À propos de l’œuvre
L'Église d'Auvers-sur-Oise, par Vincent van Gogh
Vincent van Gogh · From June 4 to 8, 1890 · Auvers-sur-Oise, France
The Church of Auvers-sur-Oise, seen from the apseReproduction of oil painting on canvas
Seen from the two paths that go around its apse, the Notre-Dame-de-l'Assomption church stands under a cobalt sky. Van Gogh not only describes its architecture: he undulates the walls, tilts the roofs and circulates color throughout the building.
Look at the work
A Gothic church caught between two paths
The apse occupies almost the entire height of the canvas. The side chapels, buttresses and ogival bays are highlighted by dark blue lines. The bell tower rises to the upper edge, while the orange and purple roof cuts the gray mass of the building.
In the foreground, the path divides around a triangle of flowering grass. A peasant woman dressed in blue walks on the left branch; its small silhouette measures the scale of the monument. The pink and yellow touches of the ground respond to the orange shards of the roof.
The architecture remains recognizable, but its unstable lines and two curved paths transform the church into a living presence.
Composition, touch and color
Three observations specific to this painting
The RF 1951 42 painting can be recognized by the apse seen from a low angle, the off-center bell tower, the plain blue sky and the bifurcated path in the foreground.
Distorted architecture
The verticals and roof sections do not follow a regular geometry. These gaps give the impression that the monument is contracting and deploying under pressure from the ground.
The cobalt passes through the stained glass windows
The sky reappears in notes of overseas in the windows. The blue contours thus connect the building to its background instead of isolating it like a mass of stone.
Two curves in the foreground
The paths surround the bedside then open towards the viewer. Their movement leads the eye towards the peasant woman, the flowers and the different parts of the church.
Documented benchmarks
Precisely identify the original work
The Musée d'Orsay preserves this oil on canvas under number RF 1951 42. Painted between June 4 and 8, 1890, it is cataloged F789 and JH2006.
The only painting dedicated to this church
The Musée d'Orsay notice specifies that Van Gogh painted only one canvas centered entirely on the church of Auvers, even if the bell tower appears in other views of the village.
Gothic and Romanesque chapels
The building dates mainly from the 13th century and has two Romanesque chapels. Van Gogh preserves the essential elements while accentuating their movement.
From the Gachet family to the Musée d'Orsay
The painting passes through the collections of Doctor Paul Gachet then his son before its acquisition by the National Museums in 1952.
Your reproduction
What the painter must preserve
The painter must maintain the tension of the lines, the contrast between the cobalt and the gray-green stones, as well as the small warm touches that animate the roof and the floor.
- The dark blue outlines of the buttresses and windows
- The purple and orange roof under the bell tower
- The blue peasant girl placed on the left path
- The triangle of flowering grass between the two pink paths
Work sheet
| Title | The Church of Auvers-sur-Oise, seen from the apse |
|---|---|
| Artist | Vincent van Gogh (1853 -1890) |
| Date | From June 4 to 8, 1890 |
| Place of creation | Auvers-sur-Oise, France |
| Original technique | Oil on canvas |
| Dimensions | 93 × 74.5 cm |
| Inventory | RF 1951 42 · F789 · JH2006 |
| Conservation | Musée d'Orsay, Paris |
| Your reproduction | Handmade oil painting on canvas |
From order to shipping
In your interior
Expressive architecture dominated by blue
The vertical format gives a strong presence to a living room, an entrance or a library. Deep blue, stone grays and orange touches accompany dark wood, black metal and cream walls.
Frequently asked questions
Before ordering
Is this a canvas print?
No. Each reproduction is manually painted in oil on canvas. Brushstrokes and material variations belong to the final result.
How is the visual reference chosen?
The Google Art Project reference of 3,434 × 4,433 px was reduced to 2,324 × 3,000 px then converted into a real WebP, without artificial enlargement.
Can I check the result before shipping?
Yes. Photographs of the finished painting are sent to you; you can request alterations before validating the shipment.
Are custom formats possible?
Yes. The format can be adapted to your wall while maintaining the proportions and balance of the original composition.
