DOCSLIB.ORG

Závěrečné Práce

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Rozhlasová a televizní dramaturgie a scenáristika Obraz v obraze: životopisné filmy o výtvarných umělcích v současné evropské kinematografii Bakalářská práce Autor práce: Kateřina Hejnarová Vedoucí práce: doc. MgA. Hana Slavíková, Ph. D. Oponent práce: MgA. Eva Schulzová, Ph. D. Brno 2019 Bibliografický záznam HEJNAROVÁ, Kateřina. Obraz v obraze: Ņivotopisné filmy o výtvarných umělcích v současné evropské kinematografii (A Picture Inside a Picture: Biography of visual artists in contemporary European cinematography). Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér rozhlasové a televizní dramaturgie a scenáristiky, 2019. Vedoucí práce: doc. MgA. Hana Slavíková, Ph.D. Anotace Tématem mé práce bude předevńím proces přenáńení poetiky výtvarného díla do filmové řeči, hledání vztahu mezi osobním ņivotem a tvorbou umělce, ale také míra a patřičnost interpretace, jíņ se reņisér ve vztahu k cizí tvorbě dopouńtí. Annotation This bachelor thesis focuses on the process of transferring the poetics of the specific artwork into the film language. It endeavours to search for the link between the personal life of the artist and his work, and also the extent and appropriateness of the director's interpretation in relation to others' lifework. Klíčová slova výtvarné umění, ņivotopis, obraz, poetika, filmový jazyk, Van Gogh, Beksiński, Strzemiński Keywords fine art, biography, picture, poetics, film language, Van Gogh, Beksiński, Strzemiński Prohlášení Prohlańuji, ņe jsem předkládanou práci zpracovala samostatně a pouņila jen uvedené prameny a literaturu. V Brně, dne 20. května 2019 Kateřina Hejnarová Poděkování Na tomto místě bych chtěla velmi poděkovat vedoucí mé práce Haně Slavíkové za cenné připomínky, za důvěru i psychickou podporu. Obsah ÚVOD .................................................................................................................... 0 1. SUBŅÁNR ŅIVOTOPISNÝCH FILMŮ O VÝTVARNÝCH UMĚLCÍCH .. 1.1 ANDREJ RUBLEV ......................................................................................... 5 1.2 BASQUIAT ..................................................................................................... 7 1.3 FRIDA .............................................................................................................. 8 1.4 GOYOVY PŘÍZRAKY ................................................................................. 10 1.5 MLÝN A KŘÍŅ .............................................................................................. 12 2. FILMOVÝ PORTRÉT VINCENTA VAN GOGHA .................................. 14 2.1 VINCENT VAN GOGH, JEDEN Z NEJČASTĚJI FILMOVANÝCH VÝTVARNÍKŮ ............................................................................................ 14 2.2 S LÁSKOU VINCENT ................................................................................. 18 2.3 U BRÁNY VĚČNOSTI ................................................................................ 22 2.4 DRAMATURGICKÉ DOPORUČENÍ ........................................................ 25 3. FILMOVÝ PORTRÉT ZDZISŁAWA BEKSIŃSKÉHO ............................ 25 3.1 ZDZISŁAW BEKSINŃSKI A JEHO SVÉRÁZNÉ FASCINACE .............. 25 3.2 POSLEDNÍ RODINA ................................................................................... 26 4. FILMOVÝ PORTRÉT WŁADYSŁAWA STRZEMIŃSKÉHO ................ 30 4.1 POWIDOKI V ŅIVOTĚ I DÍLE WŁADYSŁAWA STREZMIŃSKÉHO .. 30 4.2 MŅITKY ....................................................................................................... 34 ZÁVĚR ................................................................................................................ 41 POUŅITÉ INFORMAČNÍ ZDROJE ................................................................... 43 PŘÍLOHY ............................................................................................................ 46 Úvod „A nejste vy náhodou Andrej Rublev?“ ptá se věhlasný ikonopisec Theofan Grek mnicha Kirila, rozmlouvaje s ním poněkud nepatřičně k své důstojnosti, vleže na lavici pod klenbou téměř dokončeného chrámu. „Proč se díváte na mě? Podívejte se tam,“ ukazuje po stěnách, zatímco Kiril sotva nachází slova pro výraz okouzlení posvátnou jednoduchostí – ale čeho vlastně? Okem kamery stále sledujeme jen olysalého starce, s trochou nadsázky podobného spíš otci Nastěnky ze sovětské pohádky Mrazík. Kiril pak vypráví o svém spolubratru, chválí Rublevovu citlivost, ovšem nedostatek respektu, Boží bázně, kritizuje. Theofan Grek zpozorní, „Vidím, že jste moudrý muž.“ „Pokud ano, je to správně?“ namítá Kiril, „Není lepší být nevzdělaný a řídit se svým srdcem?“ Theofan Grek si postěžuje na zkaženou ikonu, kterou momentálně používá jako prkénko do kuchyně. „Ve velké učenosti je také mnoho smutku. A ten, kdo rozšiřuje své vědomosti, také zvětšuje svůj zármutek.“ Nakonec nabízí Kirilovi spolupráci, vzal by si jej jako pomocníka pro malbu Kostela Zvěstování v Moskvě. Kiril váhá anebo rozmýšlení alespoň umě předstírá, nicméně „pod jednou podmínkou“ souhlasí. Chtěl by peníze? Dostane klidně půlku Theofanovy odměny. „Ne. Budu pracovat zadarmo - pokud mě ty osobně přijdeš vyzvednout do Andronického kláštera. Přede všemi, metropolitou, mě požádáš, abych ti pomohl. Před bratrstvem, před Andrejem Rublevem. Potom ti budu sloužit jako otrok, jako pes až do své smrti.“ Theofanův posel později skutečně přijíždí. A ke Kirilově zděšení uctivě žádá o spolupráci právě Andreje Rubleva. Kiril, jehož jsme před nedávnem sledovali s blahosklonností duchovních moralizovat vesničany, najednou pozoruhodně lehce klášter opouští. Jen než se vydá vstříc světskému životu, uražená ješitnost jej přiměje ještě vyspílat mnichům do kupců s lacinými obrázky a hájit se přitom biblickým pojednáním o vyhnání trhovců z chrámu1. Tento příběh, jedna z dějových linií Tarkovského Andreje Rubleva natočeného roku 19662, se pro filmová vyprávění o výtvarných umělcích zdá být emblematickým. Skrze Theofanovu repliku „Proč se díváte na mě? Podívejte se 1 Mt 21 – 12,13 2 Andrej Rubljov [česky Andrej Rublev] Reņie Andrej TARKOVSKIJ. SSSR: Mosfilm, 1966 [schváleno 1969, premiéra distribuční verze 1971, premiéra autorského sestřihu v SSSR 1988] 0 tam.“3 poznáváme základní nutnost usilovat o pochopení vztahu mezi ņivotními peripetiemi umělce a jeho tvorbou, resp. nemoņnost natočit pouhý výčet biografických faktů s chybějící nebo vágní interpretací díla. Takový film by se zřekl originality, jeņ pramení z autorského rukopisu zobrazovaného, a vinou nezohlednění vzácně autentického odrazu osobní perspektivy, který do sebe tvůrčí činnost vtahuje, by ukrátil i své dokumentaristické kvality. Přičemņ dokumentární potenciál ņivotopisné fikce nespočívá v rekonstrukci nezaznamenané skutečnosti, ale v moņnosti zachytit vnitřní souvislosti a děje pomocí výrazových prostředků, jeņ by neinscenovaný příběh neměl k dispozici. Prostor hraného filmu se totiņ podobá divadelnímu jevińti: iluze reality je pro něj pouze jednou z metod vyprávění. Zrovna tak zde ale lze zpřítomnit sny, představy či metaforické děje – s onou realistickou částí třeba současně. Filmové Fridě Kahlo4 tak za barem opravdová Chavela Vargas zpívá o Llroně5, postavě z mexické lidové mytologie – ņeny osamocené v bolesti, jejíņ archetyp v sobě charaktery obou pijanek nesou; do bytu Zdzisława Beksińského6 přichází po smrti babiček, manņelky a syna bezpříznaková poslední rodina, aby uklidila zbytky tajných úzkostí a přání, bizarních přeludů zakořeněných hluboko v minulosti malíře, jeho blízkých, potaņmo rodné země; pouliční umělec Basquiat7 sleduje surfaře promítnutého nad mrakodrapy coby obraz vlastní bezelstné svobody i lehkováņnosti. Výstiņnost a působivost těchto scén přitom vzniká právě díky uņití nerealistických rovin jazyka fikce při práci s dokumentárním - biografickým námětem. Rozvíjení námětu – v případě této práce ņivota a díla výtvarného umělce – zároveň silně ovlivňuje schopnost upřímně kritické reflexe, nezkalené bázlivým obdivem ani přezíravostí. Cokoli nám brání vést se zobrazovaným rovný dialog, zvyńuje téņ nebezpečí nepochopení a následně jednostranné deformace obsahu filmu. Výkyvy, trefně ilustrované zuřivým obratem mnicha Kirila, můņeme asi nejzřetelněji 3 Andrej Rubljov [česky Andrej Rublev] Reņie Andrej TARKOVSKIJ. SSSR: Mosfilm, 1966 [schváleno 1969, premiéra distribuční verze 1971, premiéra autorského sestřihu v SSSR 1988] 4 Frida. Reņie Julie TAYMOR. USA, Kanada, Mexiko: Handprint Entertainment, Lions Gate Films, Miramax, Ventanarosa Productions, 2002. 5 PEREZ, Domino Renee. There was a woman: La Llorona from folklore to popular culture. Austin: University of Texas Press, 2008. ISBN isbn 978-0-292-71812-8. 6 Ostatnia rodzina. Reņie Jan P. MATUSZYNSKI. Polsko: Aurum Film, HBO Europe, Lightcraft, Maziowiecki Fundusz Filmowy, Universal Music Polska, 2016. 7 Basquiat. Reņie Julian SCHNABEL. USA: Eleventh Street Production, Jon Kilik, Miramax, 1996. 1 vysledovat na přístupu k osobnosti předexpresionistického malíře Vincenta van Gogha: Zatímco roku 1956 jej ve filmu Žízeň po životě8 poznáváme jako moudrého, vņdy důstojného pána, o třicet čtyři let později nám Vincent & Theo9 se záměrem poruńit do té doby zbytnělý vangoghovský mýtus představí nevyzpytatelného bohéma, stíhaného agresivními sklony. Autorská zaujatost je ovńem příčinou závaņného zkreslení faktů, ba předevńím rozporu mezi filmovým příběhem a obsahem výtvarného díla. Van Gogh – bouřlivák, ztvárněný Timem Rothem, výrazně opomíjí rozsáhlou korespondenční autobiografii van Gogha reálného,
Recommended publications
  • VINCENT VAN GOGH Y EL CINE Moisés BAZÁN DE HUERTA Desde

    VINCENT VAN GOGH Y EL CINE Moisés BAZÁN DE HUERTA Desde

    NORBA-ARTE XVII (1997) / 233-259 VINCENT VAN GOGH Y EL CINE Moisés BAZÁN DE HUERTA Desde su nacimiento, la relación del cine con las artes plásticas se ha manifes- tado en los más variados aspectos. De la influencia pictórica en el cromatismo y la configuración espacial del plano (encuadre, composición, perspectiva, profundierad), al diverso tratamiento del tiempo y los mecanismos narrativos en ambos campos; además de las bŭsquedas experimentales de las vanguardias y sus interferencias, el documental sobre arte como género, o la tradición artística como apoyo para la re- creación histórica o religiosa. También la propia pintura ha sido tratada temática- mente o como punto de partida para la reflexión sobre el proceso creativo Pero en el amplio abanico de posibilidades de esta relación, las biografías ci- nematográficas sobre artistas han sido uno de los exponentes más fructíferos, has- ta el punto de constituir casi un género propio. Dejando aparte m ŭsicos, cantantes, literatos, actores, y cifiéndonos al campo de las artes plásticas, la nómina de bio- grafiados resulta considerable: Andrei Rublev, Leonardo, Miguel Ángel, El Greco, Caravaggio, Rembrandt, Velázquez, Utamaro, Fragonard, Goya, Gericault, Toulouse- Lautrec, Gauguin, Camille Claudel, Rodin, Gaudí, Pirosmani, Munch, -Carrington, Modigliani, Gaudier-Brzeska, Picasso, Dali, Goitia, Diego Rivera, Frida Kahlo, Jean Michel Basquiat, Andy Warhol o Francis Bacon, entre otros, han sido objeto de re- creaciones fílmicas, aunque bastante desiguales en su calidad y planteamiento. En esta relación, como vemos, predominan las trayectorias geniales, azarosas, apasionadas y con frecuencia trágicas, es decir, las susceptibles de un desarrollo dra- mático que capte la atención y el interés del p ŭblico.
  • Vincent Van Gogh, Auvers, 1890 Oil on Jute, 36 X 36 In

    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.
  • Radical Closure

    Radical Closure

    Closure adical Closur R e adical R R adical 1 Radical Closure Closure Radical Closure Radical Closure Jalal Toufic Jalal Toufic,Radical-Closure Artist with Bandaged Sense Organ (a Tribute to Van Gogh), no. 1, 2020 Jalal Toufic 2 3 Radical Closure The book includes four of my conceptual artworks. They are based This book is composed of the following previously published texts on Van Gogh’s two paintings Wheatfield with Crows (1889) and Self- on radical closure: “Radical Closure,” in Over-Sensitivity, 2nd edition Portrait with Bandaged Ear (1889). The one on the front cover is (Forthcoming Books, 2009); “First Aid, Second Growth, Third Radical-Closure Artist with Bandaged Sense Organ (After Van Gogh’s Degree, Fourth World, Fifth Amendment, Sixth Sense,” “Radical- “Wheatfield with Crows” and “Self-Portrait with Bandaged Ear”), 2020; Closure Artist with Bandaged Sense Organ,” “Copyright Free Farm the one that serves as the frontispiece is Radical-Closure Artist with Road,” and pp. 104–105 and 211–214 in Forthcoming, 2nd edition Bandaged Sense Organ (a Tribute to Van Gogh), no. 1, 2020; the one (Berlin: e-flux journal-Sternberg Press, 2014); pp. 82–92 in Distracted, on the last page is Radical-Closure Artist with Bandaged Sense Organ 2nd edition (Berkeley, CA: Tuumba Press, 2003); “Verbatim,” in What (a Tribute to Van Gogh), no. 2, 2020; and the one on the back cover Was I Thinking? (Berlin: e-flux journal-Sternberg Press, 2017); and is Radical-Closure Artist with Bandaged Sense Organ (After Van Gogh’s pp. 88–96 in Postscripts (Stockholm: Moderna Museet; Amsterdam: “Wheatfield with Crows” and “Self-Portrait with Bandaged Ear”), 2018.
  • 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

    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

    Vincent Van Gogh, the Letters: the Complete Illustrated and Annotated Edition Edited by Leo Jansen, Hans Luijten, and Nienke Bakker

    Petra ten-Doesschate Chu book review of Vincent van Gogh, The Letters: the Complete Illustrated and Annotated Edition edited by Leo Jansen, Hans Luijten, and Nienke Bakker Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Citation: Petra ten-Doesschate Chu, book review of “Vincent van Gogh, The Letters: the Complete Illustrated and Annotated Edition edited by Leo Jansen, Hans Luijten, and Nienke Bakker,” Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010), http://www.19thc- artworldwide.org/autumn10/vincent-van-gogh-the-letters. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Chu: Vincent van Gogh, The Letters: the Complete Illustrated and Annotated Edition Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Vincent van Gogh, The Letters. The Complete Illustrated and Annotated Edition. Edited by Leo Jansen, Hans Luijten, and Nienke Bakker New York: Thames and Hudson, 2009. Paper edition; 6 vols., and a CD-ROM Web edition at www.vangoghletters.org ISBN-10: 0500238650; ISBN-13: 978-0500238653 $976.98 In April 1889, soon after Theo van Gogh's new bride Johanna ("Jo") Bonger had moved into his apartment in the Cité Pigalle in Paris, she discovered, in the bottom drawer of a small bureau, hundreds of yellow envelopes holding letters from her husband's brother Vincent. The contents of the drawer grew as new letters arrived on a nearly weekly basis. After Vincent's death, in July of the following year, Theo spoke with Jo, as well as with others, such as the critic Albert Aurier, about the publication of the letters, but his own sickness and death, only six months later, put an end to these discussions.
  • The Letters of Vincent Van Gogh

    The Letters of Vincent Van Gogh

    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.
  • Van Gogh Museum Journal 2002

    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

    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

    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.
  • TEST CLIL 1 Who Was Gauguin? He Was a Famous French Painter Born

    TEST CLIL 1 Who Was Gauguin? He Was a Famous French Painter Born

    TEST CLIL 1 Who was Gauguin? He was a famous French painter born in Paris who managed to create his own distinctive identity expressing it through his artworks. His art can’t be experienced without linking it to his life path. His influences can be found in his travels, such as the period that he spent in Perú and Tahiti. One of his works was accepted into the “Salon of 1876” an important art show in Paris. This exhibition presented him to the public and made him meet Pissarro, Degas, Monet and other artistic greats. Gauguin eventually contracted Syphilis. When did he meet Van Gogh? In 1888 Gauguin and Van Gogh spent several weeks together in Van Gogh’s home in Arles but their time together ended after Van Gogh pulled a razor on Gauguin during an argument. 2 How did Gauguin call his own style? He called his own style synthetism Why? Because it synthesized observation of the subject in nature with the artist’s feelings about that subject, expressed through abstracted line, shape, space and colour. Do you remember some of these paintings? For example “The yellow Christ” and “La Orana Maria”. He painted may of these artworks during his stay in Polinesia, from 1891 to 1903, where had originated The synthetism and the symbolism. 3 When did Van Gogh live in Arles? Van Gogh lived in Arles from 1888 to 1890. Who organized his stay in Arles and why? His brother, Theo, worried about Vincent’s physical and mental health, tried to satisfy the dream of Van Gogh to create an utopic artistic community where artists could share ideas and opinions.
  • Merleau-Ponty's Artist of the World's Face: Art's

    Merleau-Ponty's Artist of the World's Face: Art's

    Merleau-Ponty’s Artist of Depth: Exploring “Eye and Mind” and the Works of Art Chosen by Merleau-Ponty as Preface GLEN A. MAZIS I. The Works of Art as Silent Interlocutors of the Power of Depth The original Gallimard edition of Merleau-Ponty’s last-published essay, “Eye and Mind,” which was printed as a slim, separate volume containing only this essay, includes a visual preface of seven artworks, chosen by Merleau-Ponty. It seems curious that there has been so little comment concerning how these artworks might serve as another way to understand what I take to be Merleau-Ponty’s central point in his text: that depth is the key to understanding the power of art. This central point can be substantiated, however, only if we understand depth in a new way. The essay denies that depth is the “third dimension,” as seen traditionally, but asserts rather that “if [depth] were a dimension, it would be the first one” (Merleau-Ponty, “Eye and Mind” 180). Depth is thus of the first rank in not only rethinking art, but also rethinking Being itself. Depth is first in rank, moreover, as it is named “the experience of the reversibility of dimensions” (180), which makes it central to Merleau-Ponty’s articulation of his “indirect ontology.” As this reversibility, depth is the way that humans and world become enlaced such that “inside” and “outside” are not opposites; even as incompossibles they are nevertheless one. Merleau-Ponty has been developing this notion of depth as the going together of incompossibles since the Phenomenology of Perception, but in “Eye and Mind,” it becomes highlighted through the PhaenEx 7, no.
  • Laura Owens & Vincent Van Gogh

    Laura Owens & Vincent Van Gogh

    LAURA OWENS & VINCENT VAN GOGH 19 JUNE TO 31 OCTOBER PRESS KIT SUMMARY PRESENTATION OF THE EXHIBITION P 3 ESSAYS FROM THE CATALOGUE BICE CURIGER P 5 “THE DOMESTICITY OF ART: LAURA OWENS PAINTS META-WALLS FOR VINCENT” MARK GODFREY “STUDIOS OF THE SOUTH: LAURA OWENS AND VINCENT VAN GOGH” UPON REQUEST JULIA MARCHAND EUGÈNE MARIE, MORACO & LAURA UPON REQUEST BIOGRAPHIES OF THE ARTISTS P 12–14 LAURA OWENS VINCENT VAN GOGH THE FONDATION VINCENT VAN GOGH ARLES P 15 LIST OF PREVIOUS EXHIBITIONS P 16 PRACTICAL INFORMATION P 17 SELECTION OF IMAGES P 18 2 LAURA OWENS & VINCENT VAN GOGH To host seven canvases Vincent van Gogh made in the As a parallel project to this exhibition, Laura Owens last years of his life, Laura Owens has produced a monu- instituted Luma Arles’s “Studio of the South” – a house mental painting on handmade wallpaper. On the Fonda- that has been temporarily turned into a living space and tion Vincent van Gogh Arles’s ground floor she has studio to host artists’s residencies over the next two created an environment suspended between the pre- years. She has created tiles and ceramics for the space, modern and the contemporary. The spaces on this level and while making work in Arles, each artist who follows evoke not just the wallpapered interiors that Van Gogh will add to it in their own ways. knew from his time in Arles, but equally the world of scanners, Photoshop and digital printing. Vincent van Gogh came to Arles to experience its light and climate, but also to form an association of artists.