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Vincent Van Gogh a New Way of Seeing

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Vincent Van Gogh a New Way of Seeing PROGRAMME NOTES VINCENT VAN GOGH A NEW WAY OF SEEING A note from Executive Producer use an actor to play Van Gogh. How he found Jamie de and Co-Writer Phil Grabsky Courcey is still something of a mystery to me because without a beard he doesn’t immediately resemble There are few artists with as fascinating a life story as Vincent…but judge for yourself how he looks in the Vincent van Gogh. He didn’t start painting until he was film. We are normally cautious about using actors and 27 and then within ten years he was dead – shot by his reconstructions in our films but I must say I think the use own hand in a wheat field that he had been painting of Jamie really adds to the emotional punch and insight. that very day. This intense Dutchman – failed preacher, Enjoy the film! failed teacher – has become one of the greatest and s16V/1962 F344 (Vincent Gogh van Foundation). Gogh Museum, Amsterdam Van 1887 Paris. Hat, Felt Gogh van Self-Portrait with Grey Vincent most popular artists of all time – and one of the most influential. Having had little luck selling his paintings during his lifetime, much of his work wound up in the Van Gogh museum in Amsterdam, today one of the world’s most visited galleries. When we heard that the museum was intending to re- hang their entire collection – partly to commemorate the 125th anniversary of Van Gogh’s death – our interest was aroused and director David Bickerstaff and I flew out to discover more. Whereas in the past the museum had kept Van Gogh on three floors and other artists on the fourth, the curators had now decided that they wanted to present a more accurate reflection of Van Gogh’s biography by interweaving his work with that of his contemporaries. As I said, Van Gogh is a popular artist and the museum had 800 (!) proposals for projects to wade through but we managed to persuade them and for the next year or so we worked very closely with the entire institution – not least its wonderful staff and curators – to make this film. They offered us complete and unprecedented access to their treasures and I have to say it was an absolute joy. DIRECTED BY DAVID BICKERSTAFF David then travelled in the Netherlands, Belgium, UK and France – retracing Vincent’s footsteps. I think one PRODUCED BY PHIL GRABSKY of David’s smartest suggestions was, on this occasion, to Visit: http://bit.do/eossubscribe RECOMMENDED READING #EOS Vincent van Gogh facebook.com/exhibitiononscreen by Dr. Cornelia Homburg Masterpieces in the Van Gogh Museum twitter.com/artonscreen by The Van Gogh Museum The Letters of Vincent van Gogh instagram.com/exhibitiononscreen by Vincent van Gogh www.exhibitiononscreenblog.com Amsterdam (Vincent van Gogh Foundation) Gogh (Vincent van Amsterdam Vincent van Gogh (1853-1890), Sunflowers, 1889 Arles © Van Gogh Museum, Museum, Gogh Van © Arles 1889 Sunflowers, (1853-1890), Gogh van Vincent FEATURED WORKS THE POTATO EATERS, 1885 SELF-PORTRAIT WITH GREY FELT HAT, 1887 IN THE CAFÉ: AGOSTINA SEGATORI IN LE TAMBOURIN, 1887 THE YELLOW HOUSE (‘The Street’), 1888 SUNFLOWERS, 1889 ALMOND BLOSSOM, 1890 EXHIBITION ON SCREEN is produced and distributed by award-winning documentary film-makers Seventh Art Productions. It has been making films on art, music and history for over 35 years and in that time it has produced almost 200 titles. Most are available to download or purchase on DVD from its website: www.seventh-art.com/shop .
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  • 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.
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