Creation and Location

The painting was made while Van Gogh was living in Paris, where he was influenced by various artistic movements, including Impressionism and Neo-Impressionism. It is now part of the collection at the Musée d'Orsay in Paris, France

Subject and Composition

The painting depicts a bouquet of imperial fritillaries (Fritillaria imperialis) in a copper vase. These flowers, known for their orange-red color, were commonly grown in French and Dutch gardens during the late 19th century. Van Gogh used only one or two bulbs to create the bouquet, as each bulb produces between three and ten flowers

Techniques and Influences

The painting showcases Van Gogh's use of mixed techniques. He applied some principles of Neo-Impressionist painting, such as pointillist brushwork in the background and the use of complementary colors (blue and orange), which were influenced by his contact with Paul Signac. However, Van Gogh did not strictly adhere to Neo-Impressionist theories, instead incorporating his own expressive brushstrokes and color choices

Style and Characteristics

The painting is characterized by thickly applied paint and convoluted brushstrokes, which were hallmarks of Van Gogh's Post-Impressionist style. The use of vibrant colors, particularly the contrast between the 'moody blues' and 'vibrant golds,' adds to the dynamic and expressive nature of the work. The copper vase is depicted with a shiny patina that reflects the colors of the flowers, adding to the overall sense of light and texture

Personal Context

During this period, Van Gogh was living with his brother Theo in Montmartre, Paris, and was experiencing an elevated mood, which is reflected in the colorful and celebratory nature of the painting. Additionally, Van Gogh was courting Agostina Segatori, the owner of the Tambourin café, and gave her paintings of flowers, including this one, which helped transform the café into a sort of artificial garden

Signature and Provenance

The painting is signed by Van Gogh in the upper left corner with just his first name, 'Vincent,' a practice he adopted while in Paris. This signature indicates that he considered the work significant enough to be sold. The painting was bequeathed to the Musée d'Orsay by Count Isaac de Camondo in 1911.