Gasworks - Vincent van Gogh
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Description
A detailed industrial study by Vincent van Gogh, capturing the gasworks in The Hague with chalk and ink.
Produced during his time in The Hague, this work captures the industrial expansion of the late nineteenth century. Van Gogh depicts the gas holders located near the Schenkweg, a site he frequented during his early artistic development. The composition is divided by a strong horizontal line, separating the foreground of the canal bank from the imposing structures of the gasworks in the distance.
The artist employs a combination of black chalk, pencil, and ink to define the heavy, circular forms of the gas holders. The use of watercolour adds a subtle tonal range to the sky and the water, suggesting the hazy atmosphere of an industrial urban environment. Small figures are visible near the fence, providing a sense of scale against the massive engineering projects. A bare tree branch enters the frame from the right, a recurring motif in his early drawings that helps to frame the view and create a sense of depth.
This piece reflects the artist's early focus on social realism and his interest in the changing appearance of the city. Unlike his later, more expressive works, this drawing demonstrates a disciplined approach to observation and perspective. The muted palette and the focus on industrial architecture reveal his preoccupation with the lives of workers and the physical reality of his surroundings. It is a study of light and form, capturing a specific moment in the development of The Hague's infrastructure. The work remains a clear example of his technical proficiency with drawing materials before he fully transitioned to the bold colour palettes of his later years in France.
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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
Gasworks - 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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