Still Life with Rose-Mallows - Vincent van Gogh
Archival giclée
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Description
A study of rose-mallows in a vase, painted by Vincent van Gogh in 1886. This work features his signature thick brushwork and a focus on colour contrast.
Painted during his time in Paris, this work displays the shift in Vincent van Gogh's palette as he engaged with the colour theories of his contemporaries. The composition focuses on a ceramic vase containing a bouquet of rose-mallows, set against a dark, textured background. Van Gogh employs thick, directional brushwork to build the form of the flowers, creating a sense of physical weight and volume. The application of paint is deliberate, with individual strokes visible across the surface of the canvas.
The colour scheme relies on the contrast between the muted, olive-toned background and the warmer hues of the flowers. The red and pink petals emerge from the arrangement, while the vase itself is rendered in a soft, pale green. Van Gogh uses dark outlines to separate the floral elements from the background, a technique influenced by his interest in Japanese woodblock prints. This approach flattens the pictorial space, drawing attention to the arrangement of shapes and colours rather than a traditional illusion of depth.
This painting is one of several floral studies produced by the artist in 1886. These works allowed him to experiment with colour relationships and brush technique without the constraints of portraiture or larger narrative scenes. The focus remains on the immediate observation of the subject, captured through a series of rhythmic, repetitive marks. The surface texture is a defining characteristic of the piece, as the paint is applied with enough thickness to catch the light, adding a tactile quality to the image. The work remains an example of his transition from the darker tones of his earlier Dutch period toward the brighter, more experimental style that would define his later years in the south of 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
Still Life with Rose-Mallows - 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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