Vincent Van Gogh Experienced Another Devastating Life Event
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Vincent Van Gogh, Auvers, 1890 Oil on Jute, 36 X 36 In
Vincent van Gogh, Auvers, 1890 Oil on jute, 36 x 36 in. (91.4 x 91.4 cm.) New York Private Collection Fig. 1 Vincent van Gogh, Auvers, 1890 Oil on jute, 36 x 36 in. (91.4 x 91.4 cm.) Signed on verso, ‘Vincent’ New York Private Collection Auvers,1890, Vincent van Gogh This is the discovery of a full-size van Gogh painting, one of only two in the past 100 years. The work depicts a view of a landscape at Auvers-sur-Oise, the town north of Paris where he spent the last two months of his life. The vista shows a railroad line crossing wheat fields. Auvers, 1890 (Figs. 1-13) is van Gogh’s largest and only square painting. This unique format was chosen to represent a panorama of the wheat fields of the region, of which parts are shown in many of his other paintings of the Auvers landscape. The present painting portrays the entire valley of the Oise as a mosaic of wheat fields, bisected by the right of way of a railway and a telegraph line. The center depicts a small railway station with station houses and a rail shunt, the line disappearing into the distant horizon. The painting is in its original, untouched ondition.c The support is coarse burlap on the original stretcher. The paint surface is a thick impasto that has an overall broad grid pattern of craquelure consistent with a painting of its age. The verso of the painting bears the artist’s signature, Vincent, in black pigment. -
Vincent Van Gogh the Starry Night
Richard Thomson Vincent van Gogh The Starry Night the museum of modern art, new york The Starry Night without doubt, vincent van gogh’s painting the starry night (fig. 1) is an iconic image of modern culture. One of the beacons of The Museum of Modern Art, every day it draws thousands of visitors who want to gaze at it, be instructed about it, or be photographed in front of it. The picture has a far-flung and flexible identity in our collective musée imaginaire, whether in material form decorating a tie or T-shirt, as a visual quotation in a book cover or caricature, or as a ubiquitously understood allusion to anguish in a sentimental popular song. Starry Night belongs in the front rank of the modern cultural vernacular. This is rather a surprising status to have been achieved by a painting that was executed with neither fanfare nor much explanation in Van Gogh’s own correspondence, that on reflection the artist found did not satisfy him, and that displeased his crucial supporter and primary critic, his brother Theo. Starry Night was painted in June 1889, at a period of great complexity in Vincent’s life. Living at the asylum of Saint-Rémy in the south of France, a Dutchman in Provence, he was cut off from his country, family, and fellow artists. His isolation was enhanced by his state of health, psychologically fragile and erratic. Yet for all these taxing disadvantages, Van Gogh was determined to fulfill himself as an artist, the road that he had taken in 1880. -
Annual Report 2010 Kröller-Müller Museum Introduction Mission and History Foreword Board of Trustees Mission and Historical Perspective
Annual report 2010 Kröller-Müller Museum Introduction Mission and history Foreword Board of Trustees Mission and historical perspective The Kröller-Müller Museum is a museum for the visual arts in the midst of peace, space and nature. When the museum opened its doors in 1938 its success was based upon the high quality of three factors: visual art, architecture and nature. This combination continues to define its unique character today. It is of essential importance for the museum’s future that we continue to make connections between these three elements. The museum offers visitors the opportunity to come eye-to-eye with works of art and to concentrate on the non-material side of existence. Its paradise-like setting and famous collection offer an escape from the hectic nature of daily life, while its displays and exhibitions promote an awareness of visual art’s importance in modern society. The collection has a history of almost a hundred years. The museum’s founders, Helene and Anton Kröller-Müller, were convinced early on that the collection should have an idealistic purpose and should be accessible to the public. Helene Kröller-Müller, advised by the writer and educator H.P. Bremmer and later by the entrance Kröller-Müller Museum architect and designer Henry van de Velde, cultivated an understanding of the abstract, ‘idealistic’ tendencies of the art of her time by exhibiting historical and contemporary art together. Whereas she emphasised the development of painting, in building a post-war collection, her successors have focussed upon sculpture and three-dimensional works, centred on the sculpture garden. -
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. -
Vincent Van Gogh Born in Groot-Zundert, the Netherlands,Van Gogh Spent His Early Life As an Art Dealer, Teacher and Preacher in England, Holland and Belgium
Vincent Van Gogh Born in Groot-Zundert, The Netherlands,Van Gogh spent his early life as an art dealer, teacher and preacher in England, Holland and Belgium. His period as an artist began in 1881 when he chose to study art in Brussels, starting with watercolours and moving quickly on to oils. The French countryside was a major influence on his life and his early work was dominated by sombre, earthy colours depicting peasant workers, the most famous of which is The Potato Eaters, 1885. Simon Schama It was duringVan Gogh's studies in Paris (1886-8) that he developed the individual style of brushwork on Van Gogh and use of colour that made his name. He borrowed from the Impressionists technique of applying "Vincent's passionate belief was that brush strokes and use of pure colour. He often mixed his colour directly on his canvas and applied people wouldn't just see his pictures, his paint using knives and utensils to create a thick impasto on the surface of his works. but would feel the rush of life in them; that by the force of his brush and In 1888 he moved to Arles where the Provençal landscape provided his best-known subject matter. dazzling colour they'd experience However, it also marked the start of his mental crisis following an argument with his contemporary those fields, faces and flowers in Paul Gauguin. Van Gogh was committed to a mental asylum in 1889 where he continued to paint, ways that nothing more polite or but he committed suicide in 1890. -
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. -
Vincent Van Gogh
VINCENT VAN GOGH Le Moulin d’Alphonse Daudet à Fontvieille, June 1888 VINCENT VAN GOGH Le Moulin d’Alphonse Daudet à Fontvieille, June 1888 1. VINCENT VAN GOGH Le Moulin d’Alphonse Daudet à Fontvieille, June 1888 dickinson 2. dickinson 4. dickinson VINCENT VAN GOGH Le Moulin d’Alphonse Daudet à Fontvieille, June 1888 5. VINCENT VAN GOGH Le Moulin d’Alphonse Daudet à Fontvieille, June 1888 With inscriptions by J.H. de Bois, verso lower right aquarelle de Vincent van Gogh provenant de la collection de son frère, Theo van Gogh, et garantie aussi par nous. La Haye Dec. 1912, Artz de Bois and verso upper right, in pencil Cat 7/711; inscription by Johanna van Gogh Bonger, verso upper left no 5; and inscription in an unidentified hand, verso lower left A19/2224. Reed pen and watercolour on wove paper, with traces of underdrawing in pencil 30.2 x 49 cm. (11 4/5 x 19 ¼ in.) PROVENANCE Theo van Gogh, Paris, 1890-91, and thence to Johanna van Gogh Bonger (1891 – 1912), Paris and Amsterdam. Erich Schall, Berlin, acquired from the above in Dec. 1912 (for 2000 Guilders). Dr Heinrich Stinnes (1867 – 1932), Cologne-Lindenthal. Private Collection, Germany. Anon. sale; Galerie Wolfgang Ketterer, Munich, 29 Nov. 1976, lot 1034 (as dated September 1888). Dr Peter Nathan (1925 – 2001), Zurich, acquired at the above sale. Hazlitt, Gooden & Fox, London. Private Collection, acquired from the above. LITERATURE List written by Johanna van Gogh Bonger with 52 drawings sent to Ambroise Vollard, including 12 watercolours from the French period, 1896, no. -
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. -
Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions. -
Vincent Van Gogh: Personal Tragedy, Artistic Triumph
Vincent van Gogh: Personal Tragedy, Artistic Triumph Abigail Takeuchi Junior Division Historical Paper Paper Length: 2,359 Introduction On July 27, 1890 in Auvers, France, a sharp gunshot pierced the air in a wheat field, scattering crows everywhere. Those birds were the only witnesses of Vincent van Gogh’s fatal act. They watched as Vincent limped towards the inn he was staying at, his hand covering his bleeding stomach. Dr. Gachet sent for Vincent’s brother Theo. Two days later, Vincent died in Theo’s arms, penniless and unrecognized for his creative achievement. Yet the portrait he painted for Dr. Gachet was sold in 1990 for $82.5 million dollars, the 13th highest priced artwork ever sold at that time.1 "Dying is hard, but living is harder still." Vincent said this when his father died in 1885, reflecting on his own life as a tortured artist.2 In his ten years’ pursuit for art, Vincent van Gogh suffered from poverty and madness, which influenced the subjects he chose to paint, the color, brush strokes, and the composition he used, and above all the intense feelings he expressed in his paintings. Therefore, his personal tragedy contributed to his artistic triumph, which cleared the path for Expressionism to emerge. Personal and Historical Background The 19th century saw a rise in different art movements: The Romantic Movement of the 1830s and 1840s, then Realism that extended from 1830 to 1870 with the popularity of photography, and then Impressionism.3 Impressionism was an art movement focused on 1 "Portrait of Dr. Gachet, 1990 by Van Gogh." Vincent van Gogh: Paintings, Drawings, Quotes, and Biography. -
Vincent Van Gogh: How His Life Influenced His Orksw
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 1970 Vincent Van Gogh: How His Life Influenced His orksW Paula Herrin Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Herrin, Paula, "Vincent Van Gogh: How His Life Influenced His orks"W (1970). Honors Theses. 409. https://scholarlycommons.obu.edu/honors_theses/409 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Vincent Van Gogh How His Life Influenced His Wor,.ks by Paula Herrin .. Honors Special Studies Presented to Miss Holiman Spring, 1970 Vincent Van Gogh--How His Life Influenced His Works Expressionism is a seeking of the artist to express elemental feelings that are inherent in a real world, The artist sees the con- flicts in nature and in the human being and tries to express this on canvas, Vincent Van Gogh, the forerunner of this movement, strove to paint what he felt and to feel what he painted, The Expressionists after him have branched out into all directions, but all of them expressed their feelings through their art,1 Vincent, the greatest and most revolutionary Dutch painter after Rembrandt, was born in Groot Zundert in the province of Noord Brabant on March 30, 1953, He was the first live child born to Anna Cornelia Carbentus Van Gogh and Theodorus Van Gogh, The second of the six child ren, Theo, was born four years later,2 The Van Gogh family history can be traced back to the sixteenth century, . -
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.