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Skull of a Skeleton with Burning Cigarette, Vincent van Gogh, 1886. Oil on canvas, 32.2 × 24.8 cm. Van Gogh Museum, Amsterdam. Public domain.

The image on this page is a studio placeholder, not the painting. The open-access file from Van Gogh Museum, Amsterdam replaces it when the gallery's image pipeline runs — we would rather show you a card that says so than a reproduction we have not verified.

Post-Impressionism

Skull of a Skeleton with Burning Cigarette

Vincent van Gogh · 1886

Medium
Oil on canvas
Dimensions
32.2 × 24.8 cm
Held by
Van Gogh Museum, Amsterdam
Licence
Public domain
Country
Belgium

What to look at

This is a joke, and knowing that it is a joke is most of the pleasure. Van Gogh painted it while enrolled at the Antwerp academy, where students spent long stretches drawing from skeletons as anatomical practice. The painting is what happens when a bored student puts a cigarette between the teeth of the thing he has been copying for weeks. It is small — about the size of a sheet of A4 — and it was never exhibited in his lifetime. Technically it is still a student piece: the brushwork on the ribs is quick and summary, the background is a flat dark field with no space described in it, and the whole thing reads as an exercise. But the colour is already moving. The bone is built from ochre, cream and a surprising amount of pale green, and the cigarette paper is the only pure white on the canvas, which is what pulls your eye straight to the gag.

Detail of Skull of a Skeleton with Burning Cigarette by Vincent van Gogh
Look closer. The cigarette paper is the brightest thing in the picture — the only pure white Van Gogh allowed himself.

The painter

Vincent van Gogh

Read the full life

Van Gogh painted for roughly ten years, and for the first five of them he was not very good. That is worth saying plainly, because the usual telling turns him into a natural whose genius was simply unrecognised. He trained himself late, starting at twenty-seven after failing as an art dealer, a teacher and a lay preacher, and the early Dutch work is dark, thick and often badly drawn — he knew it, and he kept drawing figures for years specifically because he knew it.

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