The stick closes the diagonal
Its long brown line connects the hands to the lower left edge. It stabilizes the seated pose and counterbalances the horizontal movements of the sky and the field.
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Vincent van Gogh · November 1889 · Saint-Rémy-de-Provence, France
A seated shepherdess leans on her long staff at the edge of a golden field. Van Gogh uses an engraving after Jean-François Millet, but replaces black and white with a contrast of deep blue, ocher and tormented sky.
Look at the work
The woman occupies almost the entire height of the canvas. Her face and hands are rendered by small brown hatching; her white hat, her blue-black shawl and her purple skirt make up a dark mass very cut out on the light field.
The stick crosses the composition diagonally to the lower edge. Behind the shepherdess, two orange trees punctuate a very low horizon, while long dark blue waves run across the sky and accentuate the stillness of the figure.
Van Gogh retained Millet's pose but completely invented color: the blue of the clothing and the sky transformed an image of rural work into a monumental presence.
Composition, touch and color
Painted in November 1889, this work of 52.7 × 40.7 cm is kept at the Tel Aviv Museum of Art and referenced F699/JH1838.
Its long brown line connects the hands to the lower left edge. It stabilizes the seated pose and counterbalances the horizontal movements of the sky and the field.
The blue-black shawl surrounds the figure as a large continuous shape. The lighter blues of the scarf and skirt create depth without weakening its monumental silhouette.
The dark bands meander above the shepherdess, while the field is constructed by shorter yellow and brown touches. This opposition clearly separates the air, the earth and the figure.
Documented benchmarks
La Bergère, after Millet, is an oil on canvas measuring 52.7 × 40.7 cm, painted in Saint-Rémy in November 1889. It bears the references F699/JH1838.
The source is a wood engraved by Jean-Baptiste Millet after La Grande Bergère assise by his brother Jean-François Millet. This print of 27.3 × 21.9 cm provided the black and white drawing.
In Saint-Rémy, Van Gogh enlarged reproductions of admired artists and gave them his own palette. The pose remains recognizable, but the sky, the blues and the impasto belong entirely to his language.
The two concordant numbers distinguish this seated shepherdess from other peasant subjects and from the numerous transcriptions after Millet made during the same period.
Your reproduction
The copy must preserve the large blue-black shawl, the diagonal stick, the facial hatching, the two orange trees and the separation between the golden field and the moving blue sky.
| Title | The Shepherdess, after Millet |
|---|---|
| Artist | Vincent van Gogh (1853 -1890) |
| Date | November 1889 |
| Place of creation | Saint-Rémy-de-Provence, France |
| Original technique | Oil on canvas |
| Dimensions | 52.7 × 40.7 cm |
| Inventory | F699 · JH1838 |
| Conservation | Tel Aviv Museum of Art |
| Your reproduction | Handmade oil painting on canvas |
In your interior
The vertical format is suitable for a bookcase, bedroom or office. Deep blue, golden ocher and purple match walnut, natural linen and blue-gray walls.
Frequently asked questions
No. Each reproduction is manually painted in oil on canvas. Brushstrokes and material variations belong to the final result.
The public domain reproduction of 2,520 × 3,342 px has been converted into a true WebP of 2,262 × 3,000 px, without artificial cropping or enlargement.
Yes. Photographs of the finished painting are sent to you; you can request alterations before validating the shipment.
Yes. The format can be adapted to your wall while maintaining the proportions and balance of the original composition.
Impression d’art sur papier mat Hahnemühle German Etching 310 g, au grain fin. Un rendu précis, élégant et plus accessible, idéal pour les détails et les nuances.
Impression sur toile d’artiste 400 g. Sa texture donne davantage de relief et un aspect tableau, avec plusieurs présentations adaptées au décor.
Reproduction peinte entièrement à la main sur commande. Chaque toile est une pièce unique : ce n’est ni une impression numérique ni un poster sur toile.
Vincent van Gogh
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