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In Search of Van Gogh's Motifs in Provence
In Search of Van Gogh's Motifs in Provence
subject to copyright.
In February 1888 Vincent van Gogh arrived from Paris at the main railway
flat, marshy plain. Close to the Rhône the plain is fertile but elsewhere,
there are tracts of arid soil. The area suffers extremes of temperature and
clouds of insects and mosquitoes; but the most severe climatic feature is the
vicious wind which blows down the river valley from the north, the
infamous Mistral. Though Arles has grown over the centuries, and now
remaining links with a past rich in ritual (Christian and pagan), rich in
local Arlaten museum. This was the town chosen by Van Gogh as the centre
for a School of painting in the South.
In choosing Arles, Vincent wished to emulate his idols Delacroix and
Monticelli. (1 ) The former had gone all the way to Africa in search of
colour and the latter had worked in Marseilles. Vincent was also intrigued
by the reputation of the Arlesiennes who were famous for their beauty and
promised land, a kind of ideal Holland with over-tones of Japan; being flat,
pastoral and, most important, warmer than the North.
Ironically, when Vincent arrived Provence was covered by snow;
This ancient and melancholy town was the scene of Vincent's greatest
On his arrival, Vincent walked into the town and found a room at 30 Rue
museum.
Rue Cavalerie still exists but the Hotel Carrel has been replaced by
modem buildings, as has the butcher’s shop across the street which
Vincent painted shortly after his arrival.
A little way along the same street is the church of Saint Julien, the spire
of which he drew across the rooftops from his attic window, a drawing
reminiscent of other attic views made in Holland and Paris.
coloured house, number 2 Place Lamartine, which faced south across the
large square between the railway station and the city gate. Unfortunately,
the house was destroyed in the last war and now the only obvious
reminder of Vincent's residence are two hotels named after him and his
companion Gauguin.
At night, in Place Lamartine, one can hear the sounds of the trains
shunting, just as Vincent must have heard them before falling asleep.
Perhaps these sounds encouraged him to paint the little reproduced study
central garden and pond. These have now given way to the needs of the
study the motif of the famous 'Yellow House' painting from the spot where
Vincent set up his easel. Although nothing of the yellow house remains,
the large building that overshadows it in the painting is still standing and
on its right are the two railway bridges which Vincent painted
too has been demolished. This cafe remained open all night and Vincent
stayed up for three nights to record the interior with its blood red walls and
curve in the river enables one to see, silhouetted above the torpid water, the
belfreys and spires of Arles. Here Vincent painted many river scenes, for
'Starry Night'.
The legend has it that Vincent wore lighted candles in his hat in order to
paint this latter canvas. In his painting 'Collier Boats Moored to the Quay',
Vincent depicted the church of Saint Pierre on the west bank of the Rhône
bank, in the background of his river scenes. One study of steps leading
delicate sapling; it is now fully grown. The original ironwork of the bridge
with the Roulin family, all of whom provided subjects for portraits. Roulin
worked as a postman unloading mail at the railway station just around the
brothel for the sake of "hygiene" (two rather sketchy canvases remain of
located on Boulevard des Lices. (In a letter dated 28 January 1889 Vincent
local drama group.) His 1888 painting of the crowded dance hall was
.
They also visited the famous avenue of Roman tombs known as 'Les
with the cars of the tourists, are two quiet public parks, the 'Garden of
summer' and the 'Garden of winter' , where pensioners relax in the sun on
the Place du Forum is the Hotel-Dieu where Vincent was admitted after his
first mental breakdown and again when a petition by the local citizens
demanded his removal because they considered him a public danger. The
courtyard and small formal garden of the hospital is still much as Vincent
painted it.
The environs of Arles are criss-crossed by numerous canals and skirting
the southern limit of the town is a major canal where Vincent painted
several of his most beautiful canvases. In 1888 the canal was spanned by
obvious appeal to a painter's eye and the nostalgic memories they evoked in
Vincent, they provided a comparison with Japan, for in Paris Vincent had
working order and is still frequented by the fishermen and pairs of strolling
lovers mentioned in Vincent's letters. Here, on the edge of the country, one
can share the silence and solitude Vincent expressed in the limpid beauty of
From the tall reeds that grow in the ditches and canals of Provence,
The range of textural effects that a major artist can achieve with these pens
is quite remarkable. The dots, hatches and patterns of Vincent's drawings
seem to reflect a kind of colour code similar to that used in heraldry, though
From Place Lamartine Vincent used to set out, early in the morning,
necessity, within walking distance of the yellow house, and even now the
vineyards abound with his subjects - cherry trees, pear trees, apricot trees,
Alphonse Daudet is associated with this village and Vincent could not resist
If, instead of following the Tarascon road, one walks parallel to the
past the town's gasworks. The stream, called 'La Roubine de Roi’, was used
the Arlesiennes at their chores with the chimney and buildings of the
luxuriant orchards and vineyards, until suddenly there are open fields as far
as the eye can see. Against the sky in the north are the low blue hills of the
Alpilles, but these are insignificant in comparison to the vast extent of the
with two stone arches, is the motif of one of the first Arles landscapes.
Beyond the stream, in the distance, are the ruins of a Benedictine abbey
called Mont Majour and a small but distinctive rocky hill called 'Mont de
Cordes'.
These two details enable one to identify the scene of Vincent's 'Harvest'
perhaps never so intense as here among the fields of waving com. With the
one can observe clearly how Vincent departed from the kind of reality
recorded by the camera. The 'distortions' are typical of most of the Arles
studies: the landscape is "tipped up" towards the picture plane, perspective
lines are greatly exaggerated and objects in the middle and far distances
are enlarged beyond their optical image size to compensate for the
psychological effect known as size constancy. When one tries to photo-
graph his motifs it becomes even more obvious that his paintings were not
constructed from a single fixed viewpoint but combine several in the one
Looking back the way we have come, the ancient, serrated profile of
Arles appears to float above the white and pink orchards like a fabled city.
In fact, in 1888, Arles must have been a rather squalid provincial town
(Gauguin thought it a paltry place and filthy), but from this viewpoint it is
church towers and such details as railway lines and windmills, to pinpoint,
with a fair degree of accuracy, the spot where Vincent set up his easel.
Vincent and his friend the Zouave officer Milliet often went on foot to the
Vincent's advice concerning the art of drawing but did not appreciate his
method of direct oil painting. Several drawings remain of the ruined abbey,
of trees clinging precariously to the rock face and of the Mont de Cordes a
short distance away to the east, looking like an upturned boat among the
Vincent, judging from the obsessive detail with which he drew them, and it
Amy Oakley describes a similar walk from Arles to Mont Majour and
how she scrambled over rocks and undergrowth to reach the Mont de
Cordes said to have been occupied and fortified by the Saracens in the
eighth century. (2) The Mont de Cordes appears on the horizon of many of
Vincent's landscapes and must have reminded him of the coal slag heaps of
la-Mer, a small fishing port on the Mediterranean. Still the largest building
in this picturesque town, is the curious church which Vincent painted and
drew from a viewpoint on the low sea wall; another motif which is still
perfectly intact.
He also made drawings and oil studies of the small thatched huts
Guardians’.
Other canvases depict fishing boats on the shore, or moving swiftly on
the very green he painted it, whereas previously one might have thought
of St. Paul, just outside the village of Saint-Rémy which is situated fifteen
miles north-east of Arles among the hills which appear so often on the
horizon of the Arles landscapes.
The asylum building and large park with its tall pine trees and borders of
The park is now neglected and overgrown. In the long grass are the ever-
present cicadas, their shrill noise reminds one of Vincent's small drawings
of them.
He was allotted a cell on the upper floor of the asylum and naturally had
to spend a good deal of his time confined to this cheerless room, especially
in bad weather. The window of his cell formed a natural perspective frame
which are olive groves and mountains. He painted this view many times
during rain and under full sunlight: the well-known 'Reaper' pictures are of
this field. The only thing Vincent omitted from these paintings were the
point Vincent made his drawings for the extraordinary painting 'Starry
tall, green-black trees twisting like flames in the Mistral one realises that
vision.
Today the asylum of St. Paul is closed and its windows covered by
past human tragedy of the patients. Once Vincent heard "terrible cries and
lit by flashes of lightning, and is filled by the sound of thunder and the dry
rattle of the shutters, then Vincent's 'madness' seems no more extreme than
Nature's.
Provence for themselves. (3) Many things will disappoint, such as the lack
of interest in the painter in Arles itself, the only official memorial to him
reproductions and a street named 'Avenue Van Gogh'. His house, bombed in
1944, looks from photographs of the ruin as if it could have been restored
bearing his name and shops selling coloured postcards,to pay a tainted
homage.
recapture before the motifs the kind of emotion they stimulated in Vincent,
indeed many of the scenes are trite and insignificant, or too obviously
picturesque for modem taste. The lesson of the motifs is to emphasize once
of painting.
'Monticelli and van Gogh', Apollo, 85 (64), June 1967, pp. 444-8.
(3) Books and articles containing photographs of motifs and dealing with
'What Vincent saw', Chicago Art Bulletin 44 (1 February 1950), pp. 5-9.
J. Rewald, 'The artist and the land', Art News Annual, 19, 1950, pp. 64-
73. J. Rewald, 'Van Gogh en Provence', L 'Amour de l'Art, 17, 1936, pp.
NB See also the ‘In the footsteps of van Gogh’ group on the photography
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This essay first appeared in my book Van Gogh Studies: Five critical