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Van Gogh's The Bedroom 1889 Art Institute of Chicago Van Gogh's The Bedroom 1889 Art Institute of Chicago

Van Gogh’s Bedrooms



Presented only at the Art Institute, this exhibition is the first dedicated to the artist’s three “Bedroom” paintings, presenting an in-depth study of their making and meaning to Van Gogh.

Vincent van Gogh’s bedroom in Arles is arguably the most famous chambre in the history of art. It also held special significance for the artist, who created three distinct paintings of this intimate space from 1888 to 1889. This exhibition—presented only at the Art Institute of Chicago—brings together all three versions of The Bedroom for the first time in North America, offering a pioneering and in-depth study of their making and meaning to Van Gogh in his relentless quest for home.

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Van Gogh’s Bedrooms at the Art Institute of Chicago

Curator Gloria Groom sets the scene for the creation of one of the most iconic paintings in the world. Presented only at the Art Institute, the exhibition “Van Gogh’s Bedrooms” is the first dedicated to the artist’s three “Bedroom” paintings, presenting an in-depth study of their making and meaning to Van Gogh.

Van Gogh painted his first Bedroom just after moving into his beloved “Yellow House” in Arles, France, in 1888. He was so enamored with the work, now in the collection of the Van Gogh Museum in Amsterdam, that after water damage threatened its stability, he became determined to preserve the composition by painting a second version while at an asylum in Saint-Rémy in 1889. Identical in scale and yet distinct from the original, that second work is now one of the icons of the Art Institute’s permanent collection. Van Gogh created a smaller third version, now at the Musée d’Orsay in Paris, as a gift for his mother and sister a few weeks after making the second. While the three paintings at first appear almost identical, when examined closely, each reveals distinct and unique details.

This exhibition is the first to truly delve into the fascinating history of these three paintings. Beginning with Van Gogh’s early canvases of cottages and birds’ nests, the show explores the artist’s use of the motif of home—as haven, creative chamber, and physical reality—and follows the evolution of this theme throughout his career, beyond the Yellow House to the asylum at Saint-Rémy. The presentation concludes with Van Gogh’s final residence in Auvers-sur-Oise, where he once again painted a series of cottages—returning to the idea that first evoked in him a sense of home.

Van Gogh’s Bedrooms features approximately 36 works by the artist, including paintings, drawings, and illustrated letters, as well as a selection of books and other ephemera known to have been in Van Gogh’s possession. Enhancing the exploration of the artist’s works and his longing for a place of his own are several engaging interactive presentations. A digitally enhanced reconstruction of his bedroom allows viewers the chance to experience his state of mind and the physical reality of the space that so inspired him, while other enriching digital components bring to light significant recent scientific research on the three Bedroom paintings. The result is an innovative yet intimate look at one of the most beloved and often-misunderstood artists of all time.

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Under Cover: The Science of Van Gogh’s Bedrooms

This documentary, produced by the Art Institute, details how conservators and scientists have been able to solve long-standing mysteries about Vincent Van Gogh’s three Bedroom paintings.
Van Gogh Video
Van Gogh’s Descendants: Machteld van Laer with Gloria Groom

When Machteld van Laer, Vincent van Gogh’s great-grandniece, visited Chicago for the opening of “Van Gogh’s Bedrooms,” she spoke to curator Gloria Groom about her family’s role in preserving the artist’s legacy and the thrill of seeing all three Bedroom paintings together for the first time.

Archived Microsite

Installation Photos


Lead support has been provided by the Estate of Jacquet McConville.

Major support has been generously provided by Caryn and King Harris, The Harris Family Foundation; the Gilchrist Foundation; The Morris and Dolores Kohl Kaplan Fund; and Evonne and John Yonover. Additional funding has been contributed by Constance and David Coolidge, the Mason Foundation, Charlene and Mark Novak, and the Comer Family Foundation. Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Kenneth Griffin, Robert M. and Diane v.S. Levy, Thomas and Margot Pritzker, Betsy Bergman Rosenfield and Andrew M. Rosenfield, the Earl and Brenda Shapiro Foundation, and the Woman’s Board.

The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.


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