Believed to be painted only six weeks before Vincent’s tragic death - The White House uses a slightly more plain colour scheme than some of the other works in his final weeks .
Thank you George. I have researched the skies in 1888 in Europe to see if there were any celestial events, because I find it so interesting that Vincent painted the sky like that. • The sky over France in 1888 featured notably bright objects (like Venus), and there were unusual meteor reports, which may have inspired Van Gogh. Could be Venus. ? Thank you again for an interesting comparison between two 😊.
Another gem - thank you! Not unique to Van Goch, but especially relevant here, is how we can project into or perceive this kind of universal art as what makes us human. It’s how we experience a masterpiece as much as the masterpiece itself (which makes it a masterpiece of course)
Hmmm.. before reading the commentary I thought the star was the moon. Still do. I’ve seen Many moons with an aura surrounding them.
The woman in black is, indeed, a bit ominous/depressing. Perhaps Van Gogh was living with a feeling that “the other shoe was about to drop”. What are affable man and artist. He has, and will continue, to give us much.
This is another proof that a true artist, under any circumstances, no matter how dire, never gets bored with creating. An artist will always be creative from birth to death. He would make both in pain and in pleasure.
As always, a great piece, George, on a wonderful painting, and you’ll no doubt know about a degree of controversy given its long disappearance after the war and then rediscovery. For decades presumed lost, with only records or black-and-white photos to prove the paintings existence before the Hermitage in St Petersburg revealed it had acquired the painting from ‘Soviet military officials’ (who probably looted it from the Nazis who in turn probably looted it from its original owners).
I know Van Gogh scholars have verified its authenticity, but there was a time when it was thought to be a copy, with questions over brushwork and palette. Of course, it also highlights the broader issues in art restitution, especially for works looted during the Second World War.
Thanks Harry. Yes, great knowledge about the disappearance and the controversy of authenticity too.
I do like to think that the evidence is widely enough in favour of this being authentic by now - but having said that, you are absolutely right that the looted works of that era are a prime target for many forgers.
I see the woman in the forefront as being shunned, possibly by the others women at the gate, or just society in general. The painting has a tragic feel.
I haven’t seen this painting before, so thanks for reviewing it. I was struck by the woman who immediately reminded me of Munch and his portrayals of melancholy in his work (including Melancholy!). Thanks again.
What stood out to me in White House at Night were the greens, not just because they show up so often in Van Gogh’s later works, including his portraits, but because of how they pull us out of reality. That offbeat, almost absinthe-like green doesn’t sit quietly in the scene — it unsettles it. And knowing what we know about Van Gogh’s state of mind at the time, it’s one way to look at the painting: as something less about the house itself and more about what he might have been feeling.
That’s a really great observation. And following that train of though while also considering van Gogh’s deep understanding of colour too - I wonder if he added that shade of green intentionally to express his emotional state, or whether it came out unconsciously as a reflection of it.
I think you’re right that it could have been intentional or subconscious. Either way, it creates an emotional dissonance that makes the painting linger. That sharp, almost acidic green has always stood out to me — not the deep, botanical greens of his olive trees or garden scenes, which feel rooted in the natural world, but something more psychological. You see it in The Night Café, in the wallpaper behind Joseph Roulin, even in one of his self-portraits from the same period. It’s a green that unsettles whatever space it inhabits. Maybe it was a way of externalizing some internal restlessness — or a kind of melancholy that defied language. Either way, once you start noticing it, it’s hard to unsee.
This is my second comment about this painting George..! In looking again and again at it, I think the woman walking away is poor and not dressed as the other women going into the gate. She has a sad forlorn look on her face, and maybe feels that she doesn't fit in or is dressed well enough to go to the gathering. I actually saw this painting at the Hermitage in 2013. There were several paintings that were in a room that had been taken from the Nazis. I took pictures of some of them, before a woman guard came over to me and threatened me.
Very interesting question. I’ve never quite been able to work out whether they are facing the wall, or are supposed to be turning away from the house like our figure in the foreground too.
Thank you George. I have researched the skies in 1888 in Europe to see if there were any celestial events, because I find it so interesting that Vincent painted the sky like that. • The sky over France in 1888 featured notably bright objects (like Venus), and there were unusual meteor reports, which may have inspired Van Gogh. Could be Venus. ? Thank you again for an interesting comparison between two 😊.
Wow - I love that you went ahead to research that, Diane. So fascinating - thank you for sharing.
Another gem - thank you! Not unique to Van Goch, but especially relevant here, is how we can project into or perceive this kind of universal art as what makes us human. It’s how we experience a masterpiece as much as the masterpiece itself (which makes it a masterpiece of course)
Absolutely. Most art is as much about what we make of it, alongside what the artist actually made.
Hmmm.. before reading the commentary I thought the star was the moon. Still do. I’ve seen Many moons with an aura surrounding them.
The woman in black is, indeed, a bit ominous/depressing. Perhaps Van Gogh was living with a feeling that “the other shoe was about to drop”. What are affable man and artist. He has, and will continue, to give us much.
This is another proof that a true artist, under any circumstances, no matter how dire, never gets bored with creating. An artist will always be creative from birth to death. He would make both in pain and in pleasure.
As always, a great piece, George, on a wonderful painting, and you’ll no doubt know about a degree of controversy given its long disappearance after the war and then rediscovery. For decades presumed lost, with only records or black-and-white photos to prove the paintings existence before the Hermitage in St Petersburg revealed it had acquired the painting from ‘Soviet military officials’ (who probably looted it from the Nazis who in turn probably looted it from its original owners).
I know Van Gogh scholars have verified its authenticity, but there was a time when it was thought to be a copy, with questions over brushwork and palette. Of course, it also highlights the broader issues in art restitution, especially for works looted during the Second World War.
Thanks Harry. Yes, great knowledge about the disappearance and the controversy of authenticity too.
I do like to think that the evidence is widely enough in favour of this being authentic by now - but having said that, you are absolutely right that the looted works of that era are a prime target for many forgers.
I see the woman in the forefront as being shunned, possibly by the others women at the gate, or just society in general. The painting has a tragic feel.
I haven’t seen this painting before, so thanks for reviewing it. I was struck by the woman who immediately reminded me of Munch and his portrayals of melancholy in his work (including Melancholy!). Thanks again.
Yes, I definitely see the Munch similarities in this too. Great point, Gareth.
George,
This is such an interesting comparison. The thing that breaks my heart the most it the subdued
quality of his "optimistic" first painting because even in that you can feel the sadness. Thanks
so much for your thoughts.
What stood out to me in White House at Night were the greens, not just because they show up so often in Van Gogh’s later works, including his portraits, but because of how they pull us out of reality. That offbeat, almost absinthe-like green doesn’t sit quietly in the scene — it unsettles it. And knowing what we know about Van Gogh’s state of mind at the time, it’s one way to look at the painting: as something less about the house itself and more about what he might have been feeling.
That’s a really great observation. And following that train of though while also considering van Gogh’s deep understanding of colour too - I wonder if he added that shade of green intentionally to express his emotional state, or whether it came out unconsciously as a reflection of it.
I think you’re right that it could have been intentional or subconscious. Either way, it creates an emotional dissonance that makes the painting linger. That sharp, almost acidic green has always stood out to me — not the deep, botanical greens of his olive trees or garden scenes, which feel rooted in the natural world, but something more psychological. You see it in The Night Café, in the wallpaper behind Joseph Roulin, even in one of his self-portraits from the same period. It’s a green that unsettles whatever space it inhabits. Maybe it was a way of externalizing some internal restlessness — or a kind of melancholy that defied language. Either way, once you start noticing it, it’s hard to unsee.
Thank you for your interpretations of both of these paintings. They are both incredible.
I am with you and Van Gogh that the star shines that Beauty will save the world.
So poignant to see the differences in the paintings. Thank you for yet another wonderful essay.
Much appreciated, Susan.
This is my second comment about this painting George..! In looking again and again at it, I think the woman walking away is poor and not dressed as the other women going into the gate. She has a sad forlorn look on her face, and maybe feels that she doesn't fit in or is dressed well enough to go to the gathering. I actually saw this painting at the Hermitage in 2013. There were several paintings that were in a room that had been taken from the Nazis. I took pictures of some of them, before a woman guard came over to me and threatened me.
I found the painting to be calm and quiet
What do you think the two women who seem to be facing a brick wall symbolizes? It appears they are looking at nothing, almost hiding.
Very interesting question. I’ve never quite been able to work out whether they are facing the wall, or are supposed to be turning away from the house like our figure in the foreground too.
a beautiful piece, your text and Vincent's painting. And of course, to quote Dostoievsky is perfect, it always moves me.
Thanks so much. I’m happy to know it resonated with you, especially as I remember you’re as much of a van Gogh fan as I am also!