Fisherman with Sou'wester, Pipe and Coal-pan - Vincent van Gogh
Archival giclée
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Description
A powerful portrait by Vincent van Gogh from his time in The Hague, capturing a fisherman in a moment of quiet, weathered contemplation.
This work dates to Vincent van Gogh's period in The Hague, a time when he focused heavily on the lives of the working class. The subject is a fisherman, rendered with a sombre, earthy palette that reflects the harsh realities of his trade. Van Gogh uses heavy, gestural marks to define the man's weathered features, the texture of his sou'wester hat, and the simple act of lighting a pipe from a coal-pan. The composition is tight, focusing entirely on the figure against a dark, indistinct background, which forces the viewer to confront the gravity of the sitter's expression.
During this early phase of his career, Van Gogh was deeply influenced by the Dutch masters and the social realism of contemporary artists like Jean-François Millet. He sought to capture the dignity of manual labour through a raw, unpolished technique. The use of black chalk and charcoal provides a gritty quality to the surface, while subtle touches of watercolour add a muted tone to the scene. The lighting is dramatic, creating strong contrasts that model the face and hands, drawing attention to the physical toll of the fisherman's life. This drawing demonstrates his early mastery of character study, showing an artist who was already capable of imbuing his subjects with a sense of psychological weight. It is a direct observation of humanity, stripped of artifice and presented with a stark, honest clarity that would define much of his later output.
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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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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
Fisherman with Sou'wester, Pipe and Coal-pan - 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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