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To Theo Van Gogh. Antwerp, on Or About Tuesday, 2 February 1886
To Theo van Gogh. Antwerp, on or about Tuesday, 2 February 1886. on or about Tuesday, 2 February 1886 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b488 a-b V/1962 Date: Van Gogh writes that the painting course ended last week; this happened at the end of January 1886. He also thanks Theo for sending the regular allowance, which almost always arrived at the beginning of the week. We have therefore dated the letter on or about Tuesday, 2 February 1886. Additional: Original [1r:1] Waarde Theo, Dank voor Uw brief en het ingeslotene. Het is iets dat mij fameus veel pleizier doet, dat gij het plan van bij Cormon te gaan nu ook zelf voorstelt. 1 Laat mij U zeggen hoe t mij hier nog verder is gegaan. De schildercursus is verl. week geeindigd, 5 daar er voor het eind van den cursus nog 1 This earlier plan is mentioned in the previous letter, letter 556. Van Gogh knew that Breitner2 had studied with Cormon3 (see letter 465) and may also have heard about him at the academy in Antwerp. Cormon opened his studio at number 104 boulevard de Clichy in 1882. While he did receive his students there, corrections were also done in the studio in rue La Bruyre. The syllabus did not differ much from that of his predecessor Lon Bonnat4. Cormons was less rigidly structured, though, and it was above all this more liberal attitude that won him a favourable reputation among a younger generation of artists. Students drew (classical) plaster casts and from life, and Cormon demanded from his students an extremely accurate, lifelike drawing. -
Vincent Van Gogh, Who Grew up Walking the Dutch Countryside
"Sorrowful yet always rejoicing," Vincent van Gogh, who grew up walking the Dutch countryside, traveled through life seeking the eternal "Light that rises in the darkness"- like these swans readying for flight south of Amsterdam. From the pain and beauty of his journey, he created masterworks of passion, including penetrating self-portraits, such as this one at age 34. Van Gogh likened painting to performing music. "Whether I really sang a lullaby in colors," he wrote, "I leave to the critics." National Geographic, October, 1997 By JOEL L. SWERDLOW, ASSISTANT EDITOR Photographs by LYNN JOHNSON THE LETTERS FROM VINCENT VAN GOGH to his brother Theo are yellowed. Some are torn at the corners or have holes from aging. Acid from ink eats through the cheap paper. I have come to this bombproof vault in the cellar of the Van Gogh Museum in Amsterdam to begin my search for Vincent. Who was this man who said he "sang a lullaby in colors:' and why does he have such a hold on us? His paintings sell for the most money; his exhibitions attract the highest number of visitors; reproductions of his work-on socks, sheets, party napkins, coffee cups-permeate homes and offices; the song "Vincent" has sold more than ten million copies since 1971; movies mythologize his life. No other artist, at any time in any culture, has been more popular. THE 650 LETTERS from Vincent to Theo fill three volumes. Their first surprise is immediate: I knew that Theo financed Vincent's painting and had assumed Theo was the big brother. -
St. Vincent De Paul and the Homeless
WELCOMING THE STRANGER ST. VINCENT DE PAUL AND THE HOMELESS Robert Maloney, CM An earlier version of this article was published in Vincentiana 61, #2 (April-June 2017) 270-92. “There was no room for them in the inn.”1 Those stark words dampen the joy of Luke’s infancy narrative, which we read aloud every Christmas. No room for a young carpenter and his pregnant wife? Was it because they asked for help with a Galilean accent that identified them as strangers?2 Was there no room for the long-awaited child at whose birth angels proclaimed “good news of great joy that will be for all people”?3 No, there was no room. Their own people turned Mary and Joseph away. Their newborn child’s first bed was a feeding trough for animals. Matthew, in his infancy narrative, recounts another episode in the story of Jesus’ birth, where once again joy gives way to sorrow.4 He describes the death-threatening circumstances that drove Joseph and Mary from their homeland with Jesus. Reflecting on this account in Matthew’s gospel, Pius XII once stated, “The émigré Holy Family of Nazareth, fleeing into Egypt, is the archetype of every refugee family." 5 Quoting those words, Pope Francis has referred to the plight of the homeless and refugees again and again and has proclaimed their right to the “3 L’s”: land, labor and lodging.6 Today, in one way or another, 1.2 billion people share in the lot of Joseph, Mary and Jesus. Can the Vincentian Family have a significant impact on their lives? In this article, I propose to examine the theme in three steps: 1. -
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. -
Burning News from the Ipswich Incinerator
5467 91Burning51 News from the Ipswich Incinerator The MAY 2005 newsletter of Ipswich Little Theatre Strange ‘Times’ A young girl who was blown Wolf Lullaby is a compelling play about the disturbing subject of juvenile out to sea on a set of murderers. It asks not only why they occur but how we deal with it. inflatable teeth was rescued A small child is murdered and suspicion falls on Lizzie. Her mother by a man on an inflatable lobster. A coastguard believes her daughter could be guilty, but her father is full of denial. spokesman commented, Set in an Australian country town, this play holds up a mirror to society "This sort of thing is all too and reflects reality rather than what we’d like to see. It is a piece of drama common". The Times not to be missed! Ipswich Little Theatre, in 2005, has a relationship with the Queensland Conservatorium of Music whereby students of music composition have the INSIDE BURNING NEWS opportunity of working with directors of ILT plays to develop an original THIS MONTH: score for each play. QCM student, Raymond Lawrence, has worked with Group News Page 2 Suzanne and Liz to write a score that responds to the themes of Wolf Lullaby. This will add another interesting component to an already Vincent in Brixton Page 3 fascinating production. Selection C’tte news Page 3 Qld Poet in Residence Page 4 If you would like to support the Ipswich Arts Council, please Original image for Wolf Lullaby by Arts Alive student consider seeing Wolf Daajan Bain aged 7 (daughter of cast member Majella Gee) Lullaby on their social night – Wednesday 15 June from 7.30 pm. -
Vincentiana Vol. 44, No. 3 [Full Issue]
Vincentiana Volume 44 Number 3 Vol. 44, No. 3 Article 1 2000 Vincentiana Vol. 44, No. 3 [Full Issue] Follow this and additional works at: https://via.library.depaul.edu/vincentiana Part of the Catholic Studies Commons, Comparative Methodologies and Theories Commons, History of Christianity Commons, Liturgy and Worship Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation (2000) "Vincentiana Vol. 44, No. 3 [Full Issue]," Vincentiana: Vol. 44 : No. 3 , Article 1. Available at: https://via.library.depaul.edu/vincentiana/vol44/iss3/1 This Article is brought to you for free and open access by the Vincentian Journals and Publications at Via Sapientiae. It has been accepted for inclusion in Vincentiana by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Via Sapientiae: The nI stitutional Repository at DePaul University Vincentiana (English) Vincentiana 6-30-2000 Volume 44, no. 3: May-June 2000 Congregation of the Mission Recommended Citation Congregation of the Mission. Vincentiana, 44, no. 3 (May-June 2000) This Journal Issue is brought to you for free and open access by the Vincentiana at Via Sapientiae. It has been accepted for inclusion in Vincentiana (English) by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. VINCENTIANA 44th YEAR, N° 3 MAY-JUNE 2000 FEATURE: V SI.PER. 255.77005 Saint Vincent Priest V775 v.44 CONGREGATION OF THE 1MISSiON no.3 GLNER\I CURIA 2000 VINCENTIANA Magazine of the Congregation of the Mission Published every two months by the General Curia Via dei Capas.so, 30 - 00164 Roma 44th year, N° 3 Slav-June 2000 Summary Feature : Saint Vincent Priest • The Clergy in the France of St. -
Van Gogh 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. -
Van Gogh: Heartfelt Lines
Jane Van Nimmen exhibition review of Van Gogh: Heartfelt Lines Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Citation: Jane Van Nimmen, exhibition review of “Van Gogh: Heartfelt Lines,” Nineteenth- Century Art Worldwide 8, no. 1 (Spring 2009), http://www.19thc-artworldwide.org/ spring09/76-van-gogh-heartfelt-lines. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2009 Nineteenth-Century Art Worldwide Nimmen: Van Gogh: Heartfelt Lines Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Van Gogh: Heartfelt Lines Albertina, Vienna, 5 September 2008 – 8 January 2009 Catalogue: Van Gogh: Heartfelt Lines Edited by Klaus Albrecht Schröder and Heinz Widauer, Sjraar van Heugten and Marije Vellekoop; with an introduction by Klaus Albrecht Schröder; with essays by Martin Bailey, Sjraar van Heugten, Fred Leeman, Teio Meedendorp, Marije Vellekoop, and Heinz Widauer. Catalogue entries by Stefanie Chaloupek, Fred Leeman, Heinz Widauer, and Denise Willemstein. Cologne: DuMont, 2008. 455 pages; 338 color illustrations, 32 b-w; bibliography Cost: €24,90 ($36, in museum); €49,90 ($73, in bookstores) ISBN: 978-3-8321-9158-0 (museum edition); 978-3-8321-9133-7 (trade edition) Van Gogh: Gezeichnete Bilder ISBN: 978-3-8321-9157-3 (museum edition); 978-3-8321-9157-2 (trade edition) “To bring the art of drawing out of quarantine” became a mission statement of the new Albertina Director Klaus Albrecht Schröder long before he re-opened the meticulously restored museum. Assuming his post at the beginning of the millennium, Schröder accelerated renovations for the palace of Albert, Duke of Saxe-Teschen (1738–1822); the building behind the opera had housed his remarkable collection for two centuries and had closed for urgent repairs in the 1990s. -
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 in Arles
VINCENT VAN GOGH IN ARLES “Van Gogh sur la route de Tarascon” Known also as “The painter on his way to work”, July 1888, 48 x 44 cm Formerly in the Kaiser-Friedrich-Museum, Magdeburg, Germany (Destroyed by fire in 1945) https://commons.wikimedia.org/wiki/File:Vincent_Van_Gogh_0013.jpg A Walk-Around of Selected Sites L. M. Boring Membre de l’Association des Artistes Alpicois, Le Pecq 28 February 2019 Vincent Van Gogh arrived in Arles by train on Monday, February 20, 1888, with an idea to found an artist colony in the south “Wishing to see a different light, thinking that looking at nature under a bright sky might give us a better idea of the Japanese way of feeling and drawing. Wishing also to see this stronger sun, because one could not understand Delacroix’s pictures from the point of view of execution and technique without knowing it, and because one feels that the colors of the prism are veiled in the mist of the North.” Oddly and by happenstance, when he arrived, he found the countryside covered in snow, and among his first paintings were soft landscapes of snow covered fields. He found lodging in the Hotel-Restaurant Carrel, but his stay ended badly over a billing dispute after only two months. Vincent signed a lease on May 1st for a small four-room two-story semi-detached house on the Place Lamartine, not far from the train station. Its stucco exterior was bright ochre, and it became known by Van Gogh’s paintings as La Maison Jaune, the Yellow House. -
Teen Study Guide and Extension Activities
“Well, then, what can I say: does what goes on inside, show on the outside?” -Vincent to Theo, June 1880 Vincent van Gogh is among the world’s most famous artists, known for his vibrating colors, thick, encrusted paint, exhilarating brushstrokes and very brief career. In a mere ten years he managed to create an astonishing 900 paintings and 1000 drawings! The art he suffered to create tried to answer the introspective question he put forth in a letter from 1880, “does what goes on inside, show on the outside?” Born in The Netherlands on March 30, 1853, he never knew fame for his art while he was alive. Neither did he know prosperity or much peace during his frenetic life. Vincent was known to be emotionally intense, highly intelligent and socially awkward from the time he was a young boy, and though he never married, he had a deep and driving desire to connect with others. Unfortunately, he was unable to maintain most of his relationships due to his argumentative, obsessive nature and bouts of depression. But it was a divided temperament Vincent possessed - disagreeable, melancholy and zealous on one hand; sensitive, observant and gifted on the other. His beloved brother Theo thought that he had “two different beings in him” and that Vincent often made his life “difficult not only for others, but also for himself.” This disconnect was obviously painful to Vincent, as he once compared himself to a hearth - as someone who “has a great fire in his soul and nobody ever comes to warm themselves at it, and passers-by see nothing but a little smoke at the top of the chimney and then go on their way.” It was this friction of selves that created a lonely lifetime of seeking - for home, family, truth, balance and acceptance, which he ultimately never found. -
Van Gogh Educator Guide
Van Gogh and His Inspirations Presented by The Blanchard Family Educator Guide Premier Programming Sponsor: First Citizens Bank Van Gogh and His Inspirations October 4, 2019 – January 12, 2020 Greetings, educators! Guide at a Glance The Columbia Museum of Art is Van Gogh excited to offer you this Educator timeline Guide as a teaching tool and resource pages 2-3 supplementing Van Gogh and His Elementary Inspirations. We hope that you and lesson plans your students find lots of creative and pages 4-7 inspiring ways to learn about Van Gogh’s Middle/high life and art through history, English school lesson language arts, visual arts, and beyond. plans pages 8-11 We also invite you to experience the exhibition through a CMA field trip for an opportunity to enrich Resources students’ creative, critical, sensorial, and academic learning. page 12 Join us! Glossary page 12 Keep your brushes wet, More information Jackie Adams page 13 Director of Education and Engagement Book Your School Trip! Don’t miss your chance to see Van Gogh in Columbia! Reserve a tour for your students to experience Van Gogh and His Inspirations. School programs include an hour-long guided gallery tour and an hour- long studio session. Please complete an online booking form at least one month before your anticipated visit. Van Gogh school tours are free courtesy of Premier Programming Sponsor First Citizens Bank. Quantities are limited so book early. www.columbiamuseum.org/school-tours Major Themes in the Exhibition Spirituality Van Gogh was deeply religious Raised as a Christian, he studied theology and even served briefly as a preacher.