Metropolitan Museum: part 2 – Vincent van Gogh - The Potato Peeler (recto: Self-Portrait with a Straw Hat)
Vincent van Gogh: Dutch, Zundert 1853–1890 Auvers-sur-Oise 1885; Oil on canvas; 16 x 12 1/2 in. (40.6 x 31.8 cm)
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The artist employed a muted palette dominated by earthy tones – browns, grays, and ochres – which contribute to an atmosphere of quiet austerity and labor. Light falls unevenly upon the scene, highlighting the hands holding the knife and potato while leaving much of the figure in shadow. This selective illumination draws attention to the physicality of the work being performed, emphasizing its repetitive and demanding nature.
The woman’s posture is slightly hunched, suggesting weariness or resignation. Her gaze is directed downwards, avoiding direct contact with the viewer; this creates a sense of distance and introspection. The head covering, a white cloth wrapped around her hair, further obscures her features and reinforces an impression of anonymity – she could represent any peasant woman engaged in similar toil.
The background wall is rendered with broad, visible brushstrokes that create a palpable sense of depth and texture. These strokes are not blended smoothly; instead, they retain their individual character, contributing to the overall feeling of immediacy and raw emotion. The rough application of paint mirrors the roughness of the subjects life.
Subtly, there is an underlying melancholy present in the work. It’s not overtly expressed through dramatic gestures or expressions but rather conveyed through the subdued color scheme, the figure’s posture, and the overall sense of isolation. This suggests a commentary on the hardships faced by rural laborers, particularly women, during that period. The painting seems to be less about the act of peeling potatoes itself and more about the quiet dignity and endurance required to perform such essential but often overlooked tasks.