Cypresses - Vincent van Gogh
Archival giclée
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Description
A powerful ink drawing by Vincent van Gogh, featuring his signature rhythmic mark-making to depict the iconic form of a cypress tree.
This drawing, executed in 1889 during the artist's stay in Saint-Rémy-de-Provence, captures the towering form of a cypress tree. Van Gogh utilised a reed pen and ink to create a rhythmic, graphic interpretation of the subject. The composition is dominated by the dark, flame-like silhouette of the tree, which contrasts against the lighter, swirling marks representing the sky and the surrounding terrain.
The technique relies on varied line weights and directional strokes to suggest movement and texture. Short, curved marks define the foliage of the cypress, while longer, flowing lines delineate the sky and the undulating ground. This approach reflects the artist's interest in the graphic potential of ink, allowing him to translate the visual energy of the Provençal countryside into a monochrome medium. The absence of colour focuses the viewer on the structural qualities of the drawing and the specific mark-making vocabulary developed by the artist during this period.
Van Gogh was drawn to the cypress tree as a subject, often describing it as beautiful in line and proportion, similar to an Egyptian obelisk. This work serves as a preparatory study or a finished drawing in its own right, demonstrating his ability to convey volume and atmosphere through ink alone. The drawing is part of a series of works exploring the motif of the cypress, which became a recurring element in his output while he was at the asylum in Saint-Rémy. The work remains a clear example of his mature drawing style, where the physical act of drawing becomes an extension of his observation of nature.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Cypresses - Vincent van Gogh
Artist Biography
Vincent Van Gogh
He taught himself to draw by copying prints and working through textbooks. His brother Theo, an art dealer in Paris, sent money every month for the rest of Vincent's life. Without Theo there are no paintings. The letters between them, over 600, are one of the most complete records of any artist's thinking. Van Gogh wrote about colour theory, composition, what he ate, what he read, how much he spent on paint. He was articulate and well-read and not, despite the popular version, simply mad.
He moved to Paris in 1886 and encountered Impressionism. The palette changed immediately: from the dark browns of his Dutch period to the colours people actually associate with his work. He met Gauguin, Pissarro, Signac, Toulouse-Lautrec. He absorbed Pointillism and Japanese prints. Then he moved to Arles in the south of France, where the light was better and people were fewer.
The Arles period produced Sunflowers, The Bedroom, Starry Night Over the Rhone. The breakdown followed: the argument with Gauguin, the severed ear (he cut part of his left ear, not the whole thing), the asylum at Saint-Remy, and then Auvers-sur-Oise, where he painted seventy canvases in seventy days before dying from a gunshot wound at thirty-seven. He sold one painting during his lifetime, or possibly two. Theo died six months later.
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