Pine Trees with Setting Sun

Pine Trees with Setting Sun

"I shake your hand warmly in thought, I’m going to work some more outside, the mistral’s blowing. It usually dies down by the time the sun’s about to set, then there are superb effects of pale citron skies, and desolate pines cast their silhouettes into relief against it with effects of exquisite black lace. At other times the sky is red, at other times a tone that’s extremely delicate, neutral, still pale lemon but neutralized by delicate lilac. I have an evening effect of a pine again against pink and green-yellow. Anyway, shortly you’ll see these canvases, of which the first, the Wheatfield, has just left. More soon, I hope, warm regards to Jo. Ever yours, Vincent" To Theo. Saint-Rémy-de-Provence, on or about Thursday, 19 December 1889
Currently Located:
Details:
Painting Date
15th of November 1889
Detailed Image Links
Description:
Vincent again paints the sun in Saint Remy, this time as it sets behind tall pine trees behind a female figure walking toward the viewer on a path running diagonally from bottom right to left center.  A yellow green sky fades to orange pink at the horizon with a laterally stroked orange disk of sun with red dashes outlined in the same red in a cloissonesque and Japanese style.  Done at the same time as Landscape (wheat field) with Sunrise and several depictions of Olive Groves, Vincent uses rising strokes from left to right to capture the changing autumn sky before twilight.  Lemon yellow and light greens and pinks and oranges below the sun, the sky behind the framed pine takes up nearly three quarters of the right side of the canvas.
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“I have 12 large canvases on the go, above all olive groves, one with an entirely pink sky, another with a green and orange sky, a third with a big yellow sun.  Then tall, ravaged pines against a red sunset sky.”

To Willemien van Gogh. Saint-Rémy-de-Provence, Monday, 9 or Tuesday, 10 December 1889

 

(The twelve large canvases included six of olive groves: the five mentioned in letter 823 – Olive grove (F 707 / JH 1857 [2871]), Olive grove (F 708 / JH 1855 [2869]), Olive grove (F 710 / JH 1856 [2870]), Olive pickers (F 587 / JH 1853 [2867]) and Olive grove (F 586 / JH 1854 [2868]) – as well as a new work, Women picking olives (F 654 / JH 1868 ) (see n. 13). Also included in this consignment were the two canvases Van Gogh says he is working on in the present letter: Wheatfield at sunrise (F 707 / JH 1862 [2874]) and Pine trees with setting sun (F 652 / JH 1843 [2863]), as well as two paintings mentioned in letter 824: Road menders (‘The tall plane trees’) (F 657 / JH 1860 [2872]) and Diggers (after Millet) (F 648 / JH 1833 [2856]). Other works that might have been included are Wheatfields with a tree and mountains (F 721 / JH 1864 [2875]) – which he sent to Theo in January, along with a number of the above-mentioned works (see letter 834) – and several paintings he had made earlier but also sent in January: Ploughed field with a man carrying a bundle of straw (F 641 / JH 1795 [2846]), Evening (after Millet) (F 647 /JH 1834 [2857]) and Rain (F 650 / JH 1839 [2861]).

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“I shake your hand warmly in thought, I’m going to work some more outside, the mistral’s blowing. It usually dies down by the time the sun’s about to set, then there are superb effects of pale citron skies, and desolate pines cast their silhouettes into relief against it with effects of exquisite black lace.

At other times the sky is red, at other times a tone that’s extremely delicate, neutral, still pale lemon but neutralized by delicate lilac.
I have an evening effect of a pine again against pink and green-yellow. Anyway, shortly you’ll see these canvases, of which the first, the Wheatfield, has just left. More soon, I hope, warm regards to Jo.
Ever yours,  Vincent”

To Theo. Saint-Rémy-de-Provence, on or about Thursday, 19 December 1889

 

Painting, Oil on Canvas – 92 x 73 cm Size 30 Figure
Saint-Rémy: November, 1889
Kröller-Müller Museum
Otterlo, The Netherlands, Europe
F: 652, JH: 1843

Where Vincent Was:
Saint Remy

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