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Van Gogh Museum Relievo collection

Van Gogh Museum Amsterdam Van Gogh Museum Relievo Collection

About Van Gogh Museum


About Van Gogh Museum

The Van Gogh Museum in Amsterdam, The Netherlands, houses the world’s largest collection of works by Vincent van Gogh. It hosts more than 200 paintings, 500 drawings and 800 letters, as well as the artist’s own collection of Japanese prints. The core of this collection originally comes from the artist’s family and is now on permanent loan from the Vincent van Gogh Foundation. Since it opened in 1973, the Van Gogh Museum has enjoyed increasing popularity. Now, every year, some one and a half million people come to Amsterdam from all over the world to admire the work of Van Gogh.


About Vincent van Gogh

Vincent van Gogh was 27 years old when he decided to become an artist. No one then, not even Van Gogh himself, suspected that he possessed extraordinary artistic gifts. Yet, he evolved remarkably rapidly from an inept but impassioned novice into a genuine, original master. Vincent proved to have an exceptional flair for bold, harmonious colour effects, and an infallible gift for choosing simple but highly memorable compositions. To many, Van Gogh’s works are unforgettable. They convey an extraordinary intensity of emotion that seems to speak directly to people all over the world.


About Vincent van Gogh

One of his letters to Theo shows that Van Gogh was considering the idea of reproducing his drawings in an attempt to make a series of cheap prints for the 'common people': Van Gogh, 3 December 1882 What I wrote to you in my last letter about a plan for making prints for the people is something to which I hope you’ll give some thought one day. I don’t have a fixed plan about this myself as yet, only in order to have it clear in my mind I’ll have things to do

relating both to the drawings themselves and to the process of reproduction. But I don’t doubt the possibility of doing something like this, nor its usefulness. Nor can I

doubt that people can be found whose heart would be in it. In short, I believe it could be done in such a way that no one would need regret having taken part.

About Van Gogh Museum Relievo Collection


About Van Gogh Museum Relievo Collection

The Van Gogh Museum Relievo Collection contributes to the mission of the Van Gogh Museum to “make the life and work of Vincent van Gogh and the art of his time accessible to as many people as possible in order to enrich and inspire them.” Van Gogh Museum Relievo Collection is the brand name for premium three-dimensional reproductions of Van Gogh masterpieces. The original masterpieces are recreated in size, colour, brightness and texture to achieve the ultimate fine art reproduction. A Van Gogh Museum Relievo includes a reproduction of the back of the paintings - together with all labels that were added over the years - and a frame similar to the frame in our museum. The Van Gogh Museum Relievo Collection is checked and approved by curators of the Museum.

About Reliefography


About Reliefography

Brand name: Relievo™ Product name: Premium three-dimensional replica (or: Premium 3D replica) Technique name: Reliefography The collection: Van Gogh Museum Relievo Collection Tagline: The Passion Recaptured Reliefography The Reliefography technique: a new and unique reproduction process developed by Fujifilm Belgium NV of three-dimensional scanning, digital imaging and printing technology. A reproduction in textured detail of Van Gogh's artworks in accurate colour detail.


About The Masterpieces The Van Gogh Museum is proud to be the first museum to introduce high-quality reproductions to the market.

The product range at this moment includes nine carefully selected Van Gogh masterpieces:

Boulevard de Clichy (1887), Sunflowers (1888), The bedroom (1888), Fishing boats on the beach at Les Saintes-Maries-de-la-Mer (1888),The harvest (1889), Undergrowth (1889), Wheatfield under thunderclouds (1890), Almond blossom (1890), Landscape at twilight (1890)


About Premium exclusivity The Van Gogh Museum endeavors to sustain the value of the Van Gogh Museum Relievo Collection, in order to guarantee premium exclusivity and attractiveness.

Each van Gogh Museum Relievo: - is approved by curators of the Van Gogh Museum - has its own unique lot and/or production number - is protected with a security seal carrying the lot and/or production number. The seal comes with Forge Guard® technology by Fujifilm, with state-of-the-art, anti- counterfeiting qualities - comes with a certificate carrying the seal that corresponds with the seal on the purchased Van Gogh Museum Relievo, a luxury documentation box and a customised high-quality transport case

The Van Gogh Museum Relievo Collection will be distributed in a limited edition of 260 pieces worldwide.


About Boulevard de Clichy (1887)

46 x 55.5 cm Original: oil on canvas


About Boulevard de Clichy (1887) ‘Such a bright and optimistic piece! It makes me think that adventure’s out there waiting for me.’ The boulevard de Clichy was one of the main streets in Montmartre, the artists’ quarter of Paris. The street lay close to the apartment on the rue Lepic where Vincent van Gogh stayed with his brother Theo. In this painting Van Gogh used a short, rapid brushstroke to represent the people, the buildings and the lights reflecting on the road. Instead of contour lines, he used colour contrasts and the direction of the brushstrokes to define the buildings. The diagonal strokes used for the street accentuate the effect of drawing the eye into the picture. A light-coloured primer, which is present throughout, shimmers trough the paint and gives the scene an almost springlike air. Van Gogh used the peinture a l’essence technique, applying highly diluted oil paint to the canvas. The result is reminiscent of a watercolour.


About Sunflowers (1889)

95 x 73 cm Original: oil on canvas


About Sunflowers (1889) ‘I am working with the enthusiasm of a man from Marseilles eating bouillabaisse, which shouldn’t come as a surprise to you because I am busy painting huge sunflowers.’ In this painting, the artist worked ton-sur-ton: with numerous variations of the colour yellow, shading into ochre and green. He was very successful in achieving harmony in colour and in using his sculptural brushstrokes to suggest the flowers’ shape. As a subtle but powerful complementary contrast, Van Gogh painted the heart of a single flower purple (now faded to light blue).


72.4 x 91.3 cm Original: oil on canvas

About The bedroom (1888)


About The bedroom (1888) „In short, looking at the painting should rest the mind, or rather, the imagination.‟ (Vincent van Gogh to his brother Theo, Arles, 16 October 1888, letter 705)

Vincent van Gogh’s bedroom is undoubtedly the most famous one in art history. It was in the Yellow House in Arles, where Van Gogh came to live in the summer of 1888, about half a year after leaving Paris. To prepare for the arrival of Paul Gauguin, he had put all his energy into decorating the house. The simplicity of the bright, flat colours, the emphatic contours, and the absence of shadows reflects Van Gogh’s long-standing passion for Japanese prints. At the same time, the painting appears somewhat naive, because of the angled rear wall of the room. But this was not a mistake: that wall really was skewed. Van Gogh was very satisfied with this new painting, so when it suffered water damage because the Rhône river flooded, he made a copy of it. That second painting now hangs in the Art Institute of Chicago. Later, he also made a smaller version of the painting for his sister Willemien. Van Gogh originally intended this piece to have a white frame, ‘as there’s no white in the painting’. The seals on the back tell the story of the travels of this exceptional work.


About Fishing boats on the beach at Les Saintes-Maries-de-la-Mer (1888)



‘„On the completely flat, sandy beach, little green, red, blue boats, so pretty in shape and colour that one thought of flowers‟ (Vincent van Gogh to Emile Bernard, Arles, on or about 7 June 1888, letter 622)

In late May 1888, Van Gogh went on an outing from Arles to Les Saintes-Maires-de-la-Mer, a fishing village on the Mediterranean coast, some fifty kilometres away, ‘just to see a blue sea and a blue sky’ – and above all, of course, to work. ‘I did the drawing of the boats as I was leaving, very early in the morning,’ he wrote to this brother Theo. ‘It was before the boats cleared off; I’d watched it all the other mornings, but as they leave very early, hadn’t had time to do it.’ Back in Arles, Van Gogh turned this scene into a painting, which included additional details and was executed entirely according to plan, right down to the colours he had noted on the drawing. So is the pattern of lines created by the distinctive masts and fishing rods, which subtly direct the viewer’s gaze towards the sea. There Van Gogh painted a few other small vessels, which were not in the original drawing. He took a freer approach to the landscape. To render the sky, he used separate strokes of blue, white, and purple. In painting the water, he attempted to capture its mackerel-like colour, which fascinated him: it was constantly ‘changing – you don’t always know if it’s green or purple – you don’t always know if it’s blue – because a second later, its changing reflection has taken on a pink or grey hue.’

About Fishing boats on the beach at Les Saintes-Maries-de-la-Mer (1888)


About The harvest (1888)



About The harvest (1888) ‘The last canvas thoroughly beats all the others’ Van Gogh intended to capture the mood of a summer’s day through ‘an opposition of blues against an element of orange in the golden bronze of the wheat’. In this painting he has successfully depicted such a ‘summer sun effect’. Yellow and green plots of land alternate beneath a turquoise sky. The harvest was the high point of Van Gogh’s painting sessions in the wheatfields in the surroundings of Arles. He regarded this work as one of his most successful paintings. ‘The last canvas thoroughly beats all the others’, he declared no fewer than three times in a letter to his brother Theo.



About Undergrowth (1889)


About Undergrowth (1889)

You‟ll see that, considering that life happens above all in the garden, it isn‟t so sad.‟ (Vincent van Gogh to his brother Theo, Saint-Rémy-de-Provence, on or about 23 May 1889, letter 776)

After being admitted to hospital in Arles several times, Van Gogh voluntarily entered an asylum for the mentally ill in Saint Remy in May 1889. He had an extra room there that he could use as a studio. This allowed him to go on painting during the first few weeks of his stay, when he was not permitted to leave the asylum. From his room, he had a view of the institution’s garden. Undergrowth shows that Vincent’s stay in Saint Remy brought about a radical change in his work, and that by this stage he had become a master of brushwork. The intense colours of his Arles period have made way for deep, dark tones, and the patches of colour and distinct outlines have been replaced by short, swirling brushstrokes. The resulting painting is impressionistic and, at the same time, has a nearly abstract quality, reinforced by the downward-looking perspective. We peer directly between the trunks into the dark green vegetation. Only after that do we lift our gaze and, at the upper edge of the painting, run up against the wall surrounding the garden.



About Wheatfield under thunderclouds (1890)


About Wheatfield under thunderclouds (1890)

‘They are enormous sweeping wheatfields beneath stormy skies and I have intentionally tried to express sadness, extreme loneliness in them’. In Auvers, Van Gogh painted a number of landscapes with wheatfields. The canvases are painted in an unusual, elongated format. The simple composition of Wheatfield under thunderclouds – a division into two horizontal planes – emphasises the boundless quality of the open fields. There is no tree, bird or figure to interrupt the horizontal character of the landscape. It is a single, endlessly rolling plain, made even more extensive by the low horizon and the correspondingly large expanse of sky.



About Almond blossom (1890)


About Almond blossom (1890) ‘the last canvas of the branches in blossom – you’ll see that it was perhaps the most patiently worked, best thing I had done, painted with calm and a greater sureness of touch’. The composition of the Almond blossom is both curious and unique in Van Gogh’s oeuvre. Rather than painting an entire almond tree, it seems that he arranged a still life of a few cut branches indoors, which he then set against a sky-blue background. However it came about, this close-up of the gnarled branches with their blossoms certainly makes an endearing subject, and the graceful effect is more suitable than if Van Gogh had painted a complete tree. In a letter to his brother Theo, Vincent later commented: ‘the last canvas of the branches in blossom – you’ll see that it was perhaps the most patiently worked, best thing I had done, painted with calm and a greater sureness of touch’.


50.2 x 101 cm Original: oil on canvas

About Landscape at twilight (1890)


About Landscape at twilight (1890) ‘„Lately I‟ve been working a lot and quickly; by doing so I‟m trying to express the desperately swift passage of things in modern life.‟ (Vincent van Gogh to his sister Willemien, Auvers-sur-Oise, 13 June 1890, letter 886)

Vincent van Gogh spent the last few months of his life in Auvers-sur-Oise, near Paris, outside the crowded city but still close to his beloved brother Theo. There in the north, Vincent felt drawn to the vast landscape of rolling hills and, not in the last place, to the light. He regularly went out to paint the landscape in the open air. He made a number of paintings on unusually wide canvases, which reinforced the sense of an expansive landscape. Landscape at twilight is an ode to evening light, a returning theme in Van Gogh’s oeuvre. Vincent painted ‘a night effect – two completely dark pear trees against yellowing sky with wheatfields, and in the violet background the castle encased in the dark greenery.’ The painting is especially noteworthy for its supple yet decisive style, in which loose and rhythmic brushstrokes alternate. For instance, the path is painted in an almost sketchy manner, while the green stalks of wheat are very clearly rendered, with almost systematic stripes. In the amber sky, we can see how Van Gogh stacked brushstrokes on top of each other, making the surface three-dimensional. But above all, it is the carefully chosen colour scheme that truly captures the mood of the moment.

About Unique Selling Points


About Unique Selling Points

- A premium exclusive product - Recapturing the passion of Van Gogh - Based on the original painting (from the collection of the Van Gogh Museum) - The result of a unique combination of high-tech 3D and 2D techniques and hands-

on craftsmanship - An unparalleled experience of size, texture, color and brightness of front and back

and therefore stands for quality and authenticity - Allows us to get ‘up close and personal’ with world-famous masterpieces Vincent

van Gogh’s paintings can be enjoyed for a life-time. These masterpieces are loved and admired throughout the world

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