Entrance to a Quarry - Vincent van Gogh
Archival giclée
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Description
A striking 1889 oil painting by Vincent van Gogh, depicting a rocky quarry entrance framed by dense, expressive foliage.
Painted in 1889, Entrance to a Quarry captures the rugged terrain near Saint-Rémy-de-Provence. During his stay at the Saint-Paul-de-Mausole asylum, Van Gogh frequently explored the surrounding area, finding subjects in the rocky outcrops and dense vegetation. This work demonstrates his mature style, characterised by rhythmic, directional brushwork that defines both the solid rock face and the surrounding foliage.
The composition is framed by dark, swirling masses of greenery that push inward from the sides, creating a sense of enclosure. These thick, impasto strokes contrast with the flatter, more muted tones of the quarry entrance itself. The ochre and sandy hues of the stone suggest the heat of the southern French sun, while the deep greens and blues of the vegetation provide a cool counterpoint. Van Gogh uses his brush to map the physical contours of the earth, applying paint in a way that suggests movement and energy within the static rock formation.
Unlike his earlier, more sombre works, this painting reflects his interest in the structural qualities of nature. The interplay between the organic, chaotic growth of the bushes and the geometric, carved nature of the quarry creates a visual tension. The artist avoids fine detail, opting instead for bold, expressive marks that convey the texture of the stone and the density of the undergrowth. This piece is a clear example of his ability to transform a mundane geological site into a dynamic visual experience through colour and application technique. It remains a significant record of his observations during a period of intense artistic production in the final years of his life.
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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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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
Entrance to a Quarry - 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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