The concise brushwork shows the plant form, which is full of rhythm and vitality. The whole painting remains in the same yellow tone, only lighter and brighter. This painting is considered to be Van Gogh's last large-scale Sunflower in the Yellow House. In this work, you can no longer see the short strokes in the self-portrait. Here, his brushwork is solid and powerful, unrestrained and uninhibited, depicting the gorgeous luster and full outline of sunflower vividly.

Sunflower broke the old rules, seamlessly combined strong contrast color with heavy color blocks, and created a new contrast color system, which had a far-reaching impact on the future artistic development. This painting is mainly yellow and orange, with delicate strokes of green and blue to outline petals and stems, and the signature and center of a flower are also blue. The dense spots on the lines have a striking effect, and the slender strokes try to show the fullness of the disk and the graceful feeling of the texture.

The Creative Background of Van Gogh's Sunflowers

1888 In August, Van Gogh began to paint sunflowers. Before paul gauguin arrived in arles, Van Gogh began to conceive a series of sunflower works. In a letter to Emile Bernard, he wrote, "When I decorated my studio with half a dozen sunflowers, I thought of this unpainted chrome yellow burning on a blue background, from peacock green to magenta blue.

Van Gogh finally planned to start painting 12 sunflowers in the yellow house where he and Gauguin worked as a studio. "I want to decorate the wall with sunflowers. Ok, if I finish the plan, it will be used as a wall. Everything will become a symphony of blue and yellow. I work from sunrise every day, because those flowers will wither soon, even if there is a withered flower in the middle, it is very troublesome. "

Unfortunately, Van Gogh could not compete in the changeable season. 1August 888, he only finished four Sunflowers, including this one.