The 88 Van Gogh paintings from the Kröller-Müller Museum are being displayed together for the first time since 1984. Located on the outskirts of the east of the Netherlands, amidst a vast green park filled with trees and sculptures, the Kröller-Müller Museum is bringing together its 88 paintings by Vincent van Gogh, which represent the second-largest collection in the world after the Van Gogh Museum in Amsterdam. The initiative was launched by Hélène Kröller-Müller, a collector who acquired 85 of his paintings. She created this space in the 1920s to become "a place of pilgrimage and the work of Vincent would become an object of worship within a museum." Her collection has been traveling for 40 years according to the loans granted by the Kröller-Müller Museum for temporary exhibitions. Today, it is an event to see it displayed again in this "place of worship" envisioned by the patron. The three chosen themes, simply and clearly presented, reconnect with the quest for spirituality that united Hélène Kröller-Müller and her favorite artist. Faith, love, and hope form a triptych that allows this non-chronological display to highlight comparisons between the Dutch period of the early 1880s and the more well-known French period from 1886 to 1890. During his Dutch period, Van Gogh, in his depiction of peasants (The Potato Planters, 1884) and the countryside, imagined himself as a "small" Millet from the north, a painter he admired. But his painting radically evolved with his discovery of the impressionists first in Paris in 1886 and then of the intense brightness of the south. This is evident in Four Dried Sunflowers (1887) and Wheat Field with a Barbed Wire Fence at Sunrise in Spring 1889. In Wheat Field with a Reaper, Saint-Rémy-de-Provence the same year, the peasant appears as if submerged, swallowed by the radiance of yellow. The light indeed appears divine compared to the earthy, even dark, colors of the Dutch countryside. An illuminated painting. The reunification of Hélène Kröller-Müller's collection allows the discovery of less known works such as this Impressionist Still Life with a Plaster Statue (1887) or a very rare nude from the same year. In the exhibition labels, an important element is pointed out: the use of a large brush that Van Gogh discovered in the work of Adolphe Monticelli and used in Cypress and Two Figures, painted in Arles in 1887: the trees appear to be ablaze with green. The collection includes absolute masterpieces such as Café Terrace at Night, painted in 1888 in Arles, and its stunning contrast between the yellow of the lighting under the awning and the deep blue of the starry night... The section titled "Hope" is not lacking in comparisons and discoveries: the Academic Still Life with Flowers, a witness to his brief passage at the Academy of Fine Arts in Antwerp, is followed by a mundane view of the Montmartre hill in spring 1886. This is compared to The Moulin de la Galette painted six months later: the transformation is radical, Van Gogh embracing the impressionist style he had just discovered in Paris. One of the most disturbing, personal, and moving paintings in the exhibition is this Still Life with Drawing Board and Onions from January 1889 in Arles. Under this mundane title, one discovers a medical directory, the pipe and tobacco probably comforting the painter, and, above all, a letter whose handwriting and stamp reveal that it came from his brother Theo in Paris. Three weeks earlier, Van Gogh had mutilated his left ear. The collection thus gathered, which includes only two paintings from the final period (although Auvers-sur-Oise was prodigious with 74 paintings in the latest count), allows a better understanding of the epiphany that Van Gogh's discovery of the City of Light and the south constituted; it transformed him from an emerging painter into a painting genius. The exhibition runs from September 15, 2026, to January 3, 2027 at the Rijksmuseum Kröller-Müller.