View from the Window of Vincents Studio Vincent van Gogh (1853-1890)
Vincent van Gogh – View from the Window of Vincents Studio
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Painter: Vincent van Gogh
Location: Private Collection
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The painting "Roofs. A View from the Studio" was painted by Van Gogh in July 1882, at a time when he was just beginning to learn the basics of painting and drawing. This painting belongs to Van Gogh’s early period. Despite the fact that it was a study work of the artist, he coped with it perfectly, clearly built the composition of the landscape and harmoniously reduced all horizontal lines to a single point on the horizon. The tiled roof, in rich red, occupies all the space of the left part of the canvas, going deep into the space. Van Gogh adds vertical lines in the form of annexes to the building, the roofs of which are the same deep red, to underline the three-dimensional structure and to dilute the horizontals. The vast expanse of green meadows, clearly traced out outbuildings, and the vastness of the blue sky opens up in the background. Color combination of saturated red rich greens give the picture brightness and colorfulness.
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Description of the painting "Roofs" by Vincent Willem van Gogh. View from the studio" 
The painting "Roofs. A View from the Studio" was painted by Van Gogh in July 1882, at a time when he was just beginning to learn the basics of painting and drawing.
This painting belongs to Van Gogh’s early period. Despite the fact that it was a study work of the artist, he coped with it perfectly, clearly built the composition of the landscape and harmoniously reduced all horizontal lines to a single point on the horizon.
The tiled roof, in rich red, occupies all the space of the left part of the canvas, going deep into the space.
Van Gogh adds vertical lines in the form of annexes to the building, the roofs of which are the same deep red, to underline the three-dimensional structure and to dilute the horizontals.
The vast expanse of green meadows, clearly traced out outbuildings, and the vastness of the blue sky opens up in the background.
Color combination of saturated red rich greens give the picture brightness and colorfulness. Light strokes, with which the artist painted clouds in the blue sky, add airiness to the image. But the dark clouds of smoke from the stacks of buildings bring the viewer back to the realism of the landscape described by Van Gogh. The courtyard outbuildings, the light puffs of smoke from the chimneys, and the texture of the tile roofs are masterfully and meticulously imbedded in the painting.
On the whole the painting conveys a buoyant mood, which is expressed in the clarity of drawing and the coloristic solution selected.
It is known that in order to achieve interesting and wonderful color solutions in his works, the artist used a mixture of several techniques in one work. Van Gogh, for example, used a mixture of two techniques in his painting Roofs, A View from the Studio, a watercolor and chalk.
Van Gogh’s "Roofs. A View from the Studio" is in the private collection of J. Renan. Renan in Paris.
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Beyond this close-up view, several structures are visible: modest dwellings with gabled roofs, chimneys rising from various buildings, and what appears to be an industrial complex in the distance. The landscape stretches out behind these constructions – a flat expanse of green fields punctuated by scattered trees and a horizon line marked by distant factories or mills. A single bird is positioned high in the sky, adding a sense of scale and openness to the scene.
The color palette is restrained, primarily utilizing earthy tones: ochres, browns, greens, and grays. The application of paint appears deliberate and expressive; brushstrokes are visible throughout, contributing to the overall textural richness. Theres an intentional lack of sharp detail in the distant elements, suggesting a focus on atmosphere rather than precise representation.
Subtly, the painting conveys a sense of enclosure and observation. The viewer is positioned as a witness, looking out from a contained space onto a wider world. The rooftops, while visually engaging, also create a barrier between the observer and the landscape beyond. This juxtaposition might suggest themes of isolation, introspection, or the artist’s relationship to his surroundings. The industrial elements in the distance hint at modernity and progress, yet they are distanced and somewhat muted, perhaps implying a complex or ambivalent attitude towards these developments. Ultimately, the work evokes a quiet contemplation on the interplay between domesticity and the broader environment.