Van Gogh Paintings: the Masterpieces Free
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Photographs of Paintings on Sale
THE METROPOLITAN MUSEUM OF ART PHOTOGRAPHS OF PAINTINGS ON SALE NEW YORK 1928 The photographs listed in this pamphlet are on sale as follows: UNMOUNTED MOUNTED Sheet Dull or Dull or Size Glossy Gray Sepia Glossy Gray Sepia $. 15 $. 15 $. 20 4X 5 IO $. 8x 6o Io .40 . 50 . 50 . Mailing charges, 4x5, unmounted, $. o5, mounted, $. so; 8x Io, unmounted, $. Io, mounted, $. 15. ENLARGEMENTS ENLARGEMENTS UNMOUNTED MOUNTED ON MUSLIN Sheet Size Gray Sepia Gray Sepia IIX 14 $1.50 2.00 2.25 $2.75 14x17 3.00 3.50 4.00 4.50 18X zz 4.00 5.00 5.50 6.5o 20 X 24 5.00 6. oo 7.00 8.00 Mailing charges on enlargements vary according to size of enlargement and distance. The following symbols are used in the text: *pas- tel, **=water-color. Orders should be addressed to the Secretary of the Museum, and accompanied by post-office order or check drawn to The Metropolitan Museum of Art. Stamps are acceptable with small orders. H. W. KENT, Secretary PHOTOGRAPHS OF PAINTINGS Arranged Alphabetically according to Schools AMERICAN ABBEY, EDWIN A. BLAKELOCK, R. A. Dirge of Three Queens- Indian Encampment King Lear Pipe Dance ALEXANDER, JOHN BLASHFIELD, E. H. Ring Carry On Study in Black and Green BLUM, ROBERT Walt Whitman Ameya ALLSTON, WASHINGTON Street Scene, Ikao Deluge BOGERT, GEORGE Spanish Girl Chile Church, Isle of Wight AMERICAN SCHOOL October Moonlight Sarah Cornell Clarkson BOGGS, FRANK Miss Foote On the Thames Col. Marinus Willett BOHM, MAX AMES, JOSEPH Evening Meal James Topham Brady Nature and Imagination BAKER, GEORGE BRIDGES, CHARLES John F. -
VINCENT VAN GOGH Y EL CINE Moisés BAZÁN DE HUERTA Desde
NORBA-ARTE XVII (1997) / 233-259 VINCENT VAN GOGH Y EL CINE Moisés BAZÁN DE HUERTA Desde su nacimiento, la relación del cine con las artes plásticas se ha manifes- tado en los más variados aspectos. De la influencia pictórica en el cromatismo y la configuración espacial del plano (encuadre, composición, perspectiva, profundierad), al diverso tratamiento del tiempo y los mecanismos narrativos en ambos campos; además de las bŭsquedas experimentales de las vanguardias y sus interferencias, el documental sobre arte como género, o la tradición artística como apoyo para la re- creación histórica o religiosa. También la propia pintura ha sido tratada temática- mente o como punto de partida para la reflexión sobre el proceso creativo Pero en el amplio abanico de posibilidades de esta relación, las biografías ci- nematográficas sobre artistas han sido uno de los exponentes más fructíferos, has- ta el punto de constituir casi un género propio. Dejando aparte m ŭsicos, cantantes, literatos, actores, y cifiéndonos al campo de las artes plásticas, la nómina de bio- grafiados resulta considerable: Andrei Rublev, Leonardo, Miguel Ángel, El Greco, Caravaggio, Rembrandt, Velázquez, Utamaro, Fragonard, Goya, Gericault, Toulouse- Lautrec, Gauguin, Camille Claudel, Rodin, Gaudí, Pirosmani, Munch, -Carrington, Modigliani, Gaudier-Brzeska, Picasso, Dali, Goitia, Diego Rivera, Frida Kahlo, Jean Michel Basquiat, Andy Warhol o Francis Bacon, entre otros, han sido objeto de re- creaciones fílmicas, aunque bastante desiguales en su calidad y planteamiento. En esta relación, como vemos, predominan las trayectorias geniales, azarosas, apasionadas y con frecuencia trágicas, es decir, las susceptibles de un desarrollo dra- mático que capte la atención y el interés del p ŭblico. -
Závěrečné Práce
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Rozhlasová a televizní dramaturgie a scenáristika Obraz v obraze: životopisné filmy o výtvarných umělcích v současné evropské kinematografii Bakalářská práce Autor práce: Kateřina Hejnarová Vedoucí práce: doc. MgA. Hana Slavíková, Ph. D. Oponent práce: MgA. Eva Schulzová, Ph. D. Brno 2019 Bibliografický záznam HEJNAROVÁ, Kateřina. Obraz v obraze: Ņivotopisné filmy o výtvarných umělcích v současné evropské kinematografii (A Picture Inside a Picture: Biography of visual artists in contemporary European cinematography). Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér rozhlasové a televizní dramaturgie a scenáristiky, 2019. Vedoucí práce: doc. MgA. Hana Slavíková, Ph.D. Anotace Tématem mé práce bude předevńím proces přenáńení poetiky výtvarného díla do filmové řeči, hledání vztahu mezi osobním ņivotem a tvorbou umělce, ale také míra a patřičnost interpretace, jíņ se reņisér ve vztahu k cizí tvorbě dopouńtí. Annotation This bachelor thesis focuses on the process of transferring the poetics of the specific artwork into the film language. It endeavours to search for the link between the personal life of the artist and his work, and also the extent and appropriateness of the director's interpretation in relation to others' lifework. Klíčová slova výtvarné umění, ņivotopis, obraz, poetika, filmový jazyk, Van Gogh, Beksiński, Strzemiński Keywords fine art, biography, picture, poetics, film language, Van Gogh, Beksiński, Strzemiński Prohlášení Prohlańuji, ņe jsem předkládanou práci zpracovala samostatně a pouņila jen uvedené prameny a literaturu. V Brně, dne 20. května 2019 Kateřina Hejnarová Poděkování Na tomto místě bych chtěla velmi poděkovat vedoucí mé práce Haně Slavíkové za cenné připomínky, za důvěru i psychickou podporu. -
To Theo Van Gogh and Jo Van Gogh-Bonger. Auvers-Sur-Oise, Sunday, 25 May 1890
To Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, Sunday, 25 May 1890. Sunday, 25 May 1890 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. no. b686 V/1962 Date: On Monday, 2 June Theo wrote that he had wanted to reply earlier to the present letter, which must have been written shortly before a Tuesday (see l. 4). Van Gogh remarks that it has been raining yesterday and today (ll. 53-54). This must have been Saturday, 24 and Sunday, 25 May (Mto-France). On the basis of this information we have dated the letter to Sunday, 25 May 1890. On the same day Theo recorded in his account book the 50 francs for which Vincent thanks him in the first lines of the present letter (see Account book 2002, p. 45). See also Hulsker 1998, p. 51. Additional: This letter, which confirms the receipt this morning (ll. 1*-2) of the money Theo sent, most likely caused Vincent to decide not to send RM20 (this explains why the two letters contain several identical passages). Van Gogh enclosed a letter for Isacson (cf. RM21). Original [1r:1] Mon cher Theo, ma chre Jo, merci de ta lettre que jai reue ce matin1 et des cinquante francs qui sy trouvaient. Aujourdhui jai revu le Dr Gachet et je vais peindre chez lui Mardi matin puis je dinerais avec lui et aprs il viendrait voir ma peinture. Il me parait trs raisonable mais est aussi decourag dans son metier de mdecin de campagne que moi de ma peinture. -
Vincent Van Gogh, the Letters: the Complete Illustrated and Annotated Edition Edited by Leo Jansen, Hans Luijten, and Nienke Bakker
Petra ten-Doesschate Chu book review of Vincent van Gogh, The Letters: the Complete Illustrated and Annotated Edition edited by Leo Jansen, Hans Luijten, and Nienke Bakker Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Citation: Petra ten-Doesschate Chu, book review of “Vincent van Gogh, The Letters: the Complete Illustrated and Annotated Edition edited by Leo Jansen, Hans Luijten, and Nienke Bakker,” Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010), http://www.19thc- artworldwide.org/autumn10/vincent-van-gogh-the-letters. 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. Chu: Vincent van Gogh, The Letters: the Complete Illustrated and Annotated Edition Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Vincent van Gogh, The Letters. The Complete Illustrated and Annotated Edition. Edited by Leo Jansen, Hans Luijten, and Nienke Bakker New York: Thames and Hudson, 2009. Paper edition; 6 vols., and a CD-ROM Web edition at www.vangoghletters.org ISBN-10: 0500238650; ISBN-13: 978-0500238653 $976.98 In April 1889, soon after Theo van Gogh's new bride Johanna ("Jo") Bonger had moved into his apartment in the Cité Pigalle in Paris, she discovered, in the bottom drawer of a small bureau, hundreds of yellow envelopes holding letters from her husband's brother Vincent. The contents of the drawer grew as new letters arrived on a nearly weekly basis. After Vincent's death, in July of the following year, Theo spoke with Jo, as well as with others, such as the critic Albert Aurier, about the publication of the letters, but his own sickness and death, only six months later, put an end to these discussions. -
The Letters of Vincent Van Gogh
THE LETTERS OF VINCENT VAN GOGH ‘Van Gogh’s letters… are one of the greatest joys of modern literature, not only for the inherent beauty of the prose and the sharpness of the observations but also for their portrait of the artist as a man wholly and selessly devoted to the work he had to set himself to’ - Washington Post ‘Fascinating… letter after letter sizzles with colorful, exacting descriptions … This absorbing collection elaborates yet another side of this beuiling and brilliant artist’ - The New York Times Book Review ‘Ronald de Leeuw’s magnicent achievement here is to make the letters accessible in English to general readers rather than art historians, in a new translation so excellent I found myself reading even the well-known letters as if for the rst time… It will be surprising if a more impressive volume of letters appears this year’ — Observer ‘Any selection of Van Gogh’s letters is bound to be full of marvellous things, and this is no exception’ — Sunday Telegraph ‘With this new translation of Van Gogh’s letters, his literary brilliance and his statement of what amounts to prophetic art theories will remain as a force in literary and art history’ — Philadelphia Inquirer ‘De Leeuw’s collection is likely to remain the denitive volume for many years, both for the excellent selection and for the accurate translation’ - The Times Literary Supplement ‘Vincent’s letters are a journal, a meditative autobiography… You are able to take in Vincent’s extraordinary literary qualities … Unputdownable’ - Daily Telegraph ABOUT THE AUTHOR, EDITOR AND TRANSLATOR VINCENT WILLEM VAN GOGH was born in Holland in 1853. -
Working in Fields of Sunshine by HEIDI J
42 Work Due to copyright restrictions, this image is only available in the print version of Christian Reflection. Van Gogh celebrates the peasant workers who toil in this vineyard in southern France. They enjoy the open air and sunshine the artist loved. Vincent van Gogh (1853-1890), THE RED VINEYARD (1888). Oil on canvas. 29.5” x 36.3”. Puskin Museum of Fine Arts, Moscow, Russia. Photo: Scala / Art Resource. Used by permission. Copyright © 2015 Institute for Faith and Learning at Baylor University 43 Working in Fields of Sunshine BY HEIDI J. HORNIK he workers depicted here by Vincent van Gogh are the subject of the only painting by the artist known to have been purchased during This lifetime. It is believed that he painted the vineyard from memory. Van Gogh had worked and studied in London, Antwerp, and The Hague. But it is not until seeing the paintings of the Impressionists and Post-Impressionists in Paris that he changed his palette dramatically in 1887 to use brighter, less opaque colors. Like the Impressionists, he painted from life, preferred the use of natural light, and employed the synthetic evocation of color through Divisionism (the juxtaposition of small touches of pure, unmixed pigment directly on the canvas). This last characteristic became the expressive trademark of his later works.1 In February 1888, Van Gogh left the bustle of Paris to live in Arles, a small town in southern France. He was inspired by Jean-Francois Millet’s paintings that focused on the work of the common peasant. Van Gogh enjoyed studying the workers as he viewed the golden wheat fields, the blossoming orchards, and sunflowers that appear in his later and most famous paintings. -
Van Gogh Museum Journal 2002
Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh. -
Lasting Impressions
The Movement The ideas of Impressionism can be traced to the 1860s when Claude Monet, Alfred Sisley, Pierre-Auguste Renoir and others pursued “en plein air” (painting in open air) together. John Rand’s radical invention of paint tubes allowed such a move. New bright, synthetic colors opened a new world for the painters. In 1874, an expanded group of these painters took the art world by storm. Ignoring the Académie des Beaux-Arts’ Salon de Paris, (the official exhibition and influencer of the art world), this ragtag bunch pooled their money and their works, rented a studio, and set a date. Calling themselves the Anonymous Society of Painters, Sculptors, and Printmakers, they opened against the annual Salon in May 1874. The art world, and our world, was forever changed. Originally a pejorative term, Impressionism shook the art world to its roots. Critics said the works seemed unfinished and were just “impressions.” What they did not understand was that cameras could now capture realism and the artist was freed to show us their own piercing perceptions. Impressionism is considered the first modern movement in painting. Over time, this style became widely accepted— even by the Salon—as the way to present modern life. Loose brushwork of unblended primary colors, short brushstrokes that often only outline that which they represent, and always, the impact of the light. Never simply black and white, shadows are rendered in highlights of color. Impressionists strove to depict a specific moment in time by capturing atmospheric conditions— moving clouds, a ray of sun, a sudden fall of rain. -
Van-Gogh-LM0918 Lores-1.Pdf
LUXURYLUXURY MAGAZINE FALL 2018 ARTIST PROFILE Garden at Arles, 1888, oil on canvas, 73 x 92 cm, located at Haags Gemeentemuseum, The Hague, the Netherlands LOVING VINCENT VINCENT VAN GOGH has long been a mainstay of popular culture and international exhibitions, and now he is the subject of a new book and Hollywood film, proving the fascination with the fabled painter has not abated. by Jason Edward Kaufman NY HIP / Art Resource, 182 Fall 2018 Fall 2018 183 Van Gogh painted more than three dozen self-portraits, a self-examination rivaling that of Rembrandt. The 1889 picture, created after he injured himself, seems to show a restored left ear, but depicts his right ear seen in reverse in the mirror. From left: Self-portrait with Straw Hat, 1887, oil on cardboard, 40.9 cm x 32.8 cm, located at the Van Gogh Museum, Amsterdam, the Netherlands; Self-Portrait as a Painter (Self-portrait before Easel), 1887-1888, oil on canvas, 65.1 x 50 cm, located at the Van Gogh Museum, Amsterdam, the Netherlands; Self-Portrait, 1887, oil on canvas, 44.1 x 35.1 cm, located at Musée d’Orsay, Paris; Self-Portrait Dedicated to Paul Gauguin, 1888, oil on canvas, 61 x 50 cm, located at the Fogg Art Museum, Harvard Art Museums, Cambridge, MA; Self-Portrait, 1889, oil on canvas, 65 x 54.5 cm, located at Musée d’Orsay, Paris. ince he died from a self-inflicted gunshot wound in 1890, the world has venerated Vincent van Gogh. SFew artists have been as obsessively studied and perhaps none is more adored by the general public. -
SSYRA 2017-2018 GR 6-8 Test Questions
Proud Sponsor 2017-2018 BATTLE/TEST QUESTIONS FOR GRADES 6-8 SSYRA NOMINEE: Framed! Author(s): James Ponti 292 Pages, © 2016 ANSWER Page Paragraph 1. In what grade is Florian Bates? (a) 5th (b) 6th * (c) 7TH 1 1 (d) 8th 2. Where was Florian when he was kidnapped? (a) In the Happy Leprechaun * (b) BEHIND THE SAFEWAY SUPERMARKET 3 4-6 (c) At McDonald's (d) Walking to school 3. The FBI gave Florian a nickname. What was it? (a) Gumshoe (b) Kojak * (c) YOUNG SHERLOCK 14 7-9 (d) Joe Friday 4. Name the famous artist that Florian knew best. * (a) VINCENT VAN GOGH 28 5 (b) Paul Gaugin (c) Degas (d) Renoir 5. The three stolen paintings all had something in common that helped Florian solve the burglary. What was it? (a) Each artist was an Impressionist * (b) THE PAINTINGS WERE ALL THE SAME SIZE 77 3 (c) They were all stolen from the same gallery (d) They were all painted during the 19th century 6. Who was Admiral David Denton Douglas? (a) A counterintelligence agent * (b) THE DIRECTOR OF THE FBI 89 5 (c) An art appraiser (d) A naval commander www.paperdragonreads.com 1 of 3 ANSWER Page Paragraph 7. Admiral Douglas extended a job offer to Florian. What was that job? (a) An errand boy for the local FBI office (b) An FBI photographer (c) An FBI fingerprint analyst * (d) AN FBI CONSULTANT 110 5 8. What mystery did Margaret want Florian to help her solve? (a) The initial A. on her baby blanket * (b) THE IDENTITY OF HER BIRTH PARENTS 115 7 (c) The whereabouts of Novak's copy of Woman With A Parasol (d) The meaning of the slogan, "I Bleed Bison Blue" 9. -
Van Gogh's Bedroom Paintings at the Art Institute of Chicago
Van Gogh's Bedroom Paintings at The Art Institute of Chicago Van Gogh's Bedroom in Arles Van Gogh traveled to France to the city of Arles, where he was planning to set up a studio for artists. His friend Paul Gauguin was going to join him there. He was excited and full of hope. He painted many things he saw around him. After sending the bedroom painting to his brother, it became slightly damaged from a flood, so he painted it again. A little while later, he painted the same painting for his mother. In all, he painted three bedroom paintings, all nearly identical. Learn more about Van Gogh's bedrooms and the scientific tools used by researchers. http://extras.artic.edu/van-gogh-bedrooms/videos These balls of yarn were used by van Gogh to test our color combinations. This was an actual palette used by Vincent van Gogh! PERSPECTIVE PERSPECTIVE Perspective is a way to show the three-dimensional world on a flat surface of paper. Perspective shows the world in a realistic and natural way, with space and depth. The rules of perspective started during the Renaissance. Before that, there wasn't an expectation of the artwork to look exactly lifelike. The art would be more symbolic or stylized. For example, a figure that is more important would be shown larger. Lines of Perspective Vanishing Point HORIZON LINE Leonardo DaVinci, The Last Supper Surrealist room by the artist Magritte See many wonderful examples of Surreal bedrooms drawn by students like you! http://www.artsonia.com/museum/gallery.asp?project=851635 See more examples of bedrooms drawn in perspective.