Vincent Van Gogh — La Mousmé, 1888
1880s Female Portraits Vincent Van Gogh
“Portrait studies are the only thing in painting that excite me to the depths of my soul, and which made me feel the infinite more than anything else.”
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Van Gogh was 35 years old at the time of composition and living in Arles. The drawing above is one of several studies for the oil painting La Mousmé.
Together, these are but a few of the more than 300 paintings and drawings that Van Gogh produced during his 1888 residence in Arles.
This portrait is also called La Mousmé, Sitting in a Cane Chair, Half-Figure (with a branch of oleander)
The sensational aspects of Van Gogh’s life and suicide often cloud the intention and deliberation behind his highly charged and expressive style. In a letter to his brother Theo he described how this painting consumed his attention: “It took me a whole week…but I had to reserve my mental energy to do the mousmé well.” This name, he explained, came from a character in a popular novel set in Japan. “A mousmé is a Japanese girl — Provençal in this case — twelve to fourteen years old.”
The girl’s costume is a contrast of patterns and complementary shades of blue and orange. The paint in these bold stripes and irregular dots stands out against the pale green lattice of vertical and horizontal brushstrokes in the background. The vigorous patterns express Van Gogh’s sympathetic response to his young sitter, whose face is carefully modeled and finished to a greater degree than other parts of his picture. Compare her hands, for example, which are more sketchily painted.
La Mousmé is one of a series of portraits that Van Gogh painted while living in Arles. They were, he wrote, “the only thing in painting that excites me to the depths of my soul, and which made me feel the infinite more than anything else.” The flowering branch the girl holds is probably related to Van Gogh’s pantheistic faith in the power of nature’s cycles of life and renewal. / National Gallery of Art
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