Mountainous Landscape behind Saint-Rémy - Vincent van Gogh
Archival giclée
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Description
A powerful Post-Impressionist study of the Alpilles mountains, featuring bold, rhythmic brushwork and a striking contrast between cool blues and warm ochres.
Painted in 1889 during his stay at the asylum in Saint-Rémy-de-Provence, this work captures the rugged terrain of the Alpilles mountain range. Van Gogh produced several versions of this view, often working directly from nature within the hospital grounds. The composition is dominated by the undulating, rhythmic forms of the mountains, rendered in heavy, directional brushstrokes that suggest the geological movement of the earth.
The palette relies on a contrast between the cool, deep blues of the mountain peaks and the warmer, ochre tones of the foothills. Van Gogh uses thick impasto to build texture, creating a physical presence on the canvas that defines the contours of the terrain. Small, simplified structures are nestled within the lower registers, providing a sense of scale against the imposing mass of the mountains. The sky is treated with similar energy, featuring swirling clouds that echo the shapes of the hills below.
This painting reflects the artist's focus on the expressive potential of colour and line. Rather than aiming for photographic accuracy, he prioritises the emotional weight of the scene. The application of paint is deliberate, with each stroke contributing to the overall structure of the image. The work remains a primary example of his late period, where his technique became increasingly bold and his use of colour more subjective. By simplifying the forms of the trees and buildings, he directs the viewer's attention to the interplay between the sky and the solid rock formations. The result is a study of the Provençal environment that balances observation with a distinct, personal interpretation of the natural world.
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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
Mountainous Landscape behind Saint-Rémy - 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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