In May 1890, just before he checked himself out of the asylum at Saint-Rémy, Van Gogh painted four exuberant bouquets of spring flowers, the only still lifes of any ambition he had undertaken during his yearlong stay: two of irises, two of roses, in contrasting color schemes and formats. In the Museum’s Irises he sought a “harmonious and soft” effect by placing the “violet” flowers against a “pink background,” which have since faded owing to his use of fugitive red pigments. Another work from this series, Roses (1993.400.5), hangs in the adjacent gallery. Both were owned by the artist’s mother until her death in 1907.  

百度翻译：http://fanyi.baidu.com

      花瓶裡的鳶尾花前後不齊地滿滿插在一起，同時又向四方怒放，似乎是梵谷依戀南方的最後表現。以前梵谷畫向日癸時，曾經想以金黃色和紫藍色對比，而這幅畫裡，同樣的對比，但顏色的安排適巧相反，花朵還畫成有光暈的形狀。

      針對畫布的大小做相應的畫面構圖，每一幅畫中都有一只稍稍偏離中心的花瓶和一條維持平衡標准的水平綫。梵谷通過一系列堅定的對比互補組織成一張張豐富的畫面，其中活躍著物體、色彩以及風格的激烈對話，淡藍花束與粉色背景營造的溫柔和諧的情調。