During his year-long stay at an asylum in the city of Saint-Remy, the Post-Impressionist artist Vincent Van Gogh continued to paint and starts after the first month of admitting himself to the institute. His recent fascination with cypress trees results in many painting with this thematic, like the painting from June of 1889 entitled Wheatfield with Cypress I, now in New York's Metropolitan Museum of Art. He paints a studio version Wheat Field with Cypresses AT The Haute Galline Near Eyegalier three months later, nearly identical to the first.
Another painting Van Gogh did during this period is Cypresses with Two Women and Cypresses. Different than these two other cypress paintings, Wheat Field With Cypresses At The Haute Galline Near Eygalieres was executed on a horizontal canvas, a more common choice for a landscape representation. The painter carefully completed this composition to lead the viewer's eyes throughout the scene. The cypress trees were portrayed in dark shade of green and black, tonalities in which Van Gogh finds difficulty in achieving — a statement he makes through a letter to his brother Theo, comparing the green to the color of a glass bottle. He also sends Theo drawing in pen of this work, and later a small replica to send to his sister and mother as a present.
The swirling sky is rich in different tonalities of blue and white. Its windy movement was achieved with the thick brush strokes and provoked a dream-like atmosphere, similar to The Starry Night. Using thick layers of paint, the clouds and other figures seem to come out of the painting. A slanted horizontal line divides the landscape almost in half. The blue mountains almost blend with the sky as they use mostly the same colors, but the viewer can distinguish them because Van Gogh carefully contours the mountains, as well as making them darker.
The bottom half of the painting consists in a contrasting color pallet in comparison to the top. The field is portrayed in shades of yellow and golden orange. This is complementary to the beautiful shades of green, and the violet details of the tree trunks. He adds specks of red on the bottom of the painting — a unique feature that intuitively complements the blue sky.
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