Portrait of Joseph Roulin - Vincent van Gogh
Stampa giclée d'archivio
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Pagamento sicuro
Fatto su ordinazione
Descrizione
A striking 1888 portrait of Joseph Roulin, a postman and close friend of Vincent van Gogh, captured in his official uniform with bold, expressive brushwork.
Painted in Arles in 1888, this portrait depicts Joseph Roulin, a postman who became a close friend and supporter of Vincent van Gogh during his time in the south of France. Van Gogh produced several versions of this subject, reflecting his interest in the character and appearance of the local working class. The sitter is presented in his official uniform, complete with the cap bearing the word 'POSTES'.
The composition is direct and frontal, placing the subject against a flat, light blue background. Van Gogh employs his characteristic brushwork, using thick, rhythmic strokes to define the contours of the face and the voluminous, bushy beard. The colour palette is deliberate, contrasting the dark, sombre tones of the uniform with the lighter, warmer hues of the skin and the bright blue of the backdrop. This approach creates a sense of presence and psychological weight, focusing on the individual rather than the surrounding environment.
Van Gogh admired Roulin for his socialist ideals and his steady, reliable nature. In his correspondence, the artist often described the postman as a man of great integrity, comparing his appearance to that of Socrates. This work captures that sense of dignity and resilience. The application of paint is energetic, yet controlled, demonstrating the artist's ability to balance observation with his own expressive style. The portrait remains a clear example of how Van Gogh used his subjects to explore human emotion and character through colour and form.
Politica di reso
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Produzione
Ogni stampa è realizzata su ordinazione mediante stampa giclée a 12 colori su carta d'archivio certificata FSC. Ideata in Gran Bretagna e stampata presso il centro di produzione più vicino a te per ridurre gli sprechi e velocizzare la consegna.
Cura e materiali
Caratteristiche specifiche
Ogni opera Solis è realizzata su ordinazione con materiali d'archivio di qualità museale, costruiti per durare nel tempo.
- Stampa giclée di qualità museale per colori ricchi e resistenti allo sbiadimento
- Carta fine-art opaca d'archivio, certificata FSC
- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
- Le stampe con cornice arrivano pronte per essere appese
Cura e pulizia
Per mantenere la tua opera d'arte al meglio:
- Spolvera delicatamente con un panno morbido e asciutto
- Evita l'esposizione prolungata alla luce solare diretta
- Non utilizzare mai detergenti liquidi sulla superficie della stampa o della tela
- Conserva in un ambiente asciutto a temperatura ambiente
- Maneggia le stampe con mani pulite e asciutte
Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Portrait of Joseph Roulin - Vincent van Gogh
Artist Biography
Vincent Van Gogh
He taught himself to draw by copying prints and working through textbooks. His brother Theo, an art dealer in Paris, sent money every month for the rest of Vincent's life. Without Theo there are no paintings. The letters between them, over 600, are one of the most complete records of any artist's thinking. Van Gogh wrote about colour theory, composition, what he ate, what he read, how much he spent on paint. He was articulate and well-read and not, despite the popular version, simply mad.
He moved to Paris in 1886 and encountered Impressionism. The palette changed immediately: from the dark browns of his Dutch period to the colours people actually associate with his work. He met Gauguin, Pissarro, Signac, Toulouse-Lautrec. He absorbed Pointillism and Japanese prints. Then he moved to Arles in the south of France, where the light was better and people were fewer.
The Arles period produced Sunflowers, The Bedroom, Starry Night Over the Rhone. The breakdown followed: the argument with Gauguin, the severed ear (he cut part of his left ear, not the whole thing), the asylum at Saint-Remy, and then Auvers-sur-Oise, where he painted seventy canvases in seventy days before dying from a gunshot wound at thirty-seven. He sold one painting during his lifetime, or possibly two. Theo died six months later.
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