1889 · Arles, France
Sunflowers
Arguably the museum's most iconic work, painted during Van Gogh's productive period in Arles. He made several versions as decorations for the Yellow House. In person, the thick impasto texture — built up in ridges and swirls — is astonishing. No reproduction prepares you for how physical the paint is. Expect a crowd.
1890 · Saint-Rémy, France
Almond Blossom
Painted for his newborn nephew, Vincent Willem, this is among the most tender things Van Gogh ever created. White and pale pink blooms against a luminous blue sky — the Japanese influence is obvious and magnificent. Knowing its personal context makes it overwhelming.
1885 · Nuenen, Netherlands
The Potato Eaters
Van Gogh's first major painting and deliberately dark — he wanted to show peasant life without romanticising it. Five figures share a meagre meal under lamplight, their faces etched with exhaustion. It's confrontational in a way his later colourful work is not, and all the more powerful for it.
1888 · Arles, France
The Bedroom
Van Gogh's own bedroom in the Yellow House, painted in vivid complementary colours. The perspective is deliberately skewed — the walls converge in a way that feels just slightly wrong — and that unease is entirely intentional. He painted three versions; the Amsterdam one is the original.
1887–88 · Paris, France
Self-Portrait as a Painter
One of over 35 self-portraits Van Gogh painted, this is the definitive one — palette in hand, confident gaze, rendered in the swirling short brushstrokes he developed after meeting the Impressionists in Paris. His expression is focused and oddly serene, a rare moment of apparent calm.
1890 · Saint-Rémy, France
Irises
Van Gogh returned repeatedly to flowers and garden subjects during his time at Saint-Rémy. This iris composition uses strong complementary colour and energetic brushwork. Because several Van Gogh works feature irises, use the museum label and official collection record to identify the exact painting on display.
1890 · Auvers-sur-Oise, France
Wheatfield with Crows
Painted during Van Gogh's final weeks in Auvers-sur-Oise, this wide canvas has often been interpreted through the stormy sky, diverging paths and dark birds. It is frequently described as his final painting, but the museum notes that this claim is not supported by the chronology of his work.
1888 · Arles, France
The Yellow House
The building Van Gogh rented in Arles, where he hoped to establish an artists' colony with Gauguin. The Yellow House no longer exists — it was destroyed in WWII — making this painting its only real document. It's a quiet, sunlit scene that carries enormous biographical weight.
1887 · Paris, France
Garden with Courting Couples: Square Saint-Pierre
A burst of Parisian Pointillism — dots of pure colour creating a shimmering, sunlit garden scene. It shows Van Gogh directly absorbing the new techniques he'd encountered in Paris. Less emotionally heavy than many of his works, it's one of the most joyful paintings in the collection.
Floor-by-Floor Quick Guide
The permanent presentation follows Van Gogh's artistic development, but room assignments and temporary displays can change. Use the museum map supplied on the day rather than relying on a fixed floor list, and ask a gallery attendant if a particular work is difficult to locate.
Follow the Chronological Route
For a first visit, the chronological presentation makes Van Gogh's changes in palette and technique easier to understand. If time is limited, identify three or four priority works before you arrive.
Allow Space Around the Best-Known Works
Sunflowers and other highlights can attract concentrated crowds. If a room is busy, continue through the route and return later rather than waiting directly in front of the painting.
Read the Letters
The museum uses Van Gogh's correspondence to explain his ideas, ambitions and working process. Reading even a few excerpts can change how you understand the paintings nearby.