For the first time since 1984, the Kröller-Müller Museum in Otterlo, Netherlands, is exhibiting all 88 paintings by Vincent van Gogh from its collection in a single, comprehensive show. Titled Van Gogh, All Our Paintings, the exhibition opened on 15 September 2026 and runs until 3 January 2027, offering an unprecedented opportunity to trace the artist’s development through the museum’s world-class holdings.
A Historic Collection, Rarely Seen Together
The Kröller-Müller Museum holds one of the largest private collections of Van Gogh paintings in the world, assembled by its founder Helene Kröller-Müller between 1908 and 1930. Although the museum owns these 88 works, they are rarely displayed simultaneously due to conservation and space considerations; the last time the entire group was shown together was in 1984. Museum officials describe the current presentation as “one of the largest Van Gogh exhibitions of this century.”
Key masterpieces on view include The Potato Eaters, The Sower, Café Terrace at Night, Sorrowing Old Man (At Eternity’s Gate), L’Arlesienne, and The Old Tower at Nuenen. Most of these works were acquired by Helene Kröller-Müller under the guidance of the critic H.P. Bremmer, an early Van Gogh champion, helping to shape both the artist’s reputation and market in the early 20th century.
Faith, Hope, and Love as Curatorial Framework
Rather than organizing the show chronologically or biographically, the museum has structured the exhibition around the three “divine virtues” that preoccupied Van Gogh during his brief period as a preacher: faith, hope, and love. These themes are drawn from a sermon Van Gogh delivered on 29 October 1876 at the Wesleyan Methodist Church in Richmond, where he described life as a pilgrimage “from the earth to the heaven.”
Although Van Gogh soon abandoned formal religious work on his brother Theo’s advice and turned to painting, he remained committed to these values, seeking to offer “hope and comfort” through his art. The exhibition uses this tripartite framework to highlight how compassion, spiritual searching, and human connection informed his imagery from early depictions of peasant life to the luminous landscapes of Provence and Saint-Rémy.
Alongside the exhibition, the museum has published a children’s picture book, Leven om te schilderen (Living to Paint), by Janneke Ipenburg, which tells the story of Vincent’s self-taught journey as an artist, supported by his correspondence with Theo. The book draws on the brothers’ extensive letters, which remain a primary source for understanding Van Gogh’s artistic evolution and emotional life.
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