Restoration reveals layered Van Gogh masterpiece

Years of research and restoration

Years of technical analysis have now shown that Poplars near Nuenen consists of three phases. Beneath the poplars we see today, painted in 1885, there is another image from 1884, also painted in Nuenen. In 1886, while living in Paris, Van Gogh added several highlights to the painting in brighter colours, creating a third version.

The work was in a fragile state. Hardly surprising, given the several layers of paint, the many instances of transportation and previous intensive rounds of restoration. The paint was cracked and lifting in places, and after almost a century the old varnish was also cracked, and discoloured. Removing the layer of varnish proved to be the biggest challenge. Given the adhesion problems and the possibility that there was an extra layer of varnish between the first and second layer, there was a risk that the paint would loosen during the process. The varnish could not be safely removed until it was established that Van Gogh had applied an egg white ‘intermediate’ layer of varnish over the first painting. In contrast to ‘ordinary’ varnish, this would not be affected during treatment.

Brighter colours

Research showed that Van Gogh painted the current picture over a painting of two churches in Nuenen. Later, in Paris, he retouched (reapplying paint) the image in many places, using more colourful modern paints, including cobalt and cerulean blue (sky blue), organic red, cadmium and strontium chromate yellow, and viridian green. These additions have now been accurately identified for the first time. Van Gogh added brighter touches to the trees and painted more leaves, using crisp yellow and dark red. On the trunks, he applied vivid green accents. These changes introduced sunlight to the foreground. The dark clouds in the sky above the village are parting, thanks to the addition of blue.  

Mysterious drips

During the conservation work, conservator Erika Smeenk-Metz discovered traces of long drips on the surface of the paint - thin layers of what is believed to be linseed oil over the entire painting. It is unclear how they came about, although it is certain that they were not caused by Van Gogh himself. The drips could not be removed without damaging the original paint, so they have been subtly retouched to make them less conspicuous. To reduce the need for major interventions in the future, it was decided that no new layer of varnish should be applied.  

Closer than ever

Following the research and the conservation work, the painting now corresponds more closely than ever with Van Gogh’s original intentions. Visitors will be taken through the entire process, from initial discoveries to dilemmas and choices made during the conservation work. Besides the masterpiece itself, the presentation will also include works on loan from the Van Gogh Museum and Centraal Museum, as well as pieces from the museum’s own collection by artists who inspired Van Gogh to paint his ‘avenue’.

Partners

The project was sponsored by the TEFAF Museum Restoration Fund and implemented in collaboration with colleagues from Dutch museums with important Van Gogh collections: the Van Gogh Museum Amsterdam and the Kröller-Müller Museum, as well as Rijksmuseum Amsterdam, the Cultural Heritage Agency’s Dutch Cultural Heritage Laboratory, the University of Amsterdam and independent conservators Erika Smeenk-Metz and Eneida Parreira.  

Research on the Rails - Van Gogh's Poplars 
On view until 7 February 2027 in the Depot of Museum Boijmans Van Beuningen

Image in header: Raaf Blanker