
Court rules in favour of homeowners in land dispute over site of Van Gogh's final painting
In the final hours of his life, a 37-year-old
Vincent Van Gogh
set up his easel beside a tangled slope of roots and painted with furious intensity. The result -
Tree Roots
(1890)- was a chaotic burst of colour and form, interpreted by many as a visual cry from a mind in anguish.
It is widely believed to be his last work before he shot himself in a nearby wheat field later that same day.
More than 130 years later, that very spot - a quiet patch at the bottom of a garden in Auvers-sur-Oise - became the unlikely centre of a longstanding, bitter legal battle.
Visitors view the barricaded site where Van Gogh painted his final work, Tree Roots, in Auvers-sur-Oise, north of Paris (July 29, 2020).
Credit: AP Photo
Since Van Gogh's final painting was identified to the garden of 48 Rue Daubigny in 2020, the homeowners, Jean-François and Hélène Serlinger, have turned their land into a destination for art lovers, offering guided tours (currently €8 per visit) and drawing visitors from around the world.
However, the village mayor, Isabelle Mézières, launched a legal bid to seize the land, arguing it should belong to the public, not private individuals, and claiming it was part of the public road. The Serlingers insisted otherwise. They bought the land in 2013, long before its significance was discovered.
A lower court ruled in the couple's favour in 2023, and now the Versailles appeal court has confirmed the decision, bringing the long-running feud to an apparent end.
"The embankment containing the tree roots painted by Vincent Van Gogh does not constitute an accessory to the public highway," ruled the Versailles Administrative Court of Appeal.
Tree roots at the exact spot where Van Gogh painted his final work, Tree Roots, now protected by a barrier in Auvers-sur-Oise, north of Paris, 29 July 2020.
Credit: AP Photo
Van Gogh's 'Tree Roots' (1890)
Credit: Vincent Van Gogh Foundation
Since the ruling,
Mézières has taken to social media
to denounce the ruling and vowed to continue legal action, declaring: 'These roots are not a commodity - they belong to the people of Auvers."
She added: 'We are continuing our appeal. There is no question of giving in to the public interest of the people of Auvers over private interests. The question of ownership is not settled."
How was the real-life spot of Van Gogh's final painting originally identified?
The location of the legendary Dutch painter's suspected final artwork was identified by Dutch researcher Wouter van der Veen, the scientific director of the Van Gogh Institute in France.
He made the discovery after recognising that the scene depicted in the painting matched a faded postcard showing a man standing next to a bicycle on a backstreet in the village of Auvers-sur-Oise, where Van Gogh spent his last weeks. The postcard, which included the name of the street, offered a crucial lead.
The postcard showing a man by a bicycle in Auvers-sur-Oise which helped Dutch researcher Wouter van der Veen pinpoint the exact location of Van Gogh's final painting
Credit: AP Photo
Van der Veen's identification revealed that Van Gogh had painted
Tree Roots
on a sloping bank just outside the village, around 35 kilometres (21 miles) north of Paris. This discovery also provided a new insight into
Van Gogh's final hours
, confirming that he worked on the piece into the afternoon of his death.
'There has been a lot of speculation about his state of mind, but one thing that is very clear is that he spent quite a bit longer working on this painting right through the afternoon. We know that from the light fall in the work,' Emilie Gordenker, director of the Van Gogh Museum in Amsterdam, told The Associated Press at the time of the discovery. 'So, you know, he really was at work right up to to the end.'
According to the museum's account of Van Gogh's life, after working on
Tree Roots
, the artist walked into a nearby wheat field later that day and shot himself in the chest with a pistol. He died two days later, on 29 July 1890, at the age of 37.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Fashion Network
16-07-2025
- Fashion Network
Desigual unveils unisex capsule with Botter inspired by kinetic movement
This new launch aligns with Desigual's broader transformation strategy, which aims to reinforce its creative direction and differentiated positioning in the global fashion landscape. This evolution includes the upcoming presentation of its Studio line, set to debut with a fashion show in Barcelona on September 10. It also follows the appointment of actress Ester Expósito as the brand's new ambassador, as part of Desigual's ongoing effort to connect with new generations. Founded by Thomas Meyer in 1984, Desigual currently operates over 280 single-brand stores and is present in 107 markets through 10 sales channels. The brand reported total revenues of €332 million in fiscal 2024, driven primarily by international expansion and growth in its online channel. Botter, founded by Rushemy Botter and Lisi Herrebrugh in 2017, blends Belgian and Dutch tailoring with multicultural influences. After winning the Grand Prix at the Hyères Festival in 2018 and being finalists for the LVMH Prize, the pair took over the artistic direction of Parisian fashion house Nina Ricci, a role they held until 2022. They currently lead their namesake label while also serving as artistic directors of G-Star, a role they began in April 2024.


Fashion Network
10-07-2025
- Fashion Network
Paris couture: Elie Saab, Fang Couture and ArdAzAei
Often, the greatest progenitors of couture – a very French concept – are born thousands of kilometers from France. Three such talents – Elie Saab, Fang Couture and ArdAzAei – offered up impressive visions of revived couture classicism. None of them were born in France. Elie Saab: Royal court couture 'I dreamed of a royal court,' beamed Elie Saab, after one of his most opulent and sculptural collections to date. Staged inside the Pavillon Cambon, opposite Chanel 's HQ, the cast marched down the Belle Époque wrought-iron staircase into a packed house for the Lebanese couturier's latest show. Keeping to the regal theme, Elie sent out three veteran runway princesses to open the show. The ever-defiantly moody Dutch blonde beauty Lara Stone, swaddled in charcoal and crème caramel silk shantung, sculpted into a stunning gown. Russian beauty Sasha Pivovarova followed up in a décolleté black velvet jacket, laced at the back, and paired with crepe knickerbockers and a moiré satin train. Isabeli Fontana completed the trilogy in a va-va-vroom curvy velour gown, held together with diagonal lace stitching. Their hair left tousled, the throats looped in black ribbon, this was the sexiest Saab opening in eons. And no harm in that. Then Elie sent his famous atelier into overdrive with beautiful gowns made in magnified spring flowers, finished with bugle beading, strass and crystals. One technique of knotting folds of fabric at the front, used on duchess satin gowns, was the work of a master couturier working his magic. While his pyramidal pink feather dress was a work of astounding skill, as was his reinvented and seductive French corsetry. Composed in a fresh macaron palette of nude, rose coral pink, faint blue, and mint, with dollops of imperial black and gold, this felt like a magnificent court. For those who desire their couture to blend beauty with technical excellence, Saab and his atelier are second to none on their day. No wonder Elie won a standing ovation. As the cast assembled on the staircase, he took his familiar modest bow. Fang Couture: Zhezhi chic at the Eiffel Tower East dialogued with West this season at Fang Couture, an elegant indie label that staged its first show on a terrace facing the Eiffel Tower. Created by China-born Fang Yang, a graduate of noted Paris fashion college Esmod, Fang is all about blending great European fabrics and silhouettes with clever Chinese techniques. The collection's key idea was using Zhezhi, the Chinese art of paper folding, a little like their version of origami, which ranged from handkerchiefs folded into wee flowers to some beguiling dresses made of dexterously folded duchess satin. The result was a very refined series of folded lattice dresses, such as a ruby red sheath finished with tiny buds of jade beads. Fang founded the brand with her life partner Grégoire Caillol, and together they have dreamed up a marque with a distinctive point of view. In 2015, she opened the couture maison By Fang. Fang also showed breastplate tops made in puckered black organza finished with crystals, or a pair of beautiful chiffon lattice bustier dresses decorated with tiny amethysts – in red or softer beige. 'I wanted to work with silk and other fabrics the way I had worked with paper. It's a homage to my heritage and also to my idea of Parisian elegance,' explained Fang in a pre-show preview. As the sun descended, Yang staged her show, the refined delicacy of the clothes happily contrasted by the raw power of the tower across the Seine. East rather at ease with the West, just like this collection. ArdAzAei: Folded sea, fine food Charles Darwin would have loved the latest collection by ArdAzAei, and the audience certainly did too. Darwin believed – quite rightly – that the origin of life was the meeting of land and sea, which was why he studied mollusks on the shores of the North Sea, while a student at the University of Edinburgh. Like the great scientist, ArdAzAei's designer Bahareh Arkadani found inspiration from the sea, more specifically the sea urchin, with its unlikely pentaradial geometry and mythical status as 'talismans of protection.' Entitled The Folded Sea, the collection played on the ideal shape of sea urchins, whose shells decorate seaside homes from Galway to Gothenburg, Nantes to Naples. The result was a hyper-original collection of undulating shapes, ribbed formers, and unexpected drama. Suggesting the curvature of a bivalve with opening black crepe blazers and bustier dresses. The glistening finish of crustaceans in techy ecru pantsuits. Or playing visually on a stormy sea in a superb, layered lurex gown, finished with bold cut-outs. Everything looked elegant and noble in the midday light of the airy ground floor of the Cartier Foundation. To ArdAzAei fell the honor of being the first couture house to show there since the art center's recent restoration, in some savvy management. Though highly eco-conscious, Arkadani is not afraid to use advanced fabrics – like the 'armor-plated' cocktail with protective straps that sat three inches off the shoulders, made of silk, cotton and stainless steel. Arkadani could do with a little self-editing. Quite a few looks had one too many swirls, dissections or ruffles. But this was still a special fashion statement, using the power of fabric and fashion imagery to suggest a more beautiful, and understanding, world. Staged at a slow speed, surprisingly to a soundtrack that included a lovely quirky industrial track named Metabolism by Baintermix, this was one of those shows one only ever sees in Paris couture. Celebrated with delightful food courtesy of the happening Danish chef Claus Meyer, a new star of Nordic cuisine. Hand-dived scallops on caviar with white sturgeon caviar, topped by a sprinkling of fennel. Oyster emulsion with pickled cucumber and flowers, all washed down by an excellent Spanish biodynamic wine, Can Sumoi Ancestral Montonega. Come to think of it, Darwin would have approved of the food too.


Fashion Network
10-07-2025
- Fashion Network
Paris couture: Elie Saab, Fang Couture and ArdAzAei
Often, the greatest progenitors of couture – a very French concept – are born thousands of kilometers from France. Three such talents – Elie Saab, Fang Couture and ArdAzAei – offered up impressive visions of revived couture classicism. None of them were born in France. Elie Saab: Royal court couture 'I dreamed of a royal court,' beamed Elie Saab, after one of his most opulent and sculptural collections to date. Staged inside the Pavillon Cambon, opposite Chanel 's HQ, the cast marched down the Belle Époque wrought-iron staircase into a packed house for the Lebanese couturier's latest show. Keeping to the regal theme, Elie sent out three veteran runway princesses to open the show. The ever-defiantly moody Dutch blonde beauty Lara Stone, swaddled in charcoal and crème caramel silk shantung, sculpted into a stunning gown. Russian beauty Sasha Pivovarova followed up in a décolleté black velvet jacket, laced at the back, and paired with crepe knickerbockers and a moiré satin train. Isabeli Fontana completed the trilogy in a va-va-vroom curvy velour gown, held together with diagonal lace stitching. Their hair left tousled, the throats looped in black ribbon, this was the sexiest Saab opening in eons. And no harm in that. Then Elie sent his famous atelier into overdrive with beautiful gowns made in magnified spring flowers, finished with bugle beading, strass and crystals. One technique of knotting folds of fabric at the front, used on duchess satin gowns, was the work of a master couturier working his magic. While his pyramidal pink feather dress was a work of astounding skill, as was his reinvented and seductive French corsetry. Composed in a fresh macaron palette of nude, rose coral pink, faint blue, and mint, with dollops of imperial black and gold, this felt like a magnificent court. For those who desire their couture to blend beauty with technical excellence, Saab and his atelier are second to none on their day. No wonder Elie won a standing ovation. As the cast assembled on the staircase, he took his familiar modest bow. Fang Couture: Zhezhi chic at the Eiffel Tower East dialogued with West this season at Fang Couture, an elegant indie label that staged its first show on a terrace facing the Eiffel Tower. Created by China-born Fang Yang, a graduate of noted Paris fashion college Esmod, Fang is all about blending great European fabrics and silhouettes with clever Chinese techniques. The collection's key idea was using Zhezhi, the Chinese art of paper folding, a little like their version of origami, which ranged from handkerchiefs folded into wee flowers to some beguiling dresses made of dexterously folded duchess satin. The result was a very refined series of folded lattice dresses, such as a ruby red sheath finished with tiny buds of jade beads. Fang founded the brand with her life partner Grégoire Caillol, and together they have dreamed up a marque with a distinctive point of view. In 2015, she opened the couture maison By Fang. Fang also showed breastplate tops made in puckered black organza finished with crystals, or a pair of beautiful chiffon lattice bustier dresses decorated with tiny amethysts – in red or softer beige. 'I wanted to work with silk and other fabrics the way I had worked with paper. It's a homage to my heritage and also to my idea of Parisian elegance,' explained Fang in a pre-show preview. As the sun descended, Yang staged her show, the refined delicacy of the clothes happily contrasted by the raw power of the tower across the Seine. East rather at ease with the West, just like this collection. ArdAzAei: Folded sea, fine food Charles Darwin would have loved the latest collection by ArdAzAei, and the audience certainly did too. Darwin believed – quite rightly – that the origin of life was the meeting of land and sea, which was why he studied mollusks on the shores of the North Sea, while a student at the University of Edinburgh. Like the great scientist, ArdAzAei's designer Bahareh Arkadani found inspiration from the sea, more specifically the sea urchin, with its unlikely pentaradial geometry and mythical status as 'talismans of protection.' Entitled The Folded Sea, the collection played on the ideal shape of sea urchins, whose shells decorate seaside homes from Galway to Gothenburg, Nantes to Naples. The result was a hyper-original collection of undulating shapes, ribbed formers, and unexpected drama. Suggesting the curvature of a bivalve with opening black crepe blazers and bustier dresses. The glistening finish of crustaceans in techy ecru pantsuits. Or playing visually on a stormy sea in a superb, layered lurex gown, finished with bold cut-outs. Everything looked elegant and noble in the midday light of the airy ground floor of the Cartier Foundation. To ArdAzAei fell the honor of being the first couture house to show there since the art center's recent restoration, in some savvy management. Though highly eco-conscious, Arkadani is not afraid to use advanced fabrics – like the 'armor-plated' cocktail with protective straps that sat three inches off the shoulders, made of silk, cotton and stainless steel. Arkadani could do with a little self-editing. Quite a few looks had one too many swirls, dissections or ruffles. But this was still a special fashion statement, using the power of fabric and fashion imagery to suggest a more beautiful, and understanding, world. Staged at a slow speed, surprisingly to a soundtrack that included a lovely quirky industrial track named Metabolism by Baintermix, this was one of those shows one only ever sees in Paris couture. Celebrated with delightful food courtesy of the happening Danish chef Claus Meyer, a new star of Nordic cuisine. Hand-dived scallops on caviar with white sturgeon caviar, topped by a sprinkling of fennel. Oyster emulsion with pickled cucumber and flowers, all washed down by an excellent Spanish biodynamic wine, Can Sumoi Ancestral Montonega. Come to think of it, Darwin would have approved of the food too.