From the moment of his arrival in Arles, on 8 February 1888, Van Gogh was constantly preoccupied with the representation of "night effects".
In April 1888, he wrote to his brother Theo: "I need a starry night with cypresses or maybe above a field of ripe wheat." In June, he confided to the painter Emile Bernard: "But when shall I ever paint the Starry Sky, this painting that keeps haunting me" and, in September, in a letter to his sister, he evoked the same subject: "Often it seems to me night is even more richly coloured than day". During the same month of September, he finally realised his obsessive project.
He first painted a corner of nocturnal sky in Cafe Terrace on the Place du Forum, Arles (Otterlo, Rijksmuseum Kröller-Muller). Next came this view of the Rhône in which he marvellously transcribed the colours he perceived in the dark. Blues prevail: Prussian blue, ultramarine and cobalt. The city gas lights glimmer an intense orange and are reflected in the water.
Oil on canvas, 73x92 cm
Pigments used:
Schmincke Norma® Professional - Finest artists' oil colours, series 11
- titanium white
- lemon yellow
- poppy red
- cadmium red deep
- ultramarine blue deep
- cobalt blue hue
- prussian blue
- cerulean blue
oil paint
5 Artist Reviews
£359.64
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From the moment of his arrival in Arles, on 8 February 1888, Van Gogh was constantly preoccupied with the representation of "night effects".
In April 1888, he wrote to his brother Theo: "I need a starry night with cypresses or maybe above a field of ripe wheat." In June, he confided to the painter Emile Bernard: "But when shall I ever paint the Starry Sky, this painting that keeps haunting me" and, in September, in a letter to his sister, he evoked the same subject: "Often it seems to me night is even more richly coloured than day". During the same month of September, he finally realised his obsessive project.
He first painted a corner of nocturnal sky in Cafe Terrace on the Place du Forum, Arles (Otterlo, Rijksmuseum Kröller-Muller). Next came this view of the Rhône in which he marvellously transcribed the colours he perceived in the dark. Blues prevail: Prussian blue, ultramarine and cobalt. The city gas lights glimmer an intense orange and are reflected in the water.
Oil on canvas, 73x92 cm
Pigments used:
Schmincke Norma® Professional - Finest artists' oil colours, series 11
- titanium white
- lemon yellow
- poppy red
- cadmium red deep
- ultramarine blue deep
- cobalt blue hue
- prussian blue
- cerulean blue
oil paint
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