Vincent De Paul - Louise De Marillac
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Vincent Van Gogh, Who Grew up Walking the Dutch Countryside
"Sorrowful yet always rejoicing," Vincent van Gogh, who grew up walking the Dutch countryside, traveled through life seeking the eternal "Light that rises in the darkness"- like these swans readying for flight south of Amsterdam. From the pain and beauty of his journey, he created masterworks of passion, including penetrating self-portraits, such as this one at age 34. Van Gogh likened painting to performing music. "Whether I really sang a lullaby in colors," he wrote, "I leave to the critics." National Geographic, October, 1997 By JOEL L. SWERDLOW, ASSISTANT EDITOR Photographs by LYNN JOHNSON THE LETTERS FROM VINCENT VAN GOGH to his brother Theo are yellowed. Some are torn at the corners or have holes from aging. Acid from ink eats through the cheap paper. I have come to this bombproof vault in the cellar of the Van Gogh Museum in Amsterdam to begin my search for Vincent. Who was this man who said he "sang a lullaby in colors:' and why does he have such a hold on us? His paintings sell for the most money; his exhibitions attract the highest number of visitors; reproductions of his work-on socks, sheets, party napkins, coffee cups-permeate homes and offices; the song "Vincent" has sold more than ten million copies since 1971; movies mythologize his life. No other artist, at any time in any culture, has been more popular. THE 650 LETTERS from Vincent to Theo fill three volumes. Their first surprise is immediate: I knew that Theo financed Vincent's painting and had assumed Theo was the big brother. -
St. Vincent De Paul and the Homeless
WELCOMING THE STRANGER ST. VINCENT DE PAUL AND THE HOMELESS Robert Maloney, CM An earlier version of this article was published in Vincentiana 61, #2 (April-June 2017) 270-92. “There was no room for them in the inn.”1 Those stark words dampen the joy of Luke’s infancy narrative, which we read aloud every Christmas. No room for a young carpenter and his pregnant wife? Was it because they asked for help with a Galilean accent that identified them as strangers?2 Was there no room for the long-awaited child at whose birth angels proclaimed “good news of great joy that will be for all people”?3 No, there was no room. Their own people turned Mary and Joseph away. Their newborn child’s first bed was a feeding trough for animals. Matthew, in his infancy narrative, recounts another episode in the story of Jesus’ birth, where once again joy gives way to sorrow.4 He describes the death-threatening circumstances that drove Joseph and Mary from their homeland with Jesus. Reflecting on this account in Matthew’s gospel, Pius XII once stated, “The émigré Holy Family of Nazareth, fleeing into Egypt, is the archetype of every refugee family." 5 Quoting those words, Pope Francis has referred to the plight of the homeless and refugees again and again and has proclaimed their right to the “3 L’s”: land, labor and lodging.6 Today, in one way or another, 1.2 billion people share in the lot of Joseph, Mary and Jesus. Can the Vincentian Family have a significant impact on their lives? In this article, I propose to examine the theme in three steps: 1. -
Vincentiana Vol. 44, No. 3 [Full Issue]
Vincentiana Volume 44 Number 3 Vol. 44, No. 3 Article 1 2000 Vincentiana Vol. 44, No. 3 [Full Issue] Follow this and additional works at: https://via.library.depaul.edu/vincentiana Part of the Catholic Studies Commons, Comparative Methodologies and Theories Commons, History of Christianity Commons, Liturgy and Worship Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation (2000) "Vincentiana Vol. 44, No. 3 [Full Issue]," Vincentiana: Vol. 44 : No. 3 , Article 1. Available at: https://via.library.depaul.edu/vincentiana/vol44/iss3/1 This Article is brought to you for free and open access by the Vincentian Journals and Publications at Via Sapientiae. It has been accepted for inclusion in Vincentiana by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Via Sapientiae: The nI stitutional Repository at DePaul University Vincentiana (English) Vincentiana 6-30-2000 Volume 44, no. 3: May-June 2000 Congregation of the Mission Recommended Citation Congregation of the Mission. Vincentiana, 44, no. 3 (May-June 2000) This Journal Issue is brought to you for free and open access by the Vincentiana at Via Sapientiae. It has been accepted for inclusion in Vincentiana (English) by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. VINCENTIANA 44th YEAR, N° 3 MAY-JUNE 2000 FEATURE: V SI.PER. 255.77005 Saint Vincent Priest V775 v.44 CONGREGATION OF THE 1MISSiON no.3 GLNER\I CURIA 2000 VINCENTIANA Magazine of the Congregation of the Mission Published every two months by the General Curia Via dei Capas.so, 30 - 00164 Roma 44th year, N° 3 Slav-June 2000 Summary Feature : Saint Vincent Priest • The Clergy in the France of St. -
Van Gogh: Heartfelt Lines
Jane Van Nimmen exhibition review of Van Gogh: Heartfelt Lines Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Citation: Jane Van Nimmen, exhibition review of “Van Gogh: Heartfelt Lines,” Nineteenth- Century Art Worldwide 8, no. 1 (Spring 2009), http://www.19thc-artworldwide.org/ spring09/76-van-gogh-heartfelt-lines. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2009 Nineteenth-Century Art Worldwide Nimmen: Van Gogh: Heartfelt Lines Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Van Gogh: Heartfelt Lines Albertina, Vienna, 5 September 2008 – 8 January 2009 Catalogue: Van Gogh: Heartfelt Lines Edited by Klaus Albrecht Schröder and Heinz Widauer, Sjraar van Heugten and Marije Vellekoop; with an introduction by Klaus Albrecht Schröder; with essays by Martin Bailey, Sjraar van Heugten, Fred Leeman, Teio Meedendorp, Marije Vellekoop, and Heinz Widauer. Catalogue entries by Stefanie Chaloupek, Fred Leeman, Heinz Widauer, and Denise Willemstein. Cologne: DuMont, 2008. 455 pages; 338 color illustrations, 32 b-w; bibliography Cost: €24,90 ($36, in museum); €49,90 ($73, in bookstores) ISBN: 978-3-8321-9158-0 (museum edition); 978-3-8321-9133-7 (trade edition) Van Gogh: Gezeichnete Bilder ISBN: 978-3-8321-9157-3 (museum edition); 978-3-8321-9157-2 (trade edition) “To bring the art of drawing out of quarantine” became a mission statement of the new Albertina Director Klaus Albrecht Schröder long before he re-opened the meticulously restored museum. Assuming his post at the beginning of the millennium, Schröder accelerated renovations for the palace of Albert, Duke of Saxe-Teschen (1738–1822); the building behind the opera had housed his remarkable collection for two centuries and had closed for urgent repairs in the 1990s. -
Evangelii Gaudium”
July-September 2014 GENERAL CURIA CONGREGATION OF THE MISSION Year - N. 3 INCENTIANA th 58 on “Evangelii Gaudium” Vincentian Bishops Reflect Vincentian V VINCENTIANA — 58th Year - N. 3 - July-September 2014 Table of Contents VINCENTIANA Journal Published quarterly Introduction Congregation of the Mission 225 Editor’s Nore General Curia - Rome - Italy In our next 227 About our Authors 58th Year - N. 3 July-September 2014 issue... From the General Curia Editor 229 Meditation Moment. Reflection on the Vow of Obedience by the General Curia John T. Maher, C.M. 236 Tempo Forte Summary (June 2014) Editorial Board 243 New Appointments at the General Curia Jean Landousies, C.M. Javier Álvarez Munguia, C.M. Jorge Luis Rodríguez, C.M. From the Superior General Giuseppe Turati, C.M. 245 Letter to the Vincentian Family for the feast of St. Vicent Publication 249 Letter to the Vincentian Family on the Plight of Christians in Iraq General Curia of the Congregation of the Mission 251 Sunday Mass Homily for JMV Moderators (Paris, 20 July 2014) Via dei Capasso, 30 00164 Rome (Italy) Tel. +39 06 66 13 061 Spotlight Interview The Fax +39 06 66 63 831 255 An Interview with Fr. Manuel Ginete, C.M. Member of Province of the Philippines [email protected] John T. Maher, C.M., with Manuel Ginete, C.M. Authorization Ratio Tribunal of Rome Theme: Vincentian Bishops Reflect on “Evangelii Gaudium” 5 December 1974 - N. 15706 Formationis 263 The Social Dimension of Evangelization Legal Representative Bishop Vicente Bokalic Iglic, C.M. (Argentina) Giuseppe Carulli, C.M. 272 The Social Dimension of Evangelization Bishop George Bou Jaoudé, C.M. -
Vincent Van Gogh in Arles
VINCENT VAN GOGH IN ARLES “Van Gogh sur la route de Tarascon” Known also as “The painter on his way to work”, July 1888, 48 x 44 cm Formerly in the Kaiser-Friedrich-Museum, Magdeburg, Germany (Destroyed by fire in 1945) https://commons.wikimedia.org/wiki/File:Vincent_Van_Gogh_0013.jpg A Walk-Around of Selected Sites L. M. Boring Membre de l’Association des Artistes Alpicois, Le Pecq 28 February 2019 Vincent Van Gogh arrived in Arles by train on Monday, February 20, 1888, with an idea to found an artist colony in the south “Wishing to see a different light, thinking that looking at nature under a bright sky might give us a better idea of the Japanese way of feeling and drawing. Wishing also to see this stronger sun, because one could not understand Delacroix’s pictures from the point of view of execution and technique without knowing it, and because one feels that the colors of the prism are veiled in the mist of the North.” Oddly and by happenstance, when he arrived, he found the countryside covered in snow, and among his first paintings were soft landscapes of snow covered fields. He found lodging in the Hotel-Restaurant Carrel, but his stay ended badly over a billing dispute after only two months. Vincent signed a lease on May 1st for a small four-room two-story semi-detached house on the Place Lamartine, not far from the train station. Its stucco exterior was bright ochre, and it became known by Van Gogh’s paintings as La Maison Jaune, the Yellow House. -
Teen Study Guide and Extension Activities
“Well, then, what can I say: does what goes on inside, show on the outside?” -Vincent to Theo, June 1880 Vincent van Gogh is among the world’s most famous artists, known for his vibrating colors, thick, encrusted paint, exhilarating brushstrokes and very brief career. In a mere ten years he managed to create an astonishing 900 paintings and 1000 drawings! The art he suffered to create tried to answer the introspective question he put forth in a letter from 1880, “does what goes on inside, show on the outside?” Born in The Netherlands on March 30, 1853, he never knew fame for his art while he was alive. Neither did he know prosperity or much peace during his frenetic life. Vincent was known to be emotionally intense, highly intelligent and socially awkward from the time he was a young boy, and though he never married, he had a deep and driving desire to connect with others. Unfortunately, he was unable to maintain most of his relationships due to his argumentative, obsessive nature and bouts of depression. But it was a divided temperament Vincent possessed - disagreeable, melancholy and zealous on one hand; sensitive, observant and gifted on the other. His beloved brother Theo thought that he had “two different beings in him” and that Vincent often made his life “difficult not only for others, but also for himself.” This disconnect was obviously painful to Vincent, as he once compared himself to a hearth - as someone who “has a great fire in his soul and nobody ever comes to warm themselves at it, and passers-by see nothing but a little smoke at the top of the chimney and then go on their way.” It was this friction of selves that created a lonely lifetime of seeking - for home, family, truth, balance and acceptance, which he ultimately never found. -
Van Gogh Educator Guide
Van Gogh and His Inspirations Presented by The Blanchard Family Educator Guide Premier Programming Sponsor: First Citizens Bank Van Gogh and His Inspirations October 4, 2019 – January 12, 2020 Greetings, educators! Guide at a Glance The Columbia Museum of Art is Van Gogh excited to offer you this Educator timeline Guide as a teaching tool and resource pages 2-3 supplementing Van Gogh and His Elementary Inspirations. We hope that you and lesson plans your students find lots of creative and pages 4-7 inspiring ways to learn about Van Gogh’s Middle/high life and art through history, English school lesson language arts, visual arts, and beyond. plans pages 8-11 We also invite you to experience the exhibition through a CMA field trip for an opportunity to enrich Resources students’ creative, critical, sensorial, and academic learning. page 12 Join us! Glossary page 12 Keep your brushes wet, More information Jackie Adams page 13 Director of Education and Engagement Book Your School Trip! Don’t miss your chance to see Van Gogh in Columbia! Reserve a tour for your students to experience Van Gogh and His Inspirations. School programs include an hour-long guided gallery tour and an hour- long studio session. Please complete an online booking form at least one month before your anticipated visit. Van Gogh school tours are free courtesy of Premier Programming Sponsor First Citizens Bank. Quantities are limited so book early. www.columbiamuseum.org/school-tours Major Themes in the Exhibition Spirituality Van Gogh was deeply religious Raised as a Christian, he studied theology and even served briefly as a preacher. -
Gallery Texts Van Gogh En Japan
Gallery texts exhibition Van Gogh & Japan Inhoud Gallery texts exhibition Van Gogh & Japan ................................................................ 1 Inhoud......................................................................................................................... 1 Floor -1 ....................................................................................................................... 4 Introduction Van Gogh & Japan .............................................................................. 4 Painting: Vincent van Gogh, Flowering Plum Orchard (after Hiroshige), 1887 .... 4 Gallery text: Discovering Japanese prints ............................................................... 4 Colour woodcut: Utagawa Hiroshige, Ishiyakushi: The Yoshitsune Cherry Tree near the Noriyori Shrine, from the series Famous Places near the 53 Stations [Along the Tōkaidō], 1855 .................................................................................... 5 Colour woodcut: Togaku, Finches and Pomegranates, from the series Illustrations of Plants, Trees, Flowers and Birds .................................................. 5 Magazine in showcase: Cover of Paris Illustré, Le Japon, 1 May 1886 ............... 5 Gallery text: Japonisme in Paris .............................................................................. 5 Painting: Vincent van Gogh, In the Café: Agostina Segatori in Le Tambourin, 1887 .................................................................................................................... 6 Painting: -
Looking East: Vincent Van Gogh and Japan
Looking east: Vincent van Gogh and Japan CLIVE YOU Abstract During the formative years of his life in Arles, Vincent van Gogh became deeply enamoured with the art of Japan. This vision, while short-lived, was crucial for the eventual flowering of his unique painting style. Therefore, it is vital for us to understand the Japanese aesthetics and philosophy hidden in his paintings. This article commences with a discussion on the origins of van Gogh’s Japonism interests, and then proceeds with an analysis of how this manifested itself in three periods of his ‘Japanese Era’, including where it drew on Japanese study, philosophy and utopia as well as paintings and prints. The visual analysis technique is widely utilised in this article to consider van Gogh’s paintings and the Japanese influences on their colour, line, texture and size. The research shows that van Gogh established a rich connection to Japanese aesthetics and created the largest numbers of masterpieces of his career in his ‘Japanese Era’. Origin Vincent van Gogh first expressed an interest in Japonaiserie in 1885 while he stayed in Antwerp. At that time, he already owned some Japanese prints; their exotic nature was the primary reason for his fondness of them. In one of his letters, he wrote that he was very much delighted by the Japanese prints he pinned on his walls. Later, when he moved to Paris, he read far more about Japan, and studied a substantial number of Japanese prints. The countryside played a more important role in his career and in his existence as an artist because of the inspiration of peace and beauty that nature provided to his work.1 Eventually, while he lived in Arles, Japanese art and philosophy became major inspirations for van Gogh, affecting his paintings, behaviours and values. -
Vincentiana Vol. 45, No. 2 [Full Issue]
Vincentiana Volume 45 Number 2 Vol. 45, No. 2 Article 1 2001 Vincentiana Vol. 45, No. 2 [Full Issue] Follow this and additional works at: https://via.library.depaul.edu/vincentiana Part of the Catholic Studies Commons, Comparative Methodologies and Theories Commons, History of Christianity Commons, Liturgy and Worship Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation (2001) "Vincentiana Vol. 45, No. 2 [Full Issue]," Vincentiana: Vol. 45 : No. 2 , Article 1. Available at: https://via.library.depaul.edu/vincentiana/vol45/iss2/1 This Article is brought to you for free and open access by the Vincentian Journals and Publications at Via Sapientiae. It has been accepted for inclusion in Vincentiana by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Via Sapientiae: The Institutional Repository at DePaul University Vincentiana (English) Vincentiana 4-30-2001 Volume 45, no. 2: March-April 2001 Congregation of the Mission Recommended Citation Congregation of the Mission. Vincentiana, 45, no. 2 (March-April 2001) This Journal Issue is brought to you for free and open access by the Vincentiana at Via Sapientiae. It has been accepted for inclusion in Vincentiana (English) by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. VINCENTIANA 45 )FAR-N.2 \IAR.CII -APRIL 2001 V S1.PER. 255.77005 V775 Selected Articles v.45 no.2 CONGREGATION OF THE MISSION 2001 GE,NF.RAI. ('L RIA VINCENTIANA Summary :Lfaga ; ine of the Congregation of the M ission published even two nronrlr.+ General Curia 43'' Year - N. -
Vincent Van Gogh:The Flaming Soul
Vincent van Gogh:The Flaming Soul 投稿類別:英文寫作類 篇名: Vincent Van Gogh:The Flaming Soul 作者: 徐 彤。北一女中。高三仁班 (Hsu Tong。Taipei First Girls’ Senior High School。Class 3-Ren) 指導老師: 姜文娟 老師 Vincent van Gogh:The Flaming Soul Table of Contents I. Introduction -------------------------------------------------------------------------------------------- P.02 A. Motivation of the Study ----------------------------------------------------------------------- P.02 B. Purpose of the Study --------------------------------------------------------------------------- P.02 C. Scope & Methods of the Study --------------------------------------------------------------- P.02 II. Thesis -------------------------------------------------------------------------------------------------- P.02 A. Biography --------------------------------------------------------------------------------------- P.02 1. Early Life – Intellectual Formation (1853~1880) ---------------------------------- P.02 2. The Beginning in Holland (1880~1885) --------------------------------------------- P.02 3. Apprenticeship Years in Paris (1886~1888) ---------------------------------------- P.03 4. Artistic Breakthrough Period in Arles (1888~1889) ------------------------------- P.03 5. Final Years in Saint-Rémy & Auvers (1889~1890) -------------------------------- P.03 B. Artistic Influences from Predecessors ------------------------------------------------------ P.04 1. Baroque ----------------------------------------------------------------------------------- P.04 2. Ukiyo-e -----------------------------------------------------------------------------------