Vincent Van Gogh Masterpieces of Art PDF Book
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A Handful of Seeds, Seed Saving Curriculum
A Handful of Seeds S EED-SAVING AND S EED S TUDY FOR E DUCATORS Lessons linked to California Educational Standards Practical Information on Seed Saving for School Gardens History and Lore occidental arts & ecology center www.oaec.org A Handful of Seeds S EED S TUDY AND S EED S AVING FOR E DUCATORS by Tina Poles Occidental Arts and Ecology Center ACKNOWLEDGEMENTS Project Manager and Lead Editor: Lisa Preschel Copy Editor: Karen Van Epen Reviewers: Carol Hillhouse, Jeri Ohmart,Abby Jaramillo, Susan McGovern, John Fisher,Yvonne Savio, Susan Stansbury Graphic Design: Daniela Sklan|Hummingbird Design Illustrations: Denise Lussier Photos: Doug Gosling, Jim Coleman, Rivka Mason, and Steve Tanguay The following people at Occidental Arts and Ecology Center contributed significant amounts of time and creativity to help develop the ideas in this publication: Doug Gosling, Brock Dolman, Dave Henson, Adam Wolpert, Michelle Vesser, and Renata Brillinger. Carson Price spun straw into gold by writing compelling grants to fund OAEC’s School Garden Program. Laurel Anderson, of Salmon Creek School, co-developed and taught many sections on seed saving in the School Garden Trainings, and Vanessa Passarelli, teacher and garden educator, shared many of her ideas about meaningful teaching. The following foundations have provided generous support to OAEC’s School Garden Teacher Training & Support Program since 2005: Chez Panisse Foundation, Community Foundation Sonoma County, Compton Foundation, Inc., David B. Gold Foundation, Foundation for Sustainability & Innovation, Grousbeck Family Foundation, Laurence Levine Charitable Fund, Lisa & Douglas Goldman Fund, L.J. Skaggs and Mary C. Skaggs Foundation, Morning Glory Foundation, San Francisco Foundation, Semilla Fund of the Community Foundation Sonoma County, Stuart Foundation,True North Foundation, and the Walter & Elise Haas Fund. -
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. -
Závěrečné Práce
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. -
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 Le Fou De Peinture
VINCENT VAN GOGH Le fou de peinture Texte Pascal BONAFOUX lu par l’auteur et Julien ALLOUF translated by Marguerite STORM read by Stephanie MATARD LETTRES DE VAN GOGH lues par MICHAEL LONSDALE © Éditions Thélème, Paris, 2020 CONTENTS SOMMAIRE 6 6 Anton Mauve Anton Mauve The misunderstanding of a still life Le malentendu d’une nature morte Models, and a hope Des modèles et un espoir Portraits and appearance Portraits et apparition 22 22 A home Un chez soi Bedrooms Chambres The need to copy Nécessité de la copie The destiny of the doctors’ portraits Les destins de portraits de médecins Dialogue of painters Dialogue de peintres 56 56 Churches Églises Japanese prints Estampes japonaises Arles and money Arles et l’argent Nights Nuits 74 74 Sunflowers Tournesols Trees Arbres Roots Racines 94 ARTWORK INDEX 94 index des œuvres Anton Mauve 9 /34 Anton Mauve PAGE DE DROITE Nature morte avec chou et sabots 1881 Souvenir de Mauve 1888 Still Life with Cabbage and Clogs Reminiscence of Mauve 34 x 55 cm – Huile sur papier 73 x 60 cm – Huile sur toile Van Gogh Museum, Amsterdam, Pays-Bas Kröller-Müller Museum, Otterlo, Pays-Bas 6 7 Le malentendu d’une nature morte 10 /35 The misunderstanding of a still life Nature morte à la bible 1885 Still life with Bible 65,7 x 78,5 cm – Huile sur toile Van Gogh Museum, Amsterdam, Pays-Bas 8 9 Souliers 1888 Shoes 45,7 x 55,2 cm – Huile sur toile The Metropolitan Museum of Art, New York City, USA 10 11 Vue de la fenêtre de l’atelier de Vincent en hiver 1883 View from the window of Vincent’s studio in winter 20,7 x -
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. -
Discovery of the Place Where Van Gogh Painted His Last Masterpiece
This page was exported from - Digital meets Culture Export date: Thu Sep 30 2:46:05 2021 / +0000 GMT Discovery of the place where Van Gogh painted his last masterpiece img. Post card ?rue Daubigny, Auvers-sur-Oise' covered with the painting ?Tree Roots' (1890) by Van Gogh, ©arthénon, courtesy Van Gogh Museum. The discovery of the exact location where Vincent van Gogh painted his last artwork Tree Roots was made by Wouter van der Veen, the scientific director of the Institut van Gogh (Auvers-sur-Oise). Van der Veen found a post card dating from 1900 to 1910 featuring a scene including tree trunks and roots growing on a hillside. He has described and documented his discovery in a book, Attacked at the Roots, written specially for the occasion. Tree Roots is in the collection of the Van Gogh Museum in Amsterdam. Highly plausible discovery Van der Veen submitted his discovery to Louis van Tilborgh and Teio Meedendorp, senior researchers at the Van Gogh Museum, almost immediately. Bert Maes, a dendrologist specialising in historical vegetation, was also consulted. Based on Van Gogh's working habits and the comparative study of the painting, post card and current condition of the hillside, the experts concluded that it is ?highly plausible' that the correct location has been identified. Wouter van der Veen (scientific director of the Institut van Gogh): ?Every element of this mysterious painting can be explained by observation of the post card and the location: the shape of the hillside, the roots, their relation to each other, the composition of the earth and the presence of a steep limestone face. -
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 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 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. -
Fall Parks and Programs Guide 2021
Guide FALL 2021 REGISTRATION BEGINS AUGUST 11 WWW.MONMOUTHCOUNTYPARKS.COM Saturday, September 18, 11:00 AM-5:00 PM BAYSHORE WATERFRONT PARK, PORT MONMOUTH Enjoy a day of coastal activities in this celebration of all things water! Get full details at www.MonmouthCountyParks.com. PM SUNDAY, OCTOBER 17, 11:00 AM-5:00 THOMPsoN PARK, LINCROFT An autumn day of funfor the entire family! Get full details at www.MonmouthCountyParks.com. TABLE OF CONTENTS Park System Spotlight 2-3 Adults 44-91 Active Adults 55+ . .44 Mark Your Calendar 4-5 Arts & Crafts . .45-56 Canine Classes . 56-57. Historic Happenings 6-8 Culinary Arts . 57-60. Education & Enrichment . .60-63 Families 9-20 Health & Wellness . 63-67. Arts & Crafts . 9-11 Horticulture . .67-72 Family Fun . 11-12. Nature . 73-77. Horticulture . .12 Outdoor Adventures . .78-82 Nature . 12-18. Performing Arts . 82-84. Outdoor Adventures . .19-20 Sports & Fitness . 84-91. Parent & Child 21-29 Equestrian 92 Arts & Crafts . .21 Culinary Arts . .22 Golf 93-97 Education & Enrichment . .22-23 Nature . .24 Therapeutic Recreation 98-99 Outdoor Adventures . .24-25 Play Groups . 26-29. Trips 99 Sports & Fitness . .29 Park System Locations 100-101 Kids & Teens 30-43 Arts & Crafts . .30-33 Registration Information 102-103 Culinary Arts . .34 Park Partners 104 Education & Enrichment . .35-37 Outdoor Adventures . .37-38 Performing Arts . 39-41. Sports & Fitness . 41-43. To register for programs starting August 11, call 732-842-4000, ext. 1, Monday-Friday from 8:00 AM-4:30 PM. For general information about your Monmouth County parks, call 732-842-4000, ext. -
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.