Plaster Statuette of a Horse - Vincent van Gogh
Archival giclée
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Description
A focused study of a plaster horse model, painted in Paris in 1886, demonstrating the artist's early experimentation with texture and light.
Painted during his time in Paris, this study of a plaster statuette demonstrates the artist's focus on form and light through a limited palette. Vincent van Gogh produced this work in 1886, a period when he was actively experimenting with the application of paint and the observation of inanimate objects to refine his technical skills. The subject is a small, white plaster model of a horse, rendered with thick, directional brushstrokes that define the muscular structure and the play of light across its surface.
The background consists of deep, moody blues applied with energetic, visible strokes, which contrast with the cooler, grey-toned surface upon which the statuette stands. By choosing a monochromatic subject, the artist directs the viewer's attention to the physical texture of the paint itself. The horse is captured in a mid-stride pose, suggesting movement despite the static nature of the plaster original. This work reflects the artist's transition from the darker, earth-toned palette of his earlier Dutch period toward the brighter, more colour-focused approach he would later adopt in the south of France.
Unlike his more famous, expansive compositions, this piece functions as a focused exercise in observation. The paint is applied with a tactile quality, where the ridges of the oil medium remain visible, adding a physical dimension to the image. The composition is straightforward, placing the horse centrally against a dark, atmospheric backdrop. This study provides insight into the artist's methodical approach to painting, showing how he used simple subjects to explore the relationship between light, shadow, and the materiality of oil paint on a small scale.
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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
Plaster Statuette of a Horse - 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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