The Spinner (after Millet) - Vincent van Gogh
Archival giclée
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Description
A Post-Impressionist interpretation of a rural spinner, painted by Vincent van Gogh in 1889 after the work of Jean-François Millet.
Vincent van Gogh painted this work in 1889 while staying at the asylum in Saint-Rémy-de-Provence. It is one of several interpretations he produced based on the works of Jean-François Millet, an artist he admired for his depictions of rural life and manual labour. Van Gogh did not have access to the original paintings, so he worked from black-and-white reproductions, which allowed him to interpret the colour palette according to his own expressive requirements.
The composition features a woman seated in profile, focused on the task of spinning wool. She occupies a simple wooden chair, positioned before a spinning wheel. The background is rendered in a cool, minty green, which contrasts with the deep blues of the woman's dress and the warm, earthy tones of the floorboards. Van Gogh employs his characteristic brushwork, using short, rhythmic strokes that follow the contours of the forms, providing a sense of movement and texture to the scene.
This painting reflects the artist's interest in the dignity of labour and the quiet, repetitive nature of domestic work. By translating Millet's sombre, realistic style into his own visual language, Van Gogh brings a new energy to the subject. The focus remains on the concentration of the figure, whose posture suggests a lifetime of such tasks. The work is a study in colour harmony and form, demonstrating how the artist could transform a borrowed composition into a personal statement through his unique application of paint and choice of hue.
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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.
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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
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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
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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
The Spinner (after Millet) - 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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