Tambourine with Pansies - Vincent van Gogh
Archival giclée
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Description
A study of pansies arranged in a tambourine, captured with thick, expressive brushwork and a balanced colour palette.
Painted during his time in Paris, this work displays the artist's experimentation with colour and brushwork. The subject is a tambourine, which serves as a makeshift vessel for a dense arrangement of pansies. The composition focuses on the interplay between the circular form of the instrument and the organic, irregular shapes of the flowers.
The background is a muted, cool-toned blue-grey, which allows the warmer yellows and deeper purples of the pansies to emerge. The paint application is thick and directional, a technique that provides a tactile quality to the surface. Each stroke is visible, contributing to the overall energy of the piece. The tambourine itself is rendered with simplified forms, its circular rim providing a structural anchor for the overflowing floral display.
Van Gogh often used flowers as a subject to explore colour theory and the expressive potential of paint. In this instance, the contrast between the dark, velvety petals and the lighter, creamy tones of the tambourine creates a sense of balance. The work avoids excessive detail, opting instead for a direct representation of light and form. It remains a clear example of the artist's transition from his earlier, darker palette to the brighter, more experimental style he developed in France. The signature, placed in the lower left corner, is a characteristic mark of his work from this period.
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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
Tambourine with Pansies - 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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