Personally, Van Gogh has never been to Japan, and all of his understandings of Japan come from his studies of woodblock prints. Today, Van Gogh is most well known for his later works during his stay at the Saint Paul-De-Mausole hospital. The works demonstrated his latest development on formal techniques of the vortexes and thick strokes reflecting his mental illness. He was able to learn the principle of Japanese beauty through the lens of landscape genre of ukiyo-e and apply it to the landscapes of Arles.
The encounter of Van Gogh’s both Impressionist thoughts, and Japanese prints amid his stay in Paris is obvious in works, for example, Fritillaries in a Copper Vase, in which the convoluted states of the descending pushing yellow petals and their spiky foliage are set off by a dark blue foundation flicked with bits of yellow and spots of lighter blue, with underpinnings of red. The picture appears to battle into being, weighted by a devastating heap of color, maybe the coincidental consequence of van Gogh’s determination to make the sheer aggregation of paint the transporter of feeling. It’s just as he declined to quit taking a shot at a photo, adding more color to it, until he felt that some sort of visual identicalness for feeling had been accomplished. Van Gogh’s comprehension of the traditions of Japanese prints is apparent, as seems to be, maybe, his attention to Japanese materials, however these works of art talk the same amount of to his own pleasure in tight center and close examination – or to his yearning for the quieting impact of looking steadily at a piece of turf that he portrays in his letter to Wilhelmina – as they do to his enthusiasm for the disentanglements of Japanese models.