The Poplars at Saint-Remy, 1889 Vincent van Gogh (1853-1890)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Vincent van Gogh also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting The Poplars at Saint-Remy is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

Two elongated poplars rise like sentinels at the centre of the panel, their ochre-flecked foliage shimmering against a restless band of cobalt and ultramarine sky. A pale, winding track cuts diagonally from the lower right, bordered by low stone blocks that step downhill toward a sluice of milky blue water. Beyond, the Provençal hills undulate in tight, rhythmic folds, punctuated by olive, almond, and cypress; a modest farmhouse shelters between the trees, half-veiled by the flamelike trunks.

Van Gogh’s chromatic spectrum is at once autumnal and electric. Sap-green notes merge with passages of acidic yellow, while shadows oscillate between Prussian blue and an almost volcanic turquoise. The painter avoids literal transcription: colour is liberated to embody sensation. Cool sky and warm earth do not simply oppose; they interlock, producing a vibrato that activates the entire surface and unsettles the distinction between landscape and psyche.

The technique is palpably material. Paint is laid on in laden, directional strokes that follow the contours of hill and tree, so that the very act of mark-making registers the tremor of wind or the pulse of Van Gogh’s hand. Impasto ridges catch the light like relief carving, granting each daub a sculptural presence. Here, oil behaves almost as pastel, dragged and broken to expose flecks of ground, while at the horizon the pigment is whipped into eddies that echo meteorological turbulence.

Compositionally, the work is anchored yet asymmetrical. The twin trunks form a central hinge, but nothing is static: the road draws the eye inward, then outward along the zig-zag wall; horizontal strata of field and hill are countered by the sky’s swirling vectors. This orchestration of opposing forces keeps the gaze in perpetual motion, enacting the painter’s search for equilibrium in the midst of psychological volatility.

Painted during Van Gogh’s voluntary confinement at Saint-Rémy, the picture belongs to the culminating phase of Post-Impressionism, where form and emotion coalesce. While Seurat pursued optical theory and Gauguin symbolic narrative, Van Gogh mined raw perception itself. The landscape is not idealised; it is witnessed, intensified, and transmitted. In doing so, the artist transforms a modest rural scene into a charged correspondence between external nature and inner resolve, asserting—against illness and constraint—the sustaining power of looking.