The Garden at the Asylum at Saint-Rémy (1889 CE)
In May 1889, Vincent van Gogh painted a remarkable view of the the Garden at the asylum. Thick brushstrokes transform what could have been a sad or restricted setting into something full of life..
France
A collection of items from France, reflecting its rich history of art, culture, and innovation. These pieces span medieval relics to revolutionary-era works, showcasing France’s influential legacy.
The Poplars at Saint-Rémy (1889 CE)
Vincent van Gogh’s The Poplars at Saint-Rémy captures a seemingly simple view of two poplar trees in the countryside of southern France, yet the painting is charged with movement, emotion, and atmosphere.
Starry Night Over the Rhone (1888 CE)
Step into a luminous September night in 1888 along the banks of the Rhône River in southern France. Vincent van Gogh’s Starry Night Over the Rhône invites you to pause beneath a sky alive with sparkling stars
The Sower (1890 CE)
Vincent van Gogh’s The Sower (after Millet) depicts a peasant striding across a field while scattering seeds. The figure wears a wide-brimmed hat and carries a large seed sack slung over one shoulder.
The Church at Auvers (1890 CE)
Painted in the final weeks of his life, van Gogh The Church at Auvers stands as one of the most emotionally charged and visually striking works of his career. Created in June 1890, just six weeks before his death.
Field with Poppies (1889 CE)
In Field with Poppies (1889), Vincent van Gogh presents a landscape that feels less observed than experienced. A wide Provençal field is animated by scattered red poppies that seem to pulse against the green ground..
Fallen Caryatid Carrying Her Stone (1881 CE)
This work depicts a female figure, known as a fallen caryatid—a term from classical Greek architecture referring to a sculpted woman serving as a supporting column—collapsed under the immense weight of a stone she bears on her shoulder.
Enthroned Virgin with Christ Child (c. 1400CE)
Crafted in limestone with bright polychromy (multiple colors) and gilding, this enthroned virgin blends tenderness with deep theological meaning, making it a poignant example of late medieval devotional art.
Why Born Enslaved! (1867 CE)
Rather than depicting submission, Jean-Baptiste Carpeaux presents a figure who resists her fate through posture and expression. The work immediately provokes emotional and moral reflection, compelling viewers to confront the horror of being enslaved.