DOCSLIB.ORG

Vincent Van Gogh : His Spiritual Vision in Life and Art Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vincent Van Gogh : His Spiritual Vision in Life and Art Pdf, Epub, Ebook VINCENT VAN GOGH : HIS SPIRITUAL VISION IN LIFE AND ART PDF, EPUB, EBOOK Carol Berry | 160 pages | 26 Jan 2016 | Orbis Books (USA) | 9781626981522 | English | Maryknoll, United States Vincent Van Gogh : His Spiritual Vision in Life and Art PDF Book It is a myth, after all, that Vincent painted in fevered states. Vincent sent Theo his astonishing canvases, but Theo couldn't sell them. Nonetheless, he resolved to serve God instead through artistic expression, and he mastered his own take on the Post-Impressionst style. The problem of painting night scenes and effects on the spot and actually by night interests me enormously. For it was to the night sky, and to the stars, that van Gogh often looked for solace. Syd hunter rated it liked it Feb 03, Some of the camera work and editing at times seem to work against watching the film. Early documents tell us that Van der Goes entered a religious community called the Red Cloister and afterwards became ill, tormented by feelings of failure, worthlessness and sin. The striking colour, emphatic brushwork, and contoured forms of his work powerfully influenced the current of Expressionism in modern art. From the other panel, the scene is watched by Edward Bonkil, who commissioned the painting; this powerful portrait shows him next to a finely-detailed wooden church organ. His father was somewhat of a theological liberal, espousing what was known at the time as Groningen theology. Surely this is no fabrication. Reading of his spiritual and artistic passion was also very inspiring for me as an artist and has given me much to ponder. But van Gogh's paintings proved more successful than the doctor's treatments. The artist's focus on the relationship between dreams and reality—and life and death—had a profound meaning for him, as he had confided to Theo in a letter a year before his first crisis in Arles. Melodydiehl added it Feb 15, Paul Gachet, a local physician and friend to many painters, agreed to care for him. The Dance Hall in Arles However, what many do not know is why Van Gogh eventually separated from the institutional Church in a schism that would last the rest of his life. Trivia About Vincent Van Gogh Exhibitions Collections Search the Collection. Notify me of new comments via email. He copied and recopied lessons from a standard academic treatise on drawing until he could draw like the old masters, before letting his own vision loose in paint. New Research. What many may miss is that behind his masterful art and complex life was a committed Christian faith. Private collection, Chicago. And in that connection to nature he feels a connection to God. View all posts by Jacob A. After his arrival in Paris, Van Gogh decided to give the academic method of drawing from plaster casts of classical sculptures a shot. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree In fact, one theory about his death, originating in the s but popularized by the Pulitzer Prize—winning biographers Steven Naifeh and Gregory White Smith in their book Van Gogh: The Life , is that he was shot by teenage bullies. There lived a priest so in love with light it drove him mad. Van Gogh reflected on the state of sorrow,. Vincent Van Gogh : His Spiritual Vision in Life and Art Writer By Kristin Bonk Fong. His Sunflowers , says critic Robert Hughes, "remains much the most popular still life in the history of art, the botanical answer to the Mona Lisa. And he linked this with the changing of the seasons. Van Gogh Museum, Amsterdam. In one important scene while he is hospitalized, Van Gogh talks with a priest Mads Mikkelsen about his art and how he sees the world he paints. The sun, or white-hot love of God in Christ, is generative, the energy that raises us out of the dark and fuels our growth and flourishing. He found kindred spirits in Old Masters like Rembrandt, Rubens, and Frans Hals, who gloried in color and surface effects. Van Gogh, Vincent. Evening Landscape Mah Jong Quest. Van Gogh began to explore the flatness and outlines of Japanese prints, also used in the works of his much-admired peer and friend, Bernard. J rated it liked it Mar 04, Portrait of a Man, ca. Margaret marked it as to-read Mar 11, Soon he began working the surface of his canvases with flicks and dabs of paint in a similar fashion. And all the same to feel the stars and the infinite high and clear above you. Fill in your details below or click an icon to log in:. Several fellow artists spoke favorably of his work, and of course his brother Theo, an art dealer, was a tireless champion, even supporting him financially for years so that he could paint. And in that connection to nature he feels a connection to God. Yet the Dutch Reformed Church thought his desire to live like the poor to be inappropriate for his position. In fact, one theory about his death, originating in the s but popularized by the Pulitzer Prize—winning biographers Steven Naifeh and Gregory White Smith in their book Van Gogh: The Life , is that he was shot by teenage bullies. One of them depicts a harrowing, near-naked figure of the dead Christ supported by God, while the dove of the Holy Spirit hovers over his suffering body. This important work of European art has been in Scotland since it was made. The sky grows heavy with sun and draws everything into its fierce embrace, urging matter upward and homeward to where the energies of earth begin. Despite his faith in Christ, it remains that his schism with the Church is problematic. Email required Address never made public. Oil on canvas. Friend Reviews. Enlarge cover. You can see why Van Gogh might identify with this anguished soul. For him that vision is about the beauty that God shares with us. The son of a Dutch Reformed pastor, Vincent was a lifelong seeker after God who sought through his work to convey the pervasion of the Divine in the everyday. Site Menu Visit. Address 2. Vincent van Gogh, one of the most well-known post-impressionist artists, for whom color was the chief symbol of expression, was born in Groot-Zundert, Holland on March 30, Hana marked it as to-read Feb 20, The still-life paintings in this gallery show how he transformed his coloring from somber, monochromatic compositions to flower paintings bursting with color. This poem is structured around the four classical elements, understood as the material basis of the physical world: earth, water, air, and fire. To become one who finds repose in Him alone, who desires nothing but Him on earth, and who abides in the Love of God and Christ, in whom we are fervently bound to one another. In a fit of hallucinations and anguish in December , he severed part of his ear and delivered it to a prostitute at a local brothel. Sort order. Charlotte rated it really liked it Feb 26, Ian Coffey is currently reading it Aug 12, Studies in Philosophy: Theologians and the Arts, Spring Stephanie Israels marked it as to-read Aug 20, Smithsonian Channel. Dale Kleinheksel rated it really liked it Jul 30, Vincent Van Gogh : His Spiritual Vision in Life and Art Reviews Even the passages about their favourite subjects, art and literature, are really little more than simple statements of likes and dislikes, with little in the way of elaboration. But van Gogh's paintings proved more successful than the doctor's treatments. American Society of Missiology. The tone is more defensive in the Dutch period, or Vincent tries to vindicate the choices he had made. Previous Post Coming Up. Vincent Van Gogh Portraits. He eventually spent a couple of years as a pastor in a coal mining community. He had sung his praises for years, and in Paris in he had gone to a large exhibition of drawings and pastels by Millet, who had just died. Melodydiehl added it Feb 15, In essence, he succeeded as a colorist through his deft draftsmanship. To become one who finds repose in Him alone, who desires nothing but Him on earth, and who abides in the Love of God and Christ, in whom we are fervently bound to one another. Error rating book. This was the baggage that he took with him when he signed on for a career as an artist. Notify me of new comments via email. In addition to the use of colour, the heavy contours, the different perspective, the unexpected cropping of the images or the choice of subject, he also admired the makers themselves for their supposedly simple way of living, closely connected to nature. Want to Read saving…. Although he knew he needed the utmost technical skill, he confessed to an artist friend that he aimed to paint with such "expressive force" that people would say, "I have no technique. They served, without any reservation, as practical and moral role models. He worked as an autodidact, following his own programme. And the angel of the LORD appeared to him in a flame of fire out of the midst of a bush. I will mention that it is a myth that Vincent never sold a painting during his lifetime. And yet, once again I let myself go reaching for stars that are too big—a new failure—and I have had enough of it.
Load more

Recommended publications
  • To Theo Van Gogh. London, Sunday, 20 July 1873
    To Theo van Gogh. London, Sunday, 20 July 1873. Sunday, 20 July 1873 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b10 V/1962 (sheet 1) and b1457 V/1962 (sheet 2) Date: Letter headed: Londen 20 Juli 1873. Additional: Original [1r:1] Londen 20 Juli 1873 Waarde Theo, Dank voor je brief, die mij veel genoegen deed. Ik ben blij dat het je goed gaat, & t je bij Mr. Schmidt aan huis bevallen blijft. Mr. Obach had met pleizier kennis met je gemaakt.1 Ik hoop dat wij in t vervolg veel zaken met jelui zullen doen. Dat schij van Linder3 is zeer mooi. Wat de photogravure betreft, ik weet wel zoowat hoe zij gemaakt worden, maar heb het niet gezien, en t is mij niet helder genoeg om het uit te leggen.5 1 Obach2 had made a journey to the Netherlands and had evidently visited Brussels as well. Cf. FR b2644, 19 July 1873. 3 It is possible that Van Gogh is referring to the French painter Philippe Jacques Linder4; it is not known which work Theo wrote about. 5 The essence of the process of photo-engraving is the application of a light-sensitive layer to the matrix (the copper plate), upon which a transparency is projected. The exposed material hardens and the unexposed material 1 2 To Theo van Gogh. London, Sunday, 20 July 1873. De Engelsche kunst trok mij in t begin niet erg aan, men moet er aan wen- nen. Er zijn echter knappe schilders hier, o.a. Millais die The Huguenot, Ophelia &c.
    [Show full text]
  • 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.
    [Show full text]
  • 30 MAI 1924 ~Ourquoi ~As ? L
    ATORZIÈU A!CNÉE. - N' 51:1 Le numéro : 75 centimes ourquoiPas? GAZETTE HBBOOMÂDAIRB PA.R.AJSSA.NT LB VBNDREDI L. OUMONT-WILDBN O. OARNIR L. SOUOUBNBT ÉMILE \Il AUTERS :: ; , Br~• ll.i JMtJ suPh1turt1 J e haut ~n bas - lis dent• 111/iricutej dt hal en haut. ' " :: t ~ efnoil cela, C'1d 11 uul mog11. Je J~. 6orraun ln 1ntuJl1m -!.:. "°''~ d1ntur1Jes l'>lc.; t!.::; - ~ m1nts qui y oJl,,..rc•·J. R.,Jfll'U#f/_,, ,_,,. ,._ r. ~ i \ tA1.)()'\ h4,.. .... h- 1J. rw 1'44~ "' l-~. BRl.IXELl.ES, :......... ............................................: bes deux meilleurs hôtels·1'estaorants de Bruxelles LE M ÉT ROPOLE LE MAJESTIC PLAC E DE BROUCKÈRE PORTE DE NAMUR S plendide aalle pour noces •t banqueta Salle de restaurant au premier Mac• : -1 LE DERNI ER MOT DU CONFORT MODERNE :-: .lt.:ATORZI P. MI! ANNtl!. - N° 513 VENDREDI 30 MAI 1924 ~ourquoi ~as ? L . DUMONT- WILDB N - O. OARNIR - L. SOUOUBNBT AJ>)IOOSTUT&Ua • Albert Colla AaOHN&MIJ'rtTI u.,.,. 6 Mots l M.011 A D)llNISTU TION : 1 Compte cb&q11 .. postau. Bcf6fttUe. 30.00 18.00 9 .00 a• 16.664 1, fi• dt Bcrl1 lmoo l, BRUXBLLBS Con... 35.00 14.150 - . ~CT, se oo 20 OO 1 Il Tflfph11 : N., 137,&J cl l9J,0 , Emile WAUTERS Après un,· lungue absence. Enul,· W<1utt'rs •'>t Il arpartient à une /anulle de bourgeois de Bru­ donc re1·e11u au f'"Y"· rour 1uuir de la gloire; 011 ne :œl/ô uù, ctrtes, on >a~·a1t ,,. que c'e>t qu'un lil­ 1ouit i·raiment de la gloire qu'aux lieux qui 1·uu:.
    [Show full text]
  • The Belgian Federal Parliament
    The Belgian Federal Parliament Welcome to the Palace of the Nation PUBLISHED BY The Belgian House of Representatives and Senate EDITED BY The House Department of Public Relations The Senate Department of Protocol, Reception & Communications PICTURES Guy Goossens, Kevin Oeyen, Kurt Van den Bossche and Inge Verhelst, KIK-IRPA LAYOUT AND PRINTING The central printing offi ce of the House of Representatives July 2019 The Federal Parliament The Belgian House of Representatives and Senate PUBLISHED BY The Belgian House of Representatives and Senate EDITED BY The House Department of Public Relations The Senate Department of Protocol, Reception & Communications PICTURES This guide contains a concise description of the workings Guy Goossens, Kevin Oeyen, Kurt Van den Bossche and Inge Verhelst, KIK-IRPA of the House of Representatives and the Senate, LAYOUT AND PRINTING and the rooms that you will be visiting. The central printing offi ce of the House of Representatives The numbers shown in the margins refer to points of interest July 2019 that you will see on the tour. INTRODUCTION The Palace of the Nation is the seat of the federal parliament. It is composed of two chambers: the House of Representatives and the Senate. The House and the Senate differ in terms of their composition and competences. 150 representatives elected by direct universal suffrage sit in the House of Representatives. The Senate has 60 members. 50 senators are appointed by the regional and community parliaments, and 10 senators are co-opted. The House of Representatives and the Senate are above all legislators. They make laws. The House is competent for laws of every kind.
    [Show full text]
  • The Image of Early Netherlandish Art in the Long Nineteenth Century
    ALISON HOKANSON & EDWARD H. WOUK The past is always present: The image of early Netherlandish art in the long nineteenth century In 1881, the American collector Stephen Whitney Phoenix bequeathed to the Metropolitan Museum of Art in New York a painting by the artist Wilhelm (Guillaume) Koller (1829- 1884/1885) entitled Hugo van der Goes painting the portrait of Mary of Burgundy (fijig. 1). Koller, who trained in Vienna and Düsseldorf, moved in 1856 to Belgium, where he exhibited this painting at the Brussels Salon of 1872.1 The picture imagines an encounter between Van der Goes (ca. 1440-1482) and Mary of Burgundy (1457-1482), shown as a child seated on the lap of her young stepmother Margaret of York (1446-1503). Behind them is likely 1 Charles the Bold (1433-1477), who married Margaret after the death of Mary’s mother, Wilhelm (Guillaume) Koller, Hugo 2 van der Goes painting the portrait Isabella of Bourbon (1434-1465). Koller’s painting offfered nineteenth-century audiences of Mary of Burgundy, ca. 1872, an appealing, if fijictional, image of an esteemed northern European artist depicting a oil on panel, 59.4 x 86.4 cm, New York, The Metropolitan moment in the domestic life of a noble dynasty closely identifijied with the history and Museum of Art, inv. 81.1.662. heritage of Belgium.3 146 Oud Holland 2020 - 3/4 volume 133 Downloaded from Brill.com09/27/2021 04:53:44PM via free access Koller specialized in genre scenes celebrating fijifteenth- and ixteenth-centurys European culture, and particularly that of present-day Belgium, Austria, and Germany.
    [Show full text]
  • Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years
    BRANDING BRUSSELS MUSICALLY: COSMOPOLITANISM AND NATIONALISM IN THE INTERWAR YEARS Catherine A. Hughes A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds Valérie Dufour John L. Nádas Chérie Rivers Ndaliko © 2015 Catherine A. Hughes ALL RIGHTS RESERVED ii ABSTRACT Catherine A. Hughes: Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years (Under the direction of Annegret Fauser) In Belgium, constructions of musical life in Brussels between the World Wars varied widely: some viewed the city as a major musical center, and others framed the city as a peripheral space to its larger neighbors. Both views, however, based the city’s identity on an intense interest in new foreign music, with works by Belgian composers taking a secondary importance. This modern and cosmopolitan concept of cultural achievement offered an alternative to the more traditional model of national identity as being built solely on creations by native artists sharing local traditions. Such a model eluded a country with competing ethnic groups: the Francophone Walloons in the south and the Flemish in the north. Openness to a wide variety of music became a hallmark of the capital’s cultural identity. As a result, the forces of Belgian cultural identity, patriotism, internationalism, interest in foreign culture, and conflicting views of modern music complicated the construction of Belgian cultural identity through music. By focusing on the work of the four central people in the network of organizers, patrons, and performers that sustained the art music culture in the Belgian capital, this dissertation challenges assumptions about construction of musical culture.
    [Show full text]
  • Artist-Dealer Agreements and the Nineteenth-Century Art Market: the Case of Gustave Coûteaux
    Jan Dirk Baetens Artist-Dealer Agreements and the Nineteenth-Century Art Market: The Case of Gustave Coûteaux Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Jan Dirk Baetens, “Artist-Dealer Agreements and the Nineteenth-Century Art Market: The Case of Gustave Coûteaux,” Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.2. 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. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Baetens: Artist-Dealer Agreements and the Nineteenth-Century Art Market Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Artist-Dealer Agreements and the Nineteenth-Century Art Market: The Case of Gustave Coûteaux by Jan Dirk Baetens In 1887, the Belgian art journal L’Art moderne (Modern Art) published an article entitled “The Stock Market of Paintings,” which attacked the habit of treating works of art like shares in the stock market. [1] The direct target of L’Art moderne’s piece was an article in the French periodical Gil Blas on the evolution of the prices paid for the works of a number of French and foreign artists, including Belgian, since the financial crisis of 1882: The paintings by [Florent] Willems, the Belgian painter, have lost 90 percent; what was sold, twenty years ago, for 15,000 francs, now hardly finds a buyer for 1,500.
    [Show full text]
  • Frederic, Leon
    Léon Frédéric, La petite Ardennaise à la robe bleue (Young Ardennaise Girl in a Blue Dress) Brussels 1856 – 1940 Schaerbeek oil on panel 20 5/8 by 15 inches (52.5 by 38 cm.) signed and dated lower right: ‘Léon Frédéric 1896’ provenance: Dr. Jules Destrée, Brussels; Georges Hulin de Loo, Ghent; Georges Frédéric, Brussels by 1948; Professor Lucien Deloyers, Brussels exhibited: Rétrospective Léon Frédéric, Palais des Beaux-Arts, Brussels, 1948, no. 57. Exhibition, Hotel communal et Maison des Arts Schaerbeck, Léon Frédéric, December 5 – January 27, 2001. literature: Georges Frederic, Catalogue raisonnée de l’oeuvre de Léon Frédéric, n° ?. note: Leon Frédéric drew on contemporary and earlier influences as well as on his own personal spiritual views of life and nature to evolve a unique artistic style. Working during a period when Impressionism and its offspring Divisionism and Post-Impressionism were the main currents of avant-garde art, Frédéric’s idiosyncratic realism comes as a considerable surprise. Frédéric studied briefly under Charle-Albert before attending the Académie Royal des Beaux-arts in Brussels, where he became a pupil of Jules Vankeirsblick (1833-96) and Ernest Slingeneyer (1820-94). He also worked in the studio of Jean-François Portaels (1818-1895). The tenor of Frédéric’s work was formed largely by the Italian and Flemish art of the fifteenth and sixteenth centuries, and the poetic paintings of the English Pre-Raphaelites. A two-year sojourn in Italy (1876-78) which included visits to Venice, Florence, Naples and Rome, exposed Frédéric to the works of the Italian Renaissance. This experience conveyed to the painter the profound beauty of nature with its artistic disposition toward harmony, and the inherent nobility of mankind.
    [Show full text]
  • The Human Passions
    Brussels, City of Art The and History Human Passions Writing and iconographic research Werner Adriaenssens – Curator of the collections 20th Century at the Royal Museums of Art and History / Professor at the faculty Art Sciences and Archaeology at the Free University Brussels (VUB) André Demesmaeker – Architect-Conservator at the Belgian Buildings Agency Claudine Houbart – Lecturer at the faculty of Architecture at Université de Liège Support committee Julie Coppens, Paula Dumont, Murielle Lesecque – urban.brussels Barbara Van der Wee Coordination Okke Bogaerts, Julie Coppens, Paula Dumont, Valérie Orban – urban.brussels Translation Linguanet Proofreading Judith Flush Photographic credits (abbreviations) AAM Archives d’Architecture Moderne AHM Archives of the Horta Museum, Saint-Gilles ACB Archives of the City of Brussels CIVA Centre International pour la Ville, l’Architecture et le Paysage KBR Royal Library of Belgium KIK-IRPA Koninklijk Instituut voor het Kunstpatrimonium / Institut royal du Patrimoine artistique KMSKA Koninklijk Museum voor Schone Kunsten Antwerpen RMAH Royal Museums of Art and History RMFAB Royal Museums of Fine Arts of Belgium SAB State Archives of Belgium Graphics La Page Printing db Group Distribution Diffusion Nord-Sud Responsible publisher Bety Waknine, General Director, urban.brussels (Regional Public Service of Brussels, Urbanism and Heritage) – Mont des Arts/Kunstberg 10-13 – 1000 Brussels Printed in Belgium Legal deposit D/2021/6860/005 – ISBN 978-2-87584-194-0 digital version www.urban.brussels Cover picture: The Pavilion of Human Passions, arch. Victor Horta. Interior view after restauration, 2014. (© Belgian Buildings Agency). BRUSSELS, CITY OF ART AND HISTORY The Human Passions Werner Adriaenssens, André Demesmaeker, Claudine Houbart The Human Passions, marble, Jef Lambeaux, 1889-1899.
    [Show full text]
  • Press File Openning: 6 December 2013
    Press File Openning: 6 december 2013 Under the High Patronage of Their Majesties the King and the Queen Press service MUSEE FIN-DE-SIECLE MUSEUM BE CULTURE General Manager: Séverine Provost Project Coordinators: Charlotte Materne (FR) [email protected] - +32 (0)484 82 19 43 Lore Lambrechts (DU) [email protected] - +32 (0)478 43 66 67 T: (0)2 644 61 91 - [email protected] - www.beculture.be Communication & External Relations ROYAL MUSEUMS OF FINE ARTS OF BELGIUM Press - Barbara Porteman [email protected] - +32 (0)2 508 34 08 www.fine-arts-museum.be 1 SUMMARY 1. EDITORIAL BY MICHEL DRAGUET 3 2. PRESS RELEASE 7 3. MUSÉE FIN-DE-SIÈCLE MUSEUM, A BEACON OF BELGIAN HERITAGE 8 4. MUSÉE FIN-DE-SIÈCLE MUSEUM WITH EDUCATEAM 20 5. A TECHNICAL CHALLENGE 21 6. A UNIQUE MULTIDISCIPLINARY PARTNERSHIP 24 7. MUSEE FIN-DE-SIECLE MUSEUM AND BASE DESIGN 30 8. EUROPALIA INDIA 31 9. VISITOR INFORMATION 32 2 1. EDITORIAL BY MICHEL DRAGUET Many contemporary studies see a major role for culture and, more particularly, for cultural heritage, in the development of an economy in Europe in order to break out of the crisis. Characterized as “old” and aware of the need to develop an economy based on sustainable development, Europe has to draw a vital impulse from what makes it historically distinctive : a knowledge economy rooted in a heri- tage that brings together, within a single perspective, natural sites and the evidence of an unrivalled past. In 2009 the first edition of the Forum d’Avignon emphasized this dual aspect of the development of our territory that would combine sustainable development with the promotion of our cultural heritage.
    [Show full text]
  • Burial, Reburial, and the Thuja Tree
    Afterword Burial, Reburial, and the Thuja Tree Dr. Gachet placed a small ornamental tree on the first grave of Vincent van Gogh. The initial burial arrangement was for a fifteen year, nonrenewable concession, and on June 9, 1905, a new and bigger site was arranged by Johanna van Gogh-Bonger, to be held in perpetuity. On June 15, 1905, Vincent's remains were duly transferred. Dr. Gachet's son recalled how the roots of that ornamental tree had completely entwined the casket, and it was indeed remarkable that the shrub survived extrication and transplanta­ tion to the Gachet garden. When I first saw that ornamental tree it was almost one hundred years old and almost as tall as the three-storied house. It is a thuja tree, Thuja occidentalis, source of thuja oil and namesake of thujone. The most toxic constituent in absinthe was thujone. * Vincent was enamored of cypress trees in the south of France and he incorporated symbolic, flame-like renditions of them in several canvases from St. Remy. The cypress does not grow as far north as Auvers, but Vincent maintained the same style and symbolism when he painted the ornamental trees in Dr. Gachet's garden. This had undoubtedly inspired the choice of grave decoration. It was indeed an unwittingly pathetic choice to have a thujone-bearing plant on his mortal remains for fifteen years. * Arnold WN. 1988. Vincent van Gogh and the thujone connection. Journal o/the American Medical Association 260: 3042-3044. Acknowledgments Special thanks are due to my colleague Loretta Loftus for sharing ideas about the illness ofVincen t van Gogh, making her extensive library available to me, and checking quotations.
    [Show full text]
  • La Réforme, No. 56 (25 Février 1885). Letter from Fernand Khnopff
    1885 Khnopff, Fernand, « Lettre adressée à La Réforme, » La Réforme, no. 56 (25 février 1885). Letter from Fernand Khnopff to La Réforme Lundi soir Monsieur, Vous écrivez dans la Réforme du 23: « M. Khnopff a pris, pour incarner Léonora, la tête, d’une frappante ressemblance, d’une de nos artistes lyriques les plus belles et les plus applaudis. » C’est faux. J’ai trouvé dans la description éparai de Joséphin Péladan (entre pages 2, 23, 69, etc.) les traits caractéristiques de ma figure; lorsque j’ai été averti de la ressemblance, j’ai fait tout ce qui était possible pour l’atténuer et si, à l’exposition, je n’ai pas retiré le dessin, c’est qu’on était loin de s’accorder sur la « frappante ressemblance. » Quant au reproche, venant d’autre part, d’ « avoir abusé de la complaisance de Mme. Caron pour exposer aux tableau dont elle repousse tout espèce de collaboration, alors que j’étais venu chez elle pour faire son portrait en tenue de ville, » il est absolument ridicule. Le portrait—commandé—est vu d’un tout autre coté que le dessin, et si j’avais voulu « prendre la tête » de Mme. Caron, il eut été plus facile et surtout plus rapide de me servir d’une photographe. Veuillez, Monsieur, insérer dans votre prochain numéro ces explications définitives et agréer l’expression de mes sentiments distingués. Fernand Khnopff P.S. Dans l’intérêt de l’art, je conseille à Félicien Rops de ne pas risquer, en ce moment, un exposition de son œuvre, ou ne se comptant plus les « têtes, d’une frappante ressemblance, d’une de nos artistes lyriques les plus belles et les plus applaudis.
    [Show full text]