Trying to Paint Like Van Gogh
So, Van Gogh. Or should I say, Vincent. Because to me, he's not "Van Gogh the great post-impressionist"—he's Vincent. And I don’t know why, but I always feel emotional when I think about him. Like, if I wasn't in the place I am now, I sometimes wonder if I'd be like him. Struggling, broke, misunderstood... but still painting. Because there's just no other way.
This was my March artist for my Masters Reimagined portrait series. I study one master a month and try to paint in their energy—not just their style. And with Vincent, wow. There was a lot.
Where It Started
I own this giant Taschen book, The Complete Paintings of Van Gogh. So I didn’t even need to go to the library this time, but of course I still went anyway (because library walks are the best). Flipping through the book, a few pieces jumped out.
The female torso painted on both canvas and cardboard (I loved seeing the contrast)
Self Portrait with Straw Hat (that one’s a classic)
Still Life with Basket of Apples (sent to Lucien Pissarro)
And of course, Cypresses and Almond Blossoms
I had initially thought about painting Eugène Boch, but I had already painted something in that style before when a close friend was sick—so I skipped it. And Starry Night Over the Rhone was tempting but tricky with watercolor.
The Studies
I started with a still life of mangosteens. I wanted to go back to basics like Vincent did early on. But oh man, it was HARD. Watercolor alone didn’t give me the boldness or movement, so I added soft pastels. That finally felt better.
I also realized later that if I had picked fruits with more of a Vincent palette (reds, yellows, blues) and paired it with a teal cloth or something, it would've felt more "him."
What struck me most was how he notices. His brushstrokes move in a way that tells you he’s watching closely—not just the object, but how it feels. It reminded me of the way he hatched in his earlier drawings, like The Potato Eaters. He was basically laying down value and structure through direction and rhythm.
Then I painted Self Portrait with Straw Hat. I worked in layers—watercolor, let it dry, then soft pastel, oil pastel. I painted it alla prima, fast and in one go, because I think Vincent worked like that too. And it really did feel joyful. Like I was catching a burst of energy and had to hold on before it disappeared.
The Final Painting
This one was hard. There are just too many Van Gogh pieces I love. I ended up using a modern digital recreation of what he might have looked like (from Royalty Now) and paired it with a background inspired by Cypresses.
I used watercolor again, but this time also Neo pastels and Sennelier oil pastels. Neo was good for covering large areas, but for those buttery bold strokes, Sennelier was the way to go. I even heated some pastels with a hair dryer to soften them.
At one point I accidentally smeared oil pastel across his face. I panicked. Then I leaned into it and added more. And you know what? It worked. It brought the face into the piece like it belonged with the chaos.
What I Learned
So here’s what surprised me:
Vincent is my favorite artist. But painting like him? Not my favorite to recreate.
What I do love is his energy. His curiosity. The movement. The way he notices. The joy, even in pain.
And I realized that painting like someone isn’t really the goal. It’s painting with them. Letting their spirit nudge your hand, even if your strokes end up your own.
This study changed something in me. It also led me straight into my next painting, Child, Blossom.
More on that soon.
