Canal Bridges and Thatched Homes
We began the day with a peaceful ride through a forested national park, where quiet paths and gentle hills led us to a hidden gas station with an AH store—our breakfast stop for raisin rolls and juice, much to the surprise of a local who couldn’t believe we arrived by bike. Back on the trail, the morning chill gave way to warmth as we made our way to the Kröller-Müller Museum, where we took turns exploring an incredible collection of Van Gogh, Seurat, Signac, and van Rysselberghe. The artwork was vibrant and deeply moving—especially Van Gogh’s portraits and the pointillist scenes shimmering with light. The landscape changed dramatically as we exited the park, from dense woods to sand dunes and open heath, before rolling into Arnhem. After checking in, we wandered the city, had a mysterious and filling Indonesian dinner, then ended the night doing laundry in the rain—swapping stories and soap with kind students from Finland and Aruba. A full, beautiful day.
Planned Route
Actual Route
Rainy Day in the Park
We rode back into the park, tackling gentle hills along beautifully paved paths. It had rained the night before, so things were a little damp and chilly at first. But as the day progressed, we warmed up, and soon all the rain gear was off.
We made our way to another park, De Hoge Veluwe, and visited Delen Entrance near Park De Hoge Veluwe Volwassenen. It was a lovely forested area where people were renting bikes and exploring the surroundings. Our goal: the Kröller-Müller Museum.
Vincent
We parked the bikes and took turns visiting the museum which has an exceptional Van Gogh collection. It was delightful to see so many iconic paintings in one place—The Bridge at Arles, The Trees at Arles, and the Night Café scene among them.
This one is Van Gogh’s Portrait of Joseph Roulin. You’ve probably seen this image before: a bearded man in a deep blue postman’s uniform, his golden curls curling wildly in every direction, framed against a whimsical green background bursting with flowers. In person, it’s electric. The paint swirls with energy, especially in Roulin’s beard and the poppies and daisies behind him. You feel like he could step out of the frame and offer you a friendly nod.
What made it even more special was realizing how close this museum let us get to Van Gogh—not just the man, but his friends, his life. Roulin wasn’t a model or nobleman; he was the local postman in Arles and one of Van Gogh’s few steady companions during a turbulent time. Van Gogh painted him and his family multiple times, and this portrait glows with affection. It’s vibrant, strange, and somehow incredibly human.
The collection was impressive—especially the pointillist paintings, including vibrant pieces by Seurat and Theo van Rysselberghe. His work, in particular, seemed more vivid than Seurat’s usual pastel palette.
Impressionist Art in Kroller Mueller
This luminous seascape, Entrée du port de Marseille, glows with the quiet majesty of a ship entering harbor at sunset. Painted in the vibrant pointillist style by Paul Signac, it’s a masterclass in building atmosphere from countless tiny dots of color.
Up close, the canvas is a field of stippled pinks, purples, oranges, and blues—almost abstract in its intensity. But take a step back, and the harbor emerges: a tall ship gliding on water lit by the setting sun, castle towers marking the edge of the port, and the soft silhouettes of ships and docks resting in the background.
The water and sky seem to shimmer with motion and light, capturing not just a scene but the feeling of arrival—serene, radiant, and full of possibility.
Overland to Fetch Supplies
“The Afternoon Meal” by Théo van Rysselberghe at first glance appears to be a charming scene of women gathered in an orchard for tea. The soft, dappled light, the elegant dresses, and the pointillist glow all suggest leisure and connection. But look closer—and something feels a little off.
None of the women are actually interacting.
Each figure is absorbed in her own moment: one looks away, another seems lost in thought, one stares forward without engagement, and even the standing woman, though physically present, feels disconnected from the rest. It’s a gathering, yes—but not a shared one. There’s a quiet stillness, almost a sense of distance between them.
The painting captures light masterfully, with shadows dancing across the grass and clothing. But emotionally, there’s a coolness—a sense of solitude within the group, as if each woman is enveloped in her own inner world, even while surrounded by others. That tension between beauty and detachment gives the work an unexpected depth. It’s less a portrait of community, and more a meditation on quiet isolation in a social space.
Overland to Fetch Supplies
Our route took us through a national park, where most of the paths wound peacefully through the forest. Needing supplies, we popped out of the reserve and went through a gate that led to a gas station with an AH convenience store. We grabbed some delicious raisin rolls and juice for breakfast.
Another patron eyed us quizzically and asked how we got there, clearly surprised to see bikes—since the only access is from the freeway. We pointed to the woods and the gate behind us and said with a smile, “The same way we’re leaving.”
Overland to Fetch Supplies
