This is one of four paintings of sunflowers dating from August and September 1888. They were intended to decorate the Yellow House in Arles, where van Gogh and Gauguin were to work togrther.
The dying flowers are built up with heavy brushstrokes. The *impasto evokes the texture of the seed-heads.
Van Gogh produced a replica of this painting in January 1889 (Rijksmuseum Vincent Van Gogh, Amsterdam).
The Yellow House Van Gogh intended to decorate Gauguin's room in the Yellow House with a series of sunflower pictures.
"I am hard at it, painting with the enthusiasm of Marseillais eating bouillabaisse, which won't surprise you when you know that what I'm at is the painting of some sunflowers.
If I carry out this idea there will be a dozen panels. So the whole thing will be a symphony in blue and yellow.
I am working at it every morning from sunrise on, for the flowers fade so quickly.
I am now on the fourth picture of sunflowers. This fourth one is a bunch of 14 flowers ... it gives a singular effect."
Vincent van Gogh to his brother Theo, August 1888.
The Emile Bernard, a fellowartist, van Gogh wrote, 18 August 1888: "a decoration in which the raw or broken chrome yellows will blaze forth on various backgrounds... Effects like those of a stained glass window in Gothic church."
By the time he came to Arles, van Gogh had moved beyond his impressionist phase, and was painting with thickly applied strong colours.
*impasto: In painting, impasto (from Italian for dough) describes areas of the surface of a painying which are heavily built up with paint layers.
Impastoed paint is highly textured; brush or palette knife marks are usually clearly evident. The intention is to make the lightfalling across the painting reflect in a particularly noticeable way. Highlights, or perhaps jewels on a costume, may be heavily impastoed for this reason, as in some of the works of Rembrandt.
Later, artists such as Van Gogh employed the technique extensively for decorative and expressive purposes.
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