A Corner of the Garden of St. Paul’s Hospital

A Corner of the Garden of St. Paul’s Hospital

"Here’s a new no. 30 canvas, commonplace again, like one of those chromos from a penny bazaar that depict eternal nests of greenery for lovers. Thick tree-trunks covered with ivy, the ground also covered with ivy and periwinkle, a stone bench and a bush of roses, blanched in the cold shadow. In the foreground a few plants with white calyxes. It’s green, violet and pink. It’s just a question — which is unfortunately lacking in chromos from a penny bazaar and barrel organs — of putting in some style." To Theo. Saint-Rémy-de-Provence, on or about Thursday, 23 May 1889
Details:
Painting Date
22nd of May 1889
Detailed Image Link
Description:
Missing!!!
The seventh exhibition of Les Vingt was held in Brussels from 18 January to 23 February 1890. Works by the 19 members of the society were augmented by the work of 18 other ‘invited artists’: Eugène BochPaul CézanneAlexandre-Louis-Marie CharpentierAlbert Dubois-PilletLouis HayetXavier MelleryGeorge MinneLucien PissarroOdilon RedonAuguste RenoirLouis Oscar RotyGiovanni SegantiniPaul SignacAlfred SisleyCharles Storm van ‘s GravesandeWilliam ThornleyHenri de Toulouse-Lautrecand Vincent van Gogh. See Delevoy 1981, pp. 197 ff.
Van Gogh exhibited six works: ‘Tournesols’ (Sunflowers in a vase (F 454 / JH 1562 [2704]) and Sunflowers in a vase (F 456 / JH 1561 [2703])), ‘le lierre’ (Trees with ivy in the garden of the asylum (F 609 / JH 1693 [2789])), ‘verger en fleurs (Arles)’ (Orchard in blossom with a view of Arles (F 516 / JH 1685 [2781])), ‘champ de blé; soleil levant (Saint-Rémy)’ (Wheatfield at sunrise (F 737 / JH 1862 [2874])) and ‘la vigne rouge (Mont-Major)’ (The red vineyard (F 495 / JH 1626 [2745])). See Delevoy 1981, p. 216 and letter 820 (Van Gogh’s list of the works to be exhibited).

 

“Here’s a new no. 30 canvas, commonplace again, like one of those chromos from a penny bazaar that depict eternal nests of greenery for lovers.
Thick tree-trunks covered with ivy, the ground also covered with ivy and periwinkle, a stone bench and a bush of roses, blanched in the cold shadow. In the foreground a few plants with white calyxes. It’s green, violet and pink.
It’s just a question — which is unfortunately lacking in chromos from a penny bazaar and barrel organs — of putting in some style.
Since I’ve been here, the neglected garden planted with tall pines under which grows tall and badly tended grass intermingled with various weeds, has provided me with enough work, and I haven’t yet gone outside.
However, the landscape of St-Rémy is very beautiful, and little by little I’m probably going to make trips into it. But staying here as I am, the doctor has naturally been in a better position to see what was wrong, and will, I dare hope, be more reassured that he can let me paint.
assure you that I’m very well here, and that for the time being I see no reason at all to come and board in Paris or its surroundings. I have a little room with grey-green paper with two water-green curtains with designs of very pale roses enlivened with thin lines of blood-red. These curtains, probably the leftovers of a ruined, deceased rich man, are very pretty in design. Probably from the same source comes a very worn armchair covered with a tapestry flecked in the manner of a Diaz or a Monticelli, red-brown, pink, creamy white, black, forget-me-not blue and bottle green.
Through the iron-barred window I can make out a square of wheat in an enclosure, a perspective in the manner of Van Goyen, above which in the morning I see the sun rise in its glory.  

With this — as there are more than 30 empty rooms — I have another room in which to work.”

To Theo. Saint-Rémy-de-Provence, on or about Thursday, 23 May 1889

Painting, Oil on Canvas – 92 x 72 cm – Size 30 Figure
Saint-Rémy, France: May 22, 1889
Location unknown
F: 609, JH: 1693

Where Vincent Was:
Saint Remy

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