Vincent van Gogh's Biography

Early in November 1883, Vincent van Gogh (1853-1890) wrote a consoling letter to his younger brother Theo (1857-1891), an up-and-coming art dealer worried about his future.

Sharing the insight of his own experiences, van Gogh reflected on the unpredictability of an existence in which a calm morning could suddenly be transformed by a violent gale. He warned Theo that unexpected twists and turns could leave him shaken and questioning the direction his life had taken.

Irises, by Vincent van Gogh, 1890
Vincent van Gogh's Irises is an
 oil on canvas (36-1/4 x 29 inches)
 that is housed in the van Gogh
Museum in Amsterdam. See
more pictures of van Gogh's

However, van Gogh also reassured him that as brothers they would always support one another and that misfortune might have the unexpected result of bringing them even closer together. Van Gogh himself had passed through years of similar frustrations and indecision during which he embarked on several paths -- as an art dealer, as a teacher, as a lay minister -- hoping to find a vocation that would engage his heart and his mind.

But he found neither contentment nor success, and now, with single-minded determination, he was teaching himself to paint. He suggested that Theo leave the gallery and take up the brush as well and closed his letter with the telling declaration: "So it seems to me that we must concentrate our whole energy on painting with the utmost singleness of purpose -- it being the raft that will take us safely to shore after the shipwreck."

Theo rejected his brother's advice and stayed in his profession. But van Gogh’s words proved true for his own destiny, a brief life in which art served as his sole consolation.

Vincent van Gogh's career as a painter spanned a scant decade. Although short in duration, his life as an artist proved productive and powerful, leaving a legacy of works that bear the unmistakable stamp of his deep passion and his highly charged imagination.

In his life, he yearned to attain the status of a serious, successful painter whose work could provide an anodyne to the sorrow and stresses of the modern condition. He signed his works "Vincent," striking an element of intimacy and openness with his viewers.

As an artist, he had a singular goal that he defined at the start of his career. He wrote to his brother, "I want to do drawings which touch some people." The force of his empathy and his emotions can be sensed in his signature works: panoramic landscapes, unflinching self-portraits, radiant sunflowers.

But less than his choice of subject, Vincent's message was conveyed in a palette of strong, startling color applied with a brush stroke that transformed the act of applying pigment to canvas into an intense relationship between the artist and his art. In his time -- and even in ours -- the turbulence of his life overshadowed the intentions that he had for his art.

But in his last letter to Theo, who did indeed support him through every misfortune, van Gogh stated his enduring conviction, "the truth is, we can only make our pictures speak."

The Sower by Jean-Francois Millet
Vincent van Gogh admired the
work of
Jean-Francois Millet,
who painted
The Sower.

Born on March 30, 1853, in the village of Groot-Zundert in the Brabant province in the Netherlands, Vincent Willem van Gogh was the oldest surviving child of Theodorus and Anna van Gogh. His father, descended from a comfortable bourgeois family, was a pastor in the Dutch Reformed Church, and his mother, an amateur botanist, painted in watercolor. He had two brothers and three sisters, and there was little in van Gogh’s youth to indicate any talent in the arts.

A competent student, van Gogh excelled at languages and read in English and French, as well as in Dutch. At 16, van Gogh moved to The Hague, where his uncle Vincent (called "Cent"), an art dealer for the Paris-based firm Goupil and Company, gave him a post as an assistant in a gallery. The firm specialized in contemporary art, and van Gogh readily developed an interest in the work of the French rural naturalists such as Jean-François Millet.

Van Gogh remained with Goupil and Company for seven years, working in branch galleries in London and Paris. His younger brother Theo followed him into the business, filling his position in The Hague and then moving on to Paris. Always close, the brothers maintained a lively correspondence, and over the years van Gogh shared his most personal thoughts with Theo, relying upon his brother's full understanding, financial help, and sympathetic support.

Van Gogh failed to fulfill his initial promise as an art dealer, and he was dismissed in April 1876. He moved back to England, where he served as an assistant to a school master, giving lessons in French and German. He became active in a parish in Isleworth, and when given the opportunity to preach a sermon, he fixed his ambitions on a clerical career.

In 1877, again with the help of Uncle Cent, van Gogh moved to Dordrecht and then to Amsterdam to prepare for the entrance examinations required for a university course in theology. But he neglected his studies, preferring to devote his time to eccentric projects -- drawing meticulous maps of the Holy Land and composing a multilingual translation of the Bible.

In July 1878, van Gogh began a training program for an evangelical ministry, but after three months' probationary work, he was denied a post. With his family's help, he moved to the Borinage, an impoverished mining region in Belgium, where he became a lay minister. His now fanatical devotion led to the intervention of his superiors, and by July 1879, van Gogh was barred from preaching.

He stayed in the Borinage for another year, living in extreme poverty. In 1880, he wrote to Theo that he was "homesick for that land of pictures" and, with the fervor that fueled his religious calling, he embraced the mission of art.

Although brief, Vincent van Gogh's life as an artist was a rich and prolific one. The pages in this article take you to the different stages of van Gogh's life, and some of the paintings he produced during those times.

  • Vincent van Gogh's Early Years as a Painter. Van Gogh pursued his new vocation without rest during his first years as a painter. Learn about this time in van Gogh's life, and the paintings he produced as a result of his early training and explorations.
  • Vincent van Gogh's Growth as a Painter. Inspired by the vibrant art community in Paris and the country landscapes of Arles, Vincent van Gogh made numerous artistic discoveries. Learn about how van Gogh grew as an artist during this period.
  • Vincent van Gogh and Paul Gauguin. Vincent van Gogh and fellow artist Paul Gauguin shared a tumultuous and challenging relationship. Read about the "Yellow House" period of van Gogh's life.
  • Vincent van Gogh's Health Conditions. For much of Vincent van Gogh's life, the artist was marred by health problems. In fact, many of van Gogh's paintings were created from the inside of a hospital room. Learn how van Gogh's health conditions affected his art.
  • Vincent van Gogh's Death. During the final days of Vincent van Gogh's life, the artist found inspiration in the quiet region of Auvers-sur-Oise. Learn about this period of van Gogh's life.
  • Vincent van Gogh Paintings. Vincent van Gogh's life as a painter was short, but prolific. This page takes you to the many paintings of Vincent van Gogh.

Vincent van Gogh yearned to return to a "land of pictures." Learn how van Gogh diligently pursued art, and how he discovered his own innate abilities, in the next section.

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At Vincent van Gogh’s request, Theo sent his brother art materials and instructional manuals, as well as a set of prints after Millet's Labors of the Field. As an art dealer, van Gogh had admired Millet's portrayal of the dignity of agricultural toil in such works as The Sower (1850), and he intended to copy the pieces as part of his training.

Vincent van Gogh's Still Life with Bible, 1885
Vincent van Gogh’s Still Life with Bible is an oil
on canvas (25-1/2 x 33-3/4 inches) housed in the
Van Gogh Museum in Amsterdam.

Over the next few years, van Gogh restlessly pursued his new vocation. In 1880, he went to Brussels to study at the academy, but by 1881, he was living with his parents, who had moved to Etten. Early in 1882, he returned to The Hague, where he rented a studio and studied briefly with the painter Anton Mauve, a relative by marriage.

Mauve encouraged van Gogh to work in color, and he also experimented with plein air (open air) painting, setting up his easel outdoors under natural light. In the autumn of 1883, van Gogh moved again, this time to the picturesque region of Drenthe, where he planned to paint peasants at their labor. But by the end of the year, short of money and lonely for company, he again joined his parents, who had now settled in the rural village of Nuenen.

While in Nuenen, van Gogh sketched the field workers at their labors, intent on painting a large and important picture to send to Paris to launch his career. In his letters to Theo, written in the early months of 1885, he described his desire to paint peasants as if he were one of them, to "rouse serious thoughts in those who think seriously about art and about life."

He completed The Potato Eaters that April, and the rough treatment and dark palette he used were meant to convey the true spirit of those whose toil sustained life. At the same time, van Gogh was mourning the death of his father. In recent years, the pair had become estranged; Theodorus was convinced that his eldest son was chasing a capricious dream.

In Still Life with Bible (1885), painted a few months after his father's death, van Gogh juxtaposes his father's beliefs with his own, perhaps putting their differences to rest.

In the autumn of 1885, van Gogh moved again, this time to Antwerp to enroll in the academy to study life drawing. Van Gogh made regular trips to the museum, where the works of Peter Paul Rubens convinced him that his own palette was too dark and too dull. He began to investigate color theory by reading Éugene Delacroix's reflections on the use of color.

But he found the academy curriculum -- most notably its examinations and competitions -- constricting, and by January 1886, Van Gogh wanted to move to Paris. Theo urged him to wait until June. By that time, he could secure a large apartment and arrange for van Gogh to have some instruction and studio space.

But in March, Theo received a note while at work announcing his brother's unexpected arrival: "Do not be cross with me for having come all at once like this; I have thought about it so much."

During his time in Paris and its neighboring communities, Vincent van Gogh grew as an artist, honing his innate abilities. Read about this time in van Gogh's life in the next section.

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Once settled in his brother's apartment in Paris, van Gogh seemed intent upon self-improvement. For years, he had neglected his health and his appearance. Now he trimmed his beard, visited a dentist, and bought new clothes. Theo described the transformation in a letter to their mother, claiming that she would not recognize her eldest son.

Portrait of Vincent van Gogh in a Cafe by Henri de Toulouse-Lautrec, 1887
Vincent van Gogh met
Henri de Toulouse-
Lautrec, who painted
Portrait of Vincent van
Gogh in a Cafe
, in Paris.

Van Gogh made the rounds of the galleries and art exhibitions, and that spring he attended the eighth and final Impressionist exhibition. There he saw Georges Seurat's A Sunday on La Grande Jatte (1884-1886), in which the juxtaposition of dots of pure pigment prompted the eye -- rather than the painter's hand -- to mix the tones.

He frequented Fernand Cormon's Atelier Libre (Free Studio), where the curriculum was unstructured and the other students shared his interest in the innovative developments in contemporary art. With Theo's connections, he visited the studios of artists whose work he had admired from a distance. He wrote to Horace Levens, an English painter he had met in Antwerp just a few short months ago, "I did not even know what the impressionists were, now I have seen them."

Most significantly, van Gogh acquired a circle of friends, including aspiring painters such as Henri de Toulouse-Lautrec, Émile Bernard, and Paul Signac, with whom he could exchange ideas, share experiences, and debate issues.

Vincent van Gogh's Fishing in the Spring, the Pont de Clichy (Asnières), 1887
Vincent van Gogh's Fishing in the Spring, the
Pont de Clichy (Asnières)
is an oil on canvas
(19-1/4 x 22-3/4 inches) that is housed in
the Art Institute of Chicago.

To advance his own development, van Gogh experimented with new techniques. He worked in fresh, high-keyed color, painting en plein air to master the spontaneous approach of the Impressionists. He adopted a pointillist brush stroke, using dots, dabs, and dashes to explore the theories of Neo-Impressionism. He shed his gloomy Nuenen palette, as seen in Fishing in the Spring, the Pont de Clichy (Asnières) (1887), a sun-drenched image of boating on the Seine.

Van Gogh acquired more confidence in his color by painting bouquets. Flowers were readily available at the market, and with a bouquet he could work alone in his studio without having to hire a model.

Vincent van Gogh's Flowering Plum Tree (After Hiroshige), 1887
Van Gogh made replicas
of Japanese prints,
Utagawa Hiroshige's
Flowering Plum Tree,

during his studies

Over the course of two years in Paris, van Gogh painted more than 30 floral still lifes, varying the blossoms for color effects and seeking to purge the dark tones from his palette. He described his work to his friend Levens: "I have made a series of color studies in painting, simply flowers....Trying to render intense color and not a grey harmony."

Van Gogh also made copies of Japanese prints. For many artists of van Gogh’s generation, the Japanese prints that were available in European markets offered an intriguing aesthetic alternative to western conventions of space, composition, and color.

Van Gogh first purchased Japanese prints in Antwerp, where he pinned them up on his walls for decoration. In Paris, there were many shops where he could browse through large selections and buy prints at reasonable prices. In 1887, he made three meticulous copies of prints, two by Utagawa Hiroshige and one by Keisai Eisen. Replicating the color and the formal structure in his own medium of oil convinced him that elements of Japanese art could be transferred to western compositions.

He wished as well to replicate his sense of how artists lived in Japan. Van Gogh based his idealistic vision on what the prints portrayed: a neat, orderly world of broad, tranquil vistas where men and women carried out their daily tasks with grace and purpose. He came to believe that the balanced beauty of Japanese art reflected a similar balance of life and nature in Japan.

Vincent van Gogh replica of Utagawa Hiroshige's The Plum Tree Teahouse at Kameido, 1857
Vincent van Gogh replica
of Utagawa Hiroshige's
The Plum Tree Teahouse
at Kameido

Van Gogh, in fact, was beginning to tire of Paris. He had found little recognition in the fiercely competitive art world, and the pace of Parisian life had drained him. During the last months of 1887, an early, harsh winter descended on Paris, and van Gogh yearned for sun and a more moderate climate, as well as the easy rhythm of rural life.

In February, he boarded a train headed south for Provence. His destination was Arles; he had never been there, but he imagined it as calm, quiet, and tranquil, a French counterpart to his idealized vision of Japan.

Snow covered the ground when van Gogh arrived in Arles, but within a few weeks the fruit trees began to bud and flower, and he took his easel out into the orchards to paint. Well aware that the spectacle of trees in flower was transient, he worked with speed and intensity, writing to Theo that "there is nothing like striking when the iron is hot." He kept as many as nine canvases in progress at the same time, and by late April, as the blossoms fell and the fruit burgeoned, he had completed more than 20 paintings.

Theo met his constant needs for more paint and canvases and also sent him money for living expenses. In return, van Gogh shipped his paintings to Paris, hoping that Theo could sell them, writing, "I must reach the point where my pictures will cover my expenses."

As spring warmth gave way to summer heat, van Gogh changed his subjects, first painting the meadows of irises and then setting his easel up in the fields to capture the first June harvest. As the sun gained intensity his palette became more brilliant, reflecting the vibrant contrast of the golden fields seen against the cerulean skies.

He explained to Theo that he often exaggerated the saturation of his tones for striking juxtapositions and powerful effects: "Instead of trying to reproduce exactly what I have before my eyes, I use color more arbitrarily, in order to express myself forcibly."

Vincent van Gogh experienced a tumultuous relationship with fellow artist Paul Gauguin. Read about this period of van Gogh's life in the next section.

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Lacking a like-minded circle of companions in Arles, van Gogh confessed to Theo that he was lonely. Although he claimed that his work diminished his need for company, he expressed the desire to create a community of artists who would live and paint together under the high colors and hot sun of Provence.

Paul Gaugin's Vision After the Sermon, 1888
Paul Gauguin painted Vision After the Sermon in
before he stayed with van Gogh in Arles.

He enlisted Theo's help to bring his vision of the "Studio of the South" into being, arguing that shared expenses would reduce the cost of living in Arles. In the company of other artists, van Gogh could reap the benefits of mutual encouragement and criticism, and he confessed to Theo, "I wish everybody would come south like me."

In July, Uncle Cent died, naming Theo as his main heir. In his typical generosity, Theo shared his windfall with his brother, and van Gogh used the money to convert the space that he had been renting for studio and storage into an inviting residence.

Vincent van Gogh's The Sower, 1888
Vincent van Gogh's The Sower is an oil on
canvas (12-1/2 x 15-3/4 inches) housed in the
van Gogh Museum in Amsterdam.

With an exterior painted the color of fresh butter, the "Yellow House" had whitewashed interior walls and four rooms: two on the ground floor to be used for a studio and a kitchen and two above to provide a bedroom for van Gogh and room for a guest.

Van Gogh hoped his first guest would be Paul Gauguin, whom he had met in Paris the previous November, when he and Theo visited the painter's studio. Both van Gogh brothers had been impressed with Gauguin's paintings from a recent trip to Martinique. Theo took several on consignment, and van Gogh persuaded Gauguin to trade one of his tropical landscapes with figures for two of his own studies of sunflowers.

Paul Gaugin's Van Gogh Painting Sunflowers, 1888
Paul Gaugin painted Van
Gogh Painting Sunflowers

during his time in the
Yellow House.

Now Gauguin was living in Brittany, where he worked in a bold, unorthodox manner that depended as much upon imagination as observation. He had already approached Theo for financial help, and van Gogh had a solution: Give Gauguin a train ticket and encourage him to move to Arles.

While Gauguin did not reject van Gogh’s invitation, he repeatedly postponed his travel plans. His ambivalence did not deter van Gogh, who quickly immersed himself in preparing the Yellow House for Gauguin's arrival, decorating the guest room with fine furnishings and his recent paintings of radiant sunflower bouquets.

Throughout the summer and into the early autumn, Gauguin and van Gogh exchanged letters, sharing their ideas and descriptions of their current work. But, as Gauguin delayed his visit, van Gogh’s anxiety rose. By the end of October, when Gauguin finally arrived in Arles, van Gogh was overwrought with anticipation.

At first Gauguin proved a calming presence, taking over the household chores, cooking nourishing meals, and fascinating van Gogh with tales of his travels with the merchant marines.

Van Gogh took Gauguin to his favorite painting sites in Arles where they worked together. Gauguin's powerful image of spirituality in Brittany, Vision After the Sermon (1888), inspired van Gogh to be even bolder in his color and his composition, as seen in his reinterpretation of The Sower, a longstanding favorite motif.

As the weeks passed, and inclement weather forced them to work more often in the cramped confines of the Yellow House, their different views often led to heated debates. Gauguin urged van Gogh to rely more on his memory and imagination, but van Gogh remained firmly committed to working in the open air, in front of his model.

In his letters to Theo, van Gogh described his struggle to incorporate Gauguin's suggestions into his method. Gauguin was more blunt, writing to their mutual friend Bernard that Arles fell short of his expectations, and that he and van Gogh did not see eye to eye.

In December, Gauguin painted a portrait of van Gogh painting a sunflower bouquet, reflecting his sympathy with van Gogh’s endeavors, but whenever he raised the topic of departure, van Gogh would become agitated.

According to Gauguin's account, on the evening of December 23, 1888, van Gogh confronted him with a razor, demanding to know if he intended to leave Arles. Gauguin's confirmation further upset van Gogh, who turned and fled. Disturbed by his companion's irrational behavior, Gauguin spent the night in a hotel.

The following morning when Gauguin returned to the Yellow House, he was shocked to find it spattered with blood. Taken into custody by the police for interrogation, he discovered that van Gogh had returned home after their confrontation and mutilated his left ear. Bleeding profusely, he went to a brothel and was then taken to a hospital. Upon release from the authorities, Gauguin telegraphed Theo, who arrived on the next morning's train.

Convinced that his brother's condition was stable, Theo took the night train back to Paris. Gauguin rode with him, and van Gogh never saw him again.

Vincent van Gogh was plagued by health problems throughout his brief life. Keep reading to learn how these health conditions impacted his paintings.

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In the hospital, Vincent van Gogh was treated for blood loss and was released in the first week of January 1889. He returned to the Yellow House where he resumed painting familiar motifs such as still-life arrangements and sunflower bouquets. He wrote to his brother, "Since it is still winter...let me go quietly on with my work."

But in mid-January he suffered a hallucinatory incident that required a brief hospitalization. Late in February, his erratic behavior so alarmed his neighbors that they petitioned the mayor to either have him readmitted to the hospital or returned to his family. Van Gogh entered the hospital, where he was allowed to paint on the premises, but the Yellow House was closed.

Acknowledging that the danger of another psychomotor seizure made it impossible for him to live on his own, van Gogh voluntarily entered Saint-Paul-de-Mausole, a psychiatric asylum in nearby Saint-Rémy-de-Provence. There, his condition was diagnosed as a form of epilepsy, and Theo convinced his doctors to allow him to paint.

One of Vincent van Gogh's most famous paintings, The Starry Night, was painted from the artist's hospital room.
Vincent van Gogh painted The Starry NIght
from his hospital room.

At first, van Gogh was required to remain indoors under observation, so Theo secured a ground-floor room with a garden view that he could use as his studio. The window of his hospital room on a floor above overlooked groves of olive and cypress trees, the cluster of buildings around the town church, and the Alpilles hills rising in the distance. The view inspired his painting The Starry Night (1889) in which gleaming stars and trailing comets illuminate a tumultuous sky.

By late June, van Gogh was allowed to work under supervision in the fields near the asylum. During the first week of July, while painting a reaper swinging his sickle in a vast wheat field, van Gogh suddenly went into a severe seizure. The attendant with him later reported that van Gogh drank turpentine and tried to eat his paint. Debilitated for more than five weeks, van Gogh was tormented by nightmares and his swollen throat made it difficult to eat.

By September, he was again able to write to Theo and resume his painting, but since he was confined to the asylum, he painted his own portrait and copied prints that he had in his possession, including reproductions of paintings by Millet and Delacroix.

With his enduring conviction that painting outdoors before nature would restore his health, he now planned to leave the asylum and move to Auvers-sur-Oise, a village north of Paris. Although he informed Theo that "I could almost believe that I have a new period of lucidity before me," he realized that further seizures were likely.

His spirits were buoyed by increasing recognition. Starry Night over the Rhône (1888) was well received at the autumn exhibition of the Société des Artistes Indépendants, and he was invited to present his work in Brussels in February at an exhibition organized by the Symbolist circle Les Vingt. In January 1890, the young critic G.-Albert Aurier published an appreciation of his work in the popular journal Mercure de France.

Theo, who had married Johanna Bonger the previous April, became a father on January 30 and named his son Vincent Willem. But a series of attacks -- in December and again in January and February -- forced van Gogh to remain in the asylum until his condition was stable. On May 16, van Gogh checked himself out of the asylum in Saint-Rémy and traveled by train to Auvers-sur-Oise.

Van Gogh spent his final days painting in Auvers-sur-Oise, before taking his own life. Read about van Gogh's death in the next section.

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Cautious but optimistic, van Gogh found a congenial environment in Auvers-sur-Oise. Following the advice of the painter Camille Pissarro, he introduced himself to Paul Gachet, a local homeopathic physician as well as an enthusiastic and knowledgeable collector of contemporary art who was willing to offer his supportive supervision.

Vincent van Gogh's Wheatfield with Crows, 1890
Vincent van Gogh's Wheatfield with Crows is an
oil on canvas (20 x 40-1/2 inches) housed in the
Van Gogh Museum in Amsterdam.

In a letter to Theo and Johanna, van Gogh described the region as "lush" and far enough from Paris to be "the real country." Gachet found him a room in an inn, and van Gogh rapidly adopted a regular routine, spending his days painting in the countryside.

Theo and his family visited in June, and van Gogh made a brief trip to Paris in July. When he returned, he gave his full attention to a new subject, which he described in his last letter to his mother and his sister Wil as "the immense plain of wheatfields against the hills, boundless as the sea." He worked quickly in strong, pure color, laying down his pigment with thick impasto that preserved the direction of every stroke.

Vincent van Gogh's Self-Portrait, 1889
Vincent van Gogh's 1889
Self-Portrait is housed in
the National Gallery of
Art in Washington, D.C.

On July 25, Theo received a letter from his brother that seemed to him to be incomprehensible. Two days later, van Gogh shot himself in the wheat field where he had been painting. Theo came immediately and was at his brother's side when van Gogh died on July 29.

A quiet funeral was held in Auvers-sur-Oise with Theo, Gachet, and a few friends from Paris paying their respects. In a letter to the critic G.-Albert Aurier, Bernard noted that van Gogh’s recent canvases were displayed on the wall above his coffin and that the coffin itself was covered with yellow dahlias and sunflowers.

This, he observed, was an appropriate tribute, writing, "It was his favorite color, if you remember, symbol of the light that he dreamed of finding in hearts as in artworks."

Van Gogh's paints and easel were placed on the floor in front of the coffin. Gachet offered a few words of consolation, reminding the mourners that van Gogh gave his whole being to art and humanity and sagely observing, "It is the art that he cherished above all else that will ensure he lives on."

Vincent van Gogh produced volumes of paintings during his short career as a painter. Explore the works of van Gogh in our final section.

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Vincent van Gogh began his art career with the desire to return to a "land of pictures." Having worked previously as an art dealer, van Gogh yearned for the enthusiasm he had felt for the paintings he had enjoyed. Van Gogh channeled that enthusiasm into a brief but intensely dedicated and disciplined career.

Vincent van Gogh's The Starry Night
Vincent van Gogh's The Starry Night is an
oil on canvas (29x36-1/4 inches) that is housed
in the Museum of Modern Art in New York.

The links below take you to van Gogh's paintings. They span his entire career, from exploratory early works to color-drenched paintings composed from hospital windows.

A Corridor in the Asylum A Memory of the Garden at Etten A Pair of Shoes
Agostina Segatori Sitting in the Café du Tambourin Almond Blossom Almond Tree in Blossom
Blossoming Acacia Branches Boulevard de Clichy Butterflies and Poppies
Café Terrace on the Place du Forum, Arles, at Night Carpenter's Yard and Laundry Congregation Leaving the Reformed Church in Nuenen
Corn Fields and Poppies Courting Couples in the Voyer d'Argenson Park at Asnieres Cypresses
Daubigny's Garden Dr. Gachet's Garden Ears of Wheat
Encampment with Caravans Farm Near Auvers Field of Flowers near Arles
Fishing Boats on the Beach at Saintes-Maries-de-la-Mer Fishing in the Spring, the Pont de Clichy (Asnieres) Flower Beds in Holland
Flowers in a Blue Vase Garden with Sunflower Gauguin's Chair
Houses at Auvers Irises Irises
La Mousme, Sitting
Landscape at Twilight Landscape with Carriage and Train in the Background
Landscape with Snow Lane of Poplars at Sunset Langlois Bridge at Arles with Women Washing
L'Arlesienne: Madame Joseph-Michel Ginoux
Le Crau with Peach Trees in Blossom Le Moulin de la Galette
Le Pere Tanguy Les Alyscamps Les Alyscamps
Madame Roulin Rocking the Cradle (La Berceuse) Madame Roulin with her Baby Marcelle
Marguerite Gachet at the Piano
Marguerite Gachet in the Garden Meadow in the Garden of Saint-Paul Hospital
Noon: Rest from Work (After Millet) Old Man in Sorrow (On the Threshold of Eternity) Oleanders
Olive Grove Orchard in Blossom with View of Arles Peach Tree in Blossom (Souvenir de Mauve)
Peat Field Pieta (after Delacroix)
Pink Roses
Ploughed Field
Portrait of Dr. Gachet Prisoners Exercising (After Dore)
Road with Cypress and Star Self-Portrait


Self-Portrait Dedicated to Paul Gauguin (Bonze)
Self-Portrait of Vincent van Gogh Self-Portrait of Vincent van Gogh
Self-Portrait with Bandaged Ear Self-Portrait with Dark Felt Hat Self-Portrait with Pipe and Straw Hat
Sheaves of Wheat
Skull of a Skeleton with Burning Cigarette Sprig of Flowering Almond Blossom in a Glass
Starry Night over the Rhone Still Life with Bible Still Life: Drawing Board, Pipe, Onions and Sealing Wax
Still Life: Vase with Twelve Sunflowers
Still Life: Vase with Twelve Sunflowers Study for "Romans Parisiens"
Sunflowers Tarascon Diligence Terrace of a Café on Montmartre (Le Guinguette)
The Bedroom The Bedroom
The Church at Auvers-sur-Oise
The Dance Hall The De Ruijterkade in Amsterdam The Harvest
The Hill of Montmartre with Stone Quarry The Large Plane Trees The Loom
The Old Mill The Olive Trees The Parsonage Garden in the Snow
The Postman Joseph Roulin The Potato Eaters The Red Vineyard
The Sower The Sower
The Starry Night
The White Orchard
The Yellow House The Zouave
Two Cut Sunflowers Undergrowth with Two Figures
Van Gogh's Chair
Vegetable Gardens and the Moulin de Blute-Fin on Montmartre
View of the Sea at Scheveningen Ward of Arles Hospital
Wheatfield Under Thunderclouds Wheatfield with a Lark
Wheatfield with Crows
Willows at Sunset Woman Winding Yarn
Young Girl in a Wood

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