DOCSLIB.ORG

Van Gogh Museum Journal 2001

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Van Gogh Museum Journal 2001 Van Gogh Museum Journal 2001 bron Van Gogh Museum Journal 2001. Van Gogh Museum, Amsterdam 2001 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200101_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword The contents of this year's Van Gogh Museum Journal are in large measure related to the exhibition Van Gogh and Gauguin. At the time of writing, this spectacular exhibition had just opened at the Art Institute of Chicago and it moves to our museum in February 2002. The show consists of some 120 works by Van Gogh and Gauguin, all of which have been selected to recreate their complex artistic relationship. It begins with their initial awareness of each other's art in the mid-1880s before moving on to their brief period of frenetic collaboration in Arles, following their interaction in sequences of works, some familiar some not. An extended postscript to the show takes the story through to the end of their respective careers. One might think that there is little left to tell about the relationship between Van Gogh and Gauguin, a theme which has attracted generations of historians, writers and filmmakers. Surprisingly, the exhibition in Chicago and Amsterdam is the first time this story has been told using the pictures themselves. The result is in no way a dry art-historical exercise but retains a sense of excitement in its unfolding narrative. The accompanying exhibition catalogue draws a substantial body of information together and provides a platform for further research on both artists. Several of the articles in this Journal either develop aspects of the catalogue research or approach similar issues from different perspectives. Alongside material on Van Gogh and Gauguin, however, there are also articles on other aspects of the permanent collection and on our recent acquisitions. Of particular note this year is the purchase of two works by Monet, both of Dutch subjects. There is also a complete list of the recently acquired Nabis print collection, announced in the Journal of 2000. I am grateful to all the authors both from within and from outside our museum for their contributions. Particular thanks are also due to our managing editor, Rachel Esner, who has guided this volume to completion with her customary skill and patience. I should also like to thank Head of Research Chris Stolwijk, Leo Jansen of the Van Gogh Letters Project and Head of Collections Sjraar van Heugten for their work on the editorial board. In an article published in Le Monde on 18 August 2001 the writer John Berger asked whether it was still possible to add anything to all the words that have already been written on Van Gogh. His answer was a resounding ‘no.’ We beg to differ. The exhibition Van Gogh and Gauguin and the related publications - including this issue of the Van Gogh Museum Journal - demonstrate that Van Gogh's art can indeed stimulate new and worthwhile research. And, while the body of literature continues to grow, there are enough reminders that we still have much to learn about the painter and his art. John Leighton Director Van Gogh Museum Journal 2001 8 fig. 1 Claude Monet, Mills at Westzijderveld near Zaandam, 1871, Amsterdam, Van Gogh Museum Van Gogh Museum Journal 2001 9 Review August 2000 - July 2001 Introduction The year 2000 brought a new record in the number of visits to the Van Gogh Museum. A total of 1,312.204 visitors made their way through our doors last year, an increase of almost 30 percent from the previous record year in 1997 (the Museum was closed for renovation during part of 1998 and 1999). While elsewhere in the Netherlands visitor numbers to museums have either remained stable or in some cases even decreased, the Van Gogh Museum has witnessed a pattern of steady growth. The museum has of course benefited from the general trends in tourism, and Amsterdam has maintained its popularity with overseas visitors. The seemingly unremitting publicity surrounding various aspects of Van Gogh's life and art has also helped attract attention to our activities. But, setting the cloak of modesty to one side for a moment, there is plenty of evidence to suggest that the increasing popularity of the museum results in large measure from the appeal of our programmes and our success in bringing them to a wider audience. With the new wing, opened in 1999, we have been able to further develop our exhibition programme. Our surveys show that an increasing number of visitors are not restricting their visits to the permanent collection but are also coming for the temporary shows. Our educational service has also expanded, with a resulting increase in schools visits, while new acquisitions have also helped to generate interest, especially among the local public. Needless to say, the increasing number of visitors has brought with it challenging logistical problems and added to the pressure of work for our staff. In recent years our organisation has become steadily more professional in its approach to running a modern, public-friendly facility. In February 2001 the management team was further strengthened with the appointment of Ruth Kervezee as Director of Internal Affairs. Previously one of the directors of the Dutch section of Médecins sans Frontières, Ms Kervezee brings her considerable administrative experience in the not-for-profit sector to the Van Gogh Museum. Our former Deputy Director, Ton Boxma, has been appointed Director of Van Gogh Museum Enterprises Ltd., a new company established in 2000 to develop the museum's commercial activities. The Van Gogh Museum, like so many other museums across the world, has had to respond to the shifting economic, social and political environment. However, as the contents of this issue of the Van Gogh Museum Journal demonstrate, our focus remains firmly on the time-honoured activities of a museum: caring for and developing the collection; pursuing scholarship of the highest standards; and using the collection to inform and inspire a broad public both here in the Netherlands and abroad. The continuing popularity of the museum suggests that our public is happy to endorse this approach. The collection In recent years our acquisitions policy has become more focused on filling specific gaps in the museum's presentation of 19th- and early 20th-century art. Whereas for many years the emphasis was on marking out new areas of collecting - such as Van Gogh Museum Journal 2001 symbolism or academic art - our aim now is to build upon what has already been achieved and, wherever possible, to marshal our resources towards acquiring major works. In contrast to the high quality of the Van Gogh collection, our representation of 19th-century art remains uneven. Our biggest challenge is now to redress this balance. One of the major failings of our displays has always been its lack of a satisfactory overview of impressionism. This year, however, we were fortunate to be able to acquire our first significant impressionist paintings. For some time we had been looking for a good example of Monet's work from the 1870s, preferably depicting a Dutch subject. When by coincidence two such pictures became available we decided to make an effort to acquire both. One is an important canvas from the artist's first trip to Holland in 1871, when he stayed at Zaandam; the other is a view of Amsterdam painted a few years later. Both reproduce subjects Van Gogh Museum Journal 2001 10 fig. 2 Secretary for culture, Rick van der Ploeg and the mayor of Amsterdam, Job Cohen, at the unveiling of the newly acquired Monet paintings many local residents will recognise, and they well illustrate Monet's fascination with Holland's particular light and atmosphere (see also pp. 140-43). Together the two paintings make a compelling pair, showing the development of Monet's style and approach in the crucial early years of impressionism. The purchase of two pictures by Monet in one fell swoop was only possible thanks to important developments in the funding of museum purchases in the Netherlands. Until recently, the Van Gogh Museum had only relatively modest sums at its disposal when adding new works to the collection. In 1998, however, the Van Gogh Museum - along with the Rijksmuseum, the Mauritshuis and the Kröller-Müller Museum - became a beneficiary of the Dutch Sponsor Lottery (now renamed the Sponsor Bingo Lottery). Funds provided by the lottery had already contributed to the purchase of a major work by Kees van Dongen, The blue dress (see Van Gogh Museum Journal 1999). Several other trusted supporters of the museum world helped in making these acquisitions possible, including the Vereniging Rembrandt (supported by the Prins Bernhard Cultuurfonds and a donation from VNU), the Mondriaan Stichting and the VSB-Fonds. The state also did its part with a donation from the National Acquisitions Fund. But it was a relative newcomer that played the key role in raising the capital for the purchases, the Nationaal Fonds Kunstbezit. A total of seven major Dutch companies donated monies for the works through this new national fund: ABN AMRO, ING, Fortis, Shell, Unilever, Heineken and Philips Electronics. This is the first time in recent history that heavyweights from the Dutch business world have joined together to support a purchase for a museum's permanent collection. It is to be hoped that this initiative will be the start of a new phase in the enrichment of museum collections across the country. Alongside our acquisitions we rely heavily on loans from museums and private collections to bolster our displays. At present we have works on loan from the Rijksmuseum, the Stedelijk and Amsterdams Historisch Museum, the Museum of Fine Arts in Boston and the National Gallery in London.
Load more

Recommended publications
  • Downloaded from Brill.Com10/04/2021 08:07:20AM This Is an Open Access Chapter Distributed Under the Terms of the CC BY-NC-ND 4.0 License
    INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 L’Art pour l’Art or L’Art pour Tous? The Tension Between Artistic Autonomy and Social Engagement in Les Temps Nouveaux, 1896–1903 Laura Prins HCM 4 (1): 92–126 DOI: 10.18352/hcm.505 Abstract Between 1896 and 1903, Jean Grave, editor of the anarchist journal Les Temps Nouveaux, published an artistic album of original prints, with the collaboration of (avant-garde) artists and illustrators. While anar- chist theorists, including Grave, summoned artists to create social art, which had to be didactic and accessible to the working classes, artists wished to emphasize their autonomous position instead. Even though Grave requested ‘absolutely artistic’ prints in the case of this album, artists had difficulties with creating something for him, trying to com- bine their social engagement with their artistic autonomy. The artistic album appears to have become a compromise of the debate between the anarchist theorists and artists with anarchist sympathies. Keywords: anarchism, France, Neo-Impressionism, nineteenth century, original print Introduction While the Neo-Impressionist painter Paul Signac (1863–1935) was preparing for a lecture in 1902, he wrote, ‘Justice in sociology, har- mony in art: same thing’.1 Although Signac never officially published the lecture, his words have frequently been cited by scholars since the 1960s, who claim that they illustrate the widespread modern idea that any revolutionary avant-garde artist automatically was revolutionary in 92 HCM 2016, VOL.
    [Show full text]
  • 1 Tomasz Dziewicki University of Warsaw Intensivism As a Tool of An
    III. International Forum for doctoral candidates in East European art history, Berlin, 29th April 2016, organized by the Chair of Art History of Eastern and East Central Europe, Humboldt University Berlin Tomasz Dziewicki University of Warsaw XXXXXXXXXXXXXXXXXXXXXXXX Intensivism as a Tool of an Art Historian In 1897 in Warsaw, the art critic, Cezary Jellenta, published in a weekly magazine "Głos" the article titled Intensivism. This article in its times did not influence on a polish art, but nowadays a category of intensivism created by Jellenta can be seen as an useable tool from the point of view a art historian. Jellenta noticed in his article a new trend in painting of the end of the century. In his mind modern art turned to a subjective way of perception of reality. Presentation of ordinary objects and phenomena, which are known by a viewer, in work of art tends to experience them anew. The art critic maintained a role of personal experience of powers of nature through a painting and the fact that this power may be embodied with the soul of an artist. At the beginning of his paper he refered to anachronistic examples of Andreas Achenbach's and Anders Zorn's work but also pointed out Arnold Böcklin, Władysław Podkowiński or Józef Pankiewicz as founders of the new movement. Jellenta paid attention to a modern composition, simplification and painting synthesis, which enable to express reality better and deeper. He applies a category, separated plastically and semantically from a representation, of main motif , which, as Jellenta wrote, "tunes our soul". In fact it is an attempt to transfer the music theory of Leitmotif by Richard Wagner on the ground of the painting.
    [Show full text]
  • 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.
    [Show full text]
  • The Discomfort of Evening
    MARIEKE LUCAS RIJNEVELD The Discomfort of Evening Translated by Michele Hutchison Restlessness gives wings to the imagination. MAURICE GILLIAMS It is written, ‘I am making all things new!’ But the chords are a clothesline of grief, Razor-sharp gusts snap the faith Of he who would flee this cruel start. Ice rain beats blossom to a glassy pulp, A cur shakes his pelt bone-dry in the violence. from THE COLLECTED POEMS OF JAN WOLKERS (2008) Contents Title Page Epigraph PART I 1 2 3 4 PART II 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 PART III 1 2 3 4 5 6 7 8 9 10 11 12 13 About the Author Copyright PART I 1 I was ten and stopped taking off my coat. That morning, Mum had covered us one by one in udder ointment to protect us from the cold. It came out of a yellow Bogena tin and was normally used to prevent dairy cows’ teats from getting cracks, calluses and cauliflower-like lumps. The tin’s lid was so greasy you could only screw it off with a tea-towel. It smelled of stewed udder, the thick slices I’d sometimes find cooking in a pan of stock on our stove, sprinkled with salt and pepper. They filled me with horror, just like the reeking ointment on my skin. Mum pressed her fat fingers into our faces like the round cheeses she patted to check whether the rind was ripening. Our pale cheeks shone in the light of the kitchen bulb, which was encrusted with fly shit.
    [Show full text]
  • The Literature of Kita Morio DISSERTATION Presented In
    Insignificance Given Meaning: The Literature of Kita Morio DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Masako Inamoto Graduate Program in East Asian Languages and Literatures The Ohio State University 2010 Dissertation Committee: Professor Richard Edgar Torrance Professor Naomi Fukumori Professor Shelley Fenno Quinn Copyright by Masako Inamoto 2010 Abstract Kita Morio (1927-), also known as his literary persona Dokutoru Manbô, is one of the most popular and prolific postwar writers in Japan. He is also one of the few Japanese writers who have simultaneously and successfully produced humorous, comical fiction and essays as well as serious literary works. He has worked in a variety of genres. For example, The House of Nire (Nireke no hitobito), his most prominent work, is a long family saga informed by history and Dr. Manbô at Sea (Dokutoru Manbô kôkaiki) is a humorous travelogue. He has also produced in other genres such as children‟s stories and science fiction. This study provides an introduction to Kita Morio‟s fiction and essays, in particular, his versatile writing styles. Also, through the examination of Kita‟s representative works in each genre, the study examines some overarching traits in his writing. For this reason, I have approached his large body of works by according a chapter to each genre. Chapter one provides a biographical overview of Kita Morio‟s life up to the present. The chapter also gives a brief biographical sketch of Kita‟s father, Saitô Mokichi (1882-1953), who is one of the most prominent tanka poets in modern times.
    [Show full text]
  • Vincent Van Gogh Et Le Japon Vincentvangoghetle Apon け4
    "Vincent Van Gogh et le Japon", conférence donnée au centenaire de la mort du peintre à Auvers-sur-Oise,le premier juin 1990, Jinbunronsô,『人文論叢』､三重大学人文学部 Faculty of Humanities and Social Sciences, Mié University, March 25, 1991 pp.77-93. linbun linbun Jinbun RonsoRonso,， Mie University No. 8 ,1991，1991 Vincent Van Gogh et le JJaponapon -au centenaire de la mort du peintre conferenceconférence donneedonnée aà Auvers-sur-OiseAuvers-sur-Oise.!， /1 1 juin 1990 け11ft4 Shigemi IN AG A MesdamesMesdames,， mesdemoiselles mesdemoiselles, ， messieursmessieurs, ， mes chers amis ,， Je Je suis tres très f1 flatté atte d'etre d'être invite invité par le Bateau DaphneDaphné aà participer aà une manifestaion qu'il a organisee organisee organisée sous les auspices de l' l'AmbassadeAmbassade du Japon. C' C'est est aussi pour moi un grand honneur de vous parler de nouveau de Van GoghGogh,， en commemorationcommémoration de son centenaire. En effet effet, ， j'ai deja deja déjà eu l' l'occasion,occasion ， en automne 1987 1987,， d'assurer une conference conférence au Centre culturel et d'informa- d'informa­ tion tion de l' l'AmbassadeAmbassade du ]aJaponpon a Paris . (I (l)Kenneth )Kenneth WhiteWhite,， poete poète voyageur et moimoi,， en tant qu' historien historien d'art d'art,， nous avons presente présenté un artiste japonais que nous admirons tous les deux: Hiroshige. Hiroshige. 11 Il s'agissait de feter fêter un peu officiellement la publication en francais français d'un superbe album de Hiroshige : Cent vues celebres célèbres d'Edoquid'Edo, qui reunit réunit les dernieres dernières images laissees laissées par ce dessinateur dessinateur de l' l'estampeestampe japonaise.
    [Show full text]
  • 7. Headings Etc with Properties Title
    Vincent van Gogh Summary of Van Gogh’s life Vincent van Gogh (30 March 1853 – 29 July 1890) was a Dutch Post- Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings. They include landscapes, still lifes, portraits and self-portraits, and are characterized by bold colors and dramatic, impulsive and expressive brushwork that contributed to the foundations of modern art. His suicide at 37 followed years of mental illness and poverty. Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the public imagination as the quintessential misunderstood genius, the artist "where discourses on madness and creativity converge". His reputation began to grow in the early 20th century as elements of his painting style came to be incorporated by the Fauves and the German Expressionists. He attained widespread critical, commercial and popular success over the ensuing decades, and is remembered as an important but tragic painter, whose troubled personality typifies the romantic ideal of the tortured artist. Some highlights of van Gogh’s work Artwork title Year created Location Van Gogh Museum, The potato Eaters 1885 Amsterdam Fishing Boats on the Van Gogh Museum, Beach at Saintes- June 1888 Amsterdam Maries Van Gogh Museum, Bedroom in Arles October 1888 Amsterdam Van Gogh Museum, Sunflowers 1889 Amsterdam Museum of Modern The Starry Night 1889 Art, New York City Van Gogh’s life in more detail Early years Vincent van Gogh was born on 30 March 1853 in Groot-Zundert, in the southern Netherlands.
    [Show full text]
  • 出品作品リスト| List of Works
    主 催：東京都美術館（公益財団法人東京都歴史文化財団）、東京新聞、ＴＢＳ 後 援：オ ラ ン ダ 王 国 大 使 館 、 ＴＢＳラ ジ オ、 ＢＳ - ＴＢＳ 協 賛：三井住友銀行、日本写真印刷、三井物産、損保ジャパン日本興亜 協 力：エールフランス航 空 ／ K L M オランダ航 空、日本航 空、オランダ 政 府観 光 局 Organized by：Tokyo Metropolitan Art Museum (Tokyo Metropolitan Foundation for History and Culture)/The Tokyo Shimbun/TBS With the support of：Embassy of the Kingdom of the Netherlands/ TBS RADIO, Inc./BS - TBS With the sponsorship of：Sumitomo Mitsui Banking Corporation/Nissha Printing Co., Ltd./MITSUI & CO., LTD. /Sompo Japan Nipponkoa Insurance Inc. With the cooperation of：Air France / KLM Royal Dutch Airlines/JAPAN AIRLINES/ Netherlands Board of Tourism & Conventions 本展は、政府による美術品補償制度の適用を受けています。 This exhibition is covered by the Japanese Act on the Indemnification of Damage to Works of Art in Exhibitions (Act No.17 of 2011) 出品 作 品リスト | List of Works ・本リストの掲載順と作品展示順は必ずしも一致しません。 ・ 展示室内の温度・湿度、照明は、作品保護に関する所蔵者の貸出条件に従い管理しております。ご来場の皆様にとって理想的と感じられない場合もあるかと存じますが、 ご容赦ください。 ・作品番号 10、11、27、29、53、62 は東京会場に出品されないため、本リストには掲載しておりません。 ・The order of the work in this list may not necessarily correspond to that in the exhibition. ・Temperature, humidity and brightness of the exhibition room are controlled under the lender's condition of loan and international standard for preservation of work. We apologize any inconvenience this may cause. ・Work nos. 10, 11, 27, 29, 53, 62 will not be displayed in Tokyo. 番号 作家名 作品名 制作年 技法・材質 所蔵 No. Artist Title Year Technique / Material Collection 第1章 近代絵画のパイオニア誕生 The Making of the Two Fathers of Modern Art 1 フィン セ ント ・ファン ・ゴッホ 泥炭船と二人の人物 1883 油彩、 ドレント美 術 館 板 に
    [Show full text]
  • Pablo Picasso, Published by Christian Zervos, Which Places the Painter of the Demoiselles Davignon in the Context of His Own Work
    PRESS KIT PICASSO 1932 Exhibition 10 October 2017 to 11 February 2018 ANNÉE ÉROTIQUE En partenariat avec Exposition réalisée grâce au soutien de 2 PICASSO 1932 ANNÉE ÉROTIQUE From 10 October to the 11 February 2018 at Musée national Picasso-Paris The first exhibition dedicated to the work of an artist from January 1 to December 31, the exhibition Picasso 1932 will present essential masterpieces in Picassos career as Le Rêve (oil on canvas, private collection) and numerous archival documents that place the creations of this year in their context. This event, organized in partnership with the Tate Modern in London, invites the visitor to follow the production of a particularly rich year in a rigorously chronological journey. It will question the famous formula of the artist, according to which the work that is done is a way of keeping his journal? which implies the idea of a coincidence between life and creation. Among the milestones of this exceptional year are the series of bathers and the colorful portraits and compositions around the figure of Marie-Thérèse Walter, posing the question of his works relationship to surrealism. In parallel with these sensual and erotic works, the artist returns to the theme of the Crucifixion while Brassaï realizes in December a photographic reportage in his workshop of Boisgeloup. 1932 also saw the museification of Picassos work through the organization of retrospectives at the Galerie Georges Petit in Paris and at the Kunsthaus in Zurich, which exhibited the Spanish painter to the public and critics for the first time since 1911. The year also marked the publication of the first volume of the Catalog raisonné of the work of Pablo Picasso, published by Christian Zervos, which places the painter of the Demoiselles dAvignon in the context of his own work.
    [Show full text]
  • Detki V Kletke: the Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry
    Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry.
    [Show full text]
  • L-G-0000349753-0002315416.Pdf
    Gauguin Page 4: Self-Portrait with a Palette, c.1894 oil on canvas, 92 x 73 cm Private Collection Designed by: Baseline Co. Ltd, 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam ISBN 978-1-78042-211-4 © Parkstone International © Confidential Concepts, worldwide, New York, USA All rights reserved No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyrights on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification 2 “In art, one idea is as good as another. If one takes the idea of trembling, for instance, all of a sudden most art starts to tremble. Michelangelo starts to tremble. El Greco starts to tremble. All the Impressionists start to tremble.” – Paul Gauguin 3 Biography 1848 Paul Gauguin born in Paris, on June 7. 1849 The family left France for Peru; his father died at sea. 1855–1861 Returned to France after a five-year stay in Lima. Lived in Orleans, his father’s native town. Studied at the Petit Seminaire. 1861(?)–1865 Moved with his mother to Paris. Attended high school. 1865 Entered the merchant marine as a cabin-boy. 1868–1871 Served in the navy after the disbandment of the French army and navy settled in Paris. 1871–1873 Worked as a stockbrocker in the banking office of Bertin. In the house of his sister’s guardian, Gustave Arosa, began to take interest in art.
    [Show full text]
  • 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.
    [Show full text]