This exhibition looks at the final and most defining years of Vincent van Gogh’s life and centers on one of the strongest themes in his work: the ongoing tension between life and death. Rather than repeating the usual tragic storyline we often hear about him, the exhibition focuses on how he responded to his suffering with both creativity and intention. At the time, many medical professionals viewed his illness as a total collapse of his abilities. Van Gogh challenged that idea. In his letters to his brother Theo, he wrote about how painting helped him stay steady and care for himself, reflecting a conscious effort rather than an uncontrollable symptom. Through this, he questioned the narrow medical assumptions of his era.
The exhibition features seven major paintings that reveal this tension. Works like Wheat Field with Cypresses and Irises, both created during his time in the hospital, show the emotional weight he was carrying. In contrast, quieter pieces such as La Berceuse and Olive Trees offer a sense of order and calm. Together, they suggest that Van Gogh was committed to finding light, structure, and meaning even while navigating deep personal challenges. Ultimately, the exhibition argues that art became his way of resisting despair and reshaping his pain into something lasting.
Vincent Van Gogh, La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930), 1889, oil on canvas, 36 1/2 × 29 in.
Painted shortly before his stay in the asylum, this portrait shows how Van Gogh understood art as something purposeful and even healing. The sitter, Augustine Roulin, is presented as a calm and steady presence, which he hoped would make the painting feel like a visual “lullaby.” The curved lines in the background and the warm red and green color palette create a sense of rhythm and comfort. Rather than reflecting his illness, the structure and care put into the work emphasize his belief that painting required discipline and intention. It illustrates how committed he was to creating pieces that could soothe others and how this goal contradicted the idea that his art was simply the result of mental instability.
Vincent Van Gogh, Corridor in the Asylum, 1889, brush and oils over black chalk on pink laid paper, 25 5/8 x 19 5/16in.
Created soon after Van Gogh admitted himself to Saint-Paul-de-Mausole, this piece offers a quiet but unsettling look at his new surroundings. Despite just experiencing a major crisis, he returned quickly to his artistic routine. The long, precise hallway shows careful perspective, suggesting a desire to create order during a chaotic moment in his life. Compared to the energetic landscapes he would paint later, this interior feels restrained and controlled. It highlights his determination to maintain a sense of stability through his work. Rather than supporting the view that he had lost his capacity, the drawing reveals how painting served as a grounding practice and an intellectual approach for holding onto clarity.
Vincent Van Gogh, Irises, 1890, oil on canvas, 29 x 36 1/4 in.
Painted in the asylum garden immediately after a severe mental episode, Irises pushes against the belief that someone in his condition was incapable of producing thoughtful, complex work. Van Gogh focused intently on the shapes and rhythms of the flowers, creating a composition that feels both vibrant and controlled. The single white iris in a field of purple becomes a focal point and demonstrating a high level of precision. By immersing himself in the natural order of the garden, he used painting as a form of self-therapy. This work shows that he approached his craft with discipline, even in moments of personal difficulty.
Vincent Van Gogh, Wheat Field with Cypresses, ca. 1889, oil on canvas, 28 13⁄16 × 36 3⁄4 in.
In this painting, Van Gogh brings together his emotional intensity and his careful attention to structure. The towering cypress, often associated with death, rises, suggesting the difficulty of what he was feeling internally. Yet his technique is steady and organized. The rolling fields create a calm horizontal balance that offsets the energy of the tree. This painting demonstrates how he worked to transform his emotional struggles into something meaningful through observation and disciplined practice. It challenges the assumption that his illness weakened his artistic abilities and instead shows how committed he was to shaping powerful images with intention.
Vincent Van Gogh, Olive Trees, 1889, oil on canvas, 28 5/8 x 36 1/4 in.
Olive Trees reflects Van Gogh’s effort to find order and meaning at a time when his inner world felt unstable. He was drawn to the olive trees’ twisted strength and saw them as symbols of endurance. While the forms are expressive, the repeated brushstrokes in the foliage and ground create a sense of rhythm that feels grounding. He painted this subject many times during his asylum stay, treating the process almost like a routine that kept him connected to a tangible reality. By focusing on their resilience, he used painting to stabilize himself and present nature as a model for persistence.
Vincent Van Gogh, Oleanders, 1888, oil on canvas, 23 3/4 x 29 in.
Van Gogh admired oleanders for their constant bloom, which he saw as a sign of vitality. This painting, completed during a period of relative clarity, celebrates that sense of life. The flowers appear full and bright, reflecting his desire to show the world’s energy rather than its darkness. The work also demonstrates the belief that painting could serve as a kind of personal therapy. Its focused composition and lively colors reveal how much effort he put into creating order and optimism.
Vincent Van Gogh, Roses, 1890, oil on canvas, 36 5/8 x 29 1/8 in.
Created near the end of his time in Saint-Rémy, Roses is part of a still-life series meant to create a sense of calm and stability. The blooms seem abundant and almost overflowing, emphasizing their vitality. Van Gogh’s careful layering of greens and varying pink tones shows how disciplined and attentive he remained in his process. Even while facing continued mental distress, he worked with a steady hand and clear purpose. The painting conveys that beauty can still be found and shared, making it both an act of hope and evidence of his enduring creative commitment.
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