The Large Plane Trees (Road Menders at Saint-Rémy) - Vincent van Gogh
Archival giclée
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Description
A study of autumn light and human labour, featuring the rhythmic, textured brushwork characteristic of Van Gogh's time in Saint-Rémy.
Painted during his stay at the asylum in Saint-Rémy-de-Provence, this work captures a scene of daily life near the facility. Van Gogh focuses on the massive trunks of plane trees that dominate the composition, their gnarled forms rendered with thick, rhythmic brushwork. The palette consists of ochre, earthy browns, and cool blues, reflecting the autumn season in the south of France. The scene depicts road menders at work, a subject that interested the artist for its representation of human labour. He balances the monumental scale of the trees with the small, human figures scattered along the path. The light filters through the canopy, creating patterns on the ground that suggest the movement of the sun. Van Gogh uses his characteristic impasto technique, applying paint heavily to build texture and energy across the surface of the canvas. This painting demonstrates the artist's ability to transform a mundane street scene into a study of form and colour. The trees act as vertical anchors, framing the activity of the workers and the quiet architecture of the nearby buildings. By focusing on the interplay between the organic shapes of the trees and the geometric piles of stone, Van Gogh creates a sense of harmony between the natural environment and human intervention. The work remains a clear example of his mature style, where colour and line work together to convey the atmosphere of the Provençal countryside.
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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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
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.
The Large Plane Trees (Road Menders at Saint-Rémy) - Vincent van Gogh
Our Features
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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
- Choose poster, framed print, canvas or framed canvas
- 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
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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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