Uncovering lost works by Vincent van Gogh 

Blaze on the Heath               Oil on colour paper, 31,00 cm x 51,00 cm .

Discovered in Private collection dating back over four generations, beyond any initial thought towards a sense in naiveté, there is something most hauntingly beautiful and deeply moving about this landscape. Painting at close quarters, the artist has skilfully mapped the heat of the day, recording the shaped forms and movement of air through intense sunlight, dappled shade and smoke drift, as Vincent van Gogh describes the scene in his letter.

Capturing the light projected through the ground fog of fire using lightly thinned Oils to amplify effect and fulfil the need to painting the whole scene as quickly as possible, the Artist conveys an apparent sense of urgence. While the spontaneity in brushwork flourishes, with more intimate occasion in purposeful finger painting, moulded dabs and swipes, sculpting and blending the paint in haste toward compositional balance combine; dimensioning full depth of view, from glowig ember overhead to distant horizon haze below signatory skyline detail reflecting Vincent's oeuvre and intense passion for life.

Bearing in mind the painting's fragile state (aged with some damage having remained loose and unframed in various containers and drawers for much of its life) the viewer's attention is swiftly held exploring the well lit landscape within its almost kaleidoscopic embrace and apparent brilliance. A delightful work; with fine loose spots in paint caught up, as in and with airborne ember debris from the blaze itself, alongside the adjacent burnt tree trunk void of any foliage, capturing the intensity and in-harmony within the scene.

You can almost feel the bolts of choking hot air, quickening bites upon 'smarting eyes'  and imagine the Artist's dilemma to 'painting's need' wrestling with the 'down brushes' to seek the nearest fire fighting equipment. Yet emanating through all the drama, there is a wonderful poetic feeling of overriding serenity; A sense of comfort through the Painter's breathtaking proficient calm courage.

Truly a masterpiece worthy of being displayed in a Museum or National Art Gallery. 

Interestingly,  Vincent van Gogh describes details of such a scene in a letter to his bother Theo, Monday 15th June 1885 (first published 1914) https://vangoghletters.org/vg/letters/let508/letter.html and mentions a lack of funds which may explain his painting oils upon paper rather than canvas.

And there are certainly physical attributes, colour spectrum, brushwork and structure within this mesmerising landscape to indicate it being of his work.

"Then I knew what to do, and I tried to get something voluptuous and sad at the same time.

I’ve now started a second study of the same one, in profile."

Vincent van Gogh 28th December 1885 

With remarkable resemblance in live portraiture, available studio light, plus the similarity in brushstroke detailing hair and blouse collar frill, this pictorial evidence speaks for itself.  While the craquelure degradation may be relevant to Vincent's experimental endeavour emulating a Rubens styled portrait, and the use of Prussian and Cobalt Blues mixed Carmine for Black, as he describes colour recipes in his letters; (547) December 14th 1885 "In the woman’s portrait I’ve introduced lighter tones in the flesh, white tinted with carmine, vermilion, yellow, and a light background in greyish yellow, from which the face is separated only by the black hair. Lilac tones in the clothes."  And being  "Ecce Homo - like"  in his letter (550) December 28th 1885 and as a 3/4 portrait (551) January 2nd 1886. Stylistically, the 'loose flourish in curve brushstroke expressing movement' correspond, and similarly, as in the (earlier) hedgerow details in Blaze On The Heath, this coexistence affirms same provenance authorship within the Nuenen to Antwerp timeline.

Reading Vincent's letter there appears a sense of excitement to their kindred spirit in serving others and the gifting of works to the sisters Harriet and Elizabeth for the hours they would spend sitting. While their protected persona or “kept” vibe Vincent describes, simply echoes their reality, to being temporarily working and lodging abroad during the Antwerp Internatonal Exposition, far away from family and home. Also at this time, Harriet a Kindergarten Mistress christened in early 1868 may well have been celebrating her eighteenth birthday with a relaxing sip of champagne.

Afforded mention in his letters Vincent likely considered these unsigned paintings important markers documenting his growth in skill as an artist. And in being, they not only provide a glimpse toward his future development, personal style and colour in brushstroke, but resonate in true accolade the well accomplished artist he had finally become.

A shared appreciation of Art and the Goodness to Society it brings.

Private collector and independent researcher. 

Images on this website have been digitally edited with minor alterations to help preserve authenticity of the Original works.