on the right side of the painting looks like it's the start of the river of grass in this calm and colorful scene.
Quite possibly the most famous and recognizable painting that Van Gogh ever painted. It was from the east facing window that he would paint this scene during the day. The idealized village and the cypress tree were added on top of the countryside that he had painted. This would be the only nocturne in the series of landscapes he painted at Saint Paul-de-Mausole.
Van Gogh painted many self-portraits, however after some time after the disfigurement of his right ear, he would only paint himself in a left side facing manner. This self-portrait isn't as detailed as some of his former self-portraits but still conveys the image of the master painter himself. His mental state during his stay in the hospital was constantly flipping. As you can see though, it didn't seem to affect his talent and you can even feel his want to return to lucid mental and emotional health in most of his works during that time period.
Credits: All media
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