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Beddinghouse x Van Gogh Museum

A unique partnership between the Van Gogh Museum and Beddinghouse resulted in a special bedding collection of luxurious duvet covers. The designs are based upon the well-known paintings of the Van Gogh Museum collection - each telling a story of dreams, passion, and beauty. All duvet covers are made of 100% cotton satin, providing comfort and a magnificent shine.

'Tournesol Yellow'

A symphony in blue and yellow was how Van Gogh thought the interior of the yellow house should appear when Gauguin arrived. He wanted to impress his friend with a series of decorative still lifes of sunflowers. These still lifes were to grace the walls of Gauguin's bedroom. Van Gogh started the series with great ardour. He had to work quickly as the flowers quickly wilted in a vase: 'I am painting with the enthusiasm of a resident of Marseilles eating bouillabaisse [Provençal fish soup], which shall not surprise you, when it involves painting large sunflowers'. Gauguin considered the paintings highly successful and declared that sunflowers should be Van Gogh's trademark. In 1889 Van Gogh tackled the motif once more, in this canvas now in the Van Gogh Museum.

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'Peonies Green'

This duvet cover dessin is based on the painting of 'Small Bottle with Peonies and Blue Delphiniums'. Van Gogh painted this flower still life on a simple piece of card, using rapid, loose brush-strokes. It is one of many studies in which he experimented with the effects of different colours on each other. His brother Theo wrote to their mother: 'He is mainly painting flowers, with the aim of making future pictures brighter in colour'. Theo wrote that acquaintances were giving Van Gogh a bunch of flowers every week. This was one of the first bunches he painted; many more were to follow.

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'Almond Blossom Blue'

In January 1890 Theo wrote to Vincent that his wife Johanna had given birth to a son. The baby was to be named Vincent Willem, after his godfather. As a gift for the new arrival Vincent painted a picture of one of his favourite subjects, large branches of blossom against a blue sky. He thought that the work could be hung above Theo's marital bed. Vincent chose the branches of the almond tree as a symbol of new life for the almond is one of the earliest trees to blossom, heralding spring in February. The artist drew his inspiration for the well-defined contouring and positioning of the tree in the picture plane from Japanese prints.

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'Gladioli Red'

This duvet cover dessin is based on the painting of 'Vase with Chinese Asters and Gladioli'. Van Gogh had always used generous amounts of paint. But after discovering the flower still lifes of Adolphe Monticelli (1824-1886) in June 1886, he went one step further. That French artist painted colourful bouquets with thick paint and emphatic brushstrokes. Van Gogh compared them to liquid clay. In still lifes such as Vase with Chinese Asters and Gladioli, you can see how thickly he began applying the paint to the canvas in his own flowers.
The vase shown here has been preserved and is now in the Van Gogh Museum collection. It is smaller in reality than in the painting.

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‘The painting comes to me as if in a dream’

Vincent van Gogh to his brother Theo, Arles, 25 September 1888

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