One of the best ways to gain insights into Van Gogh's development as an artist is through his letters, particularly those letters to his brother Theo. Van Gogh's correspondence often delves into his aspirations in terms of his work, at times focusing on the execution of specific paintings. It's ironic that Van Gogh's Paris period is arguably the most important in terms of his evolving skills as an artist, but Van Gogh's letters (and, correspondingly, our understanding of his thoughts and aspirations) dwindled to all but a trickle during this time. Vincent was living with Theo in Paris and, as a result, there was no need for an exchange of letters. We're left to draw our own conclusions as to Van Gogh's emerging style--from the muted and somber browns and grays of the chilly Brabant countryside to the vibrant colours of his awakening palette.

While in Paris Van Gogh envisioned a type of artists' collective in which various painters would support each other and share in the profits from sales. Van Gogh coined the term "Petit Boulevard" for this collective, an idea that he would continue with his ill-fated "Studio of the South" initiative with Paul Gauguin in the south of France. While neither of these well intentioned concepts ever properly came to fruition, there's no denying that the influence of the artists surrounding him would have a profound effect on Van Gogh's style. This is clearly seen in the light and colourful composition of Lane at the Jardin du Luxembourg.

The Luxembourg Garden Today

The Luxembourg Garden was established in 1612 by Marie de Medici, consort of King Henry IV. The area encompasses 25 hectares and boasts both French and English style gardens as well as fountains and Luxembourg Palace, today the home of the French senate. Luxembourg Garden is a popular destination for visitors who come to picnic, play chess and explore the extensive grounds.