Wheatfield with Cypresses, 1889 Vincent van Gogh (1853-1890)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Vincent van Gogh also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Wheatfield with Cypresses is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

After adding your artwork to the shopping cart, you will be able to check the delivery price using the Estimate Shipping and Tax tool.

The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

White clouds curl across a turquoise sky, their blue-gray edges turning back on themselves like breaking waves. Below, the wheat bends in shorter, golden strokes. Almost everything moves sideways or in curves, until the dark cypresses on the right interrupt that flow. Their pointed shapes reach nearly to the upper edge, giving this restless landscape a firm vertical anchor.

In Wheatfield with Cypresses, Vincent van Gogh makes the countryside around Saint-Rémy feel both spacious and close enough to touch. The blue Alpilles stretch across the distance, while an olive bush spreads its silvery foliage over the field at the left. Along the bottom edge, little red marks and white flowers punctuate a strip of green. These small foreground accents bring us close to the wheat; above them, the enormous sky opens out. Even the mountains seem caught in the movement, their ridges outlined in curling blue strokes.

The cypresses were a particular fascination for Van Gogh that summer of 1889. He admired their slender proportions and the depth of their green against the bright countryside. Here, their darkness does more than provide contrast: it gives weight to a scene otherwise filled with pale blues, whites, and gold. Within that dark mass, individual strokes of green and blue keep the trees from becoming a flat silhouette.

This version, now in the National Gallery in London, was painted in September, indoors. Van Gogh had made his first outdoor study in June, during his stay at the hospital of Saint-Paul de Mausole. A relapse later restricted him to his room, where he returned to the subject at the same scale. The landscape’s apparent immediacy is therefore also the result of reconsideration. Its curves are more stylized than in the outdoor study, and he counted the finished picture among his most successful landscapes of that summer.

For Van Gogh, wheat’s growth and harvesting also suggested the course of human life. Yet no sower or reaper appears here. The field carries that meaning without a figure, while the brushwork carries the wind. Even the tallest cypress, so firmly rooted in its dark cluster, ends in a thin tip that bends against the sky.