In March 1886, Vincent Van Gogh arrived in Paris. He stayed with his brother Theo in a house near Montmartre and studied painting at Fernand Cormon’s studio. As Vincent expanded his network through Tanguy’s paint shop, he began working at the studio of John Peter Russell.
John Peter Russell was an Australian Impressionist painter whose bright and vibrant paintings gave Vincent the freedom to explore color in new ways. Vincent’s previously somber palette started to incorporate brighter, more vivid hues, adding life and energy to his work.
Like his fellow artists, Vincent wanted to hire nude models and paint all day, but he had to be frugal with his money. As a result, during this time, he primarily focused on still lifes and landscapes.
Being in Paris and surrounded by Impressionist painters, Vincent’s style began to change noticeably. His work can be divided into two distinct periods: pre-Paris and post-Paris. If his pre-Paris paintings resembled the dark, dim light before sunrise, his post-Paris works seemed to glow with the bright light of the day.
Vase with poppies, cornflowers, peonies and chrysanthermums (1886)
Bowl with peonies and roses (1886)
Père Tanguy was a well-known paint shop owner in Paris. Uniquely, he didn’t charge struggling artists high prices for their paints. Instead of money, he accepted a painting from them. For many unknown and financially strapped artists, Tanguy was a savior. By investing in them, he amassed a diverse collection of artwork.
His shop displayed works by then-unknown artists like Paul Cézanne, and Tanguy was also the first to exhibit Vincent Van Gogh’s paintings for sale.
The fourteenth of July celebration in Paris (1886)
Perhaps out of gratitude, Vincent painted three portraits of Père Tanguy. At the time, Vincent was deeply fascinated by Japanese art, and the famous portraits of Tanguy feature Japanese-style backgrounds.
Portrait of Pere Tanguy (1887)
Vincent and Theo eventually moved to Asnières, a suburb to the north of Paris. There, Vincent met Paul Signac and became influenced by Pointillism, a technique of painting with dots.
During his time studying at Cormon’s studio, Vincent formed connections with fellow students Émile Bernard, Louis Anquetin, and Henri de Toulouse-Lautrec, expanding their circle. Their gatherings also included artists like Paul Gauguin, Camille Pissarro, and Georges-Pierre Seurat, further enriching their discussions on art.
Boulevard de clichy (1887)
Despite the vibrant colors and the beautiful Parisian landscapes in his work, by the time he was 35, Vincent Van Gogh began to feel a sense of unease. His paintings had not gained recognition in exhibitions, and despite all the networking, there seemed to be no clear signs of progress.
Bridges across the Seine at Asnieres (1887)
Was Vincent growing weary of a Paris that failed to appreciate his artistic vision? Was he lamenting his dependence on Theo for survival? Or perhaps his declining health necessitated a retreat to a more peaceful place?
Interior of a restaurant (1887)
Vincent decided to move to Arles in the South of France.
He proposed to Paul Gauguin, a fellow struggling artist who received support from Vincent’s brother Theo, that they move to Arles together.
However, Vincent ended up making the journey alone.
Chestnut tree in Blossom (1887)
