Art of the Book Club Sponsored by Museum Associates

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Art of the Book Club sponsored by museum associates For August 2021, the Museum of Art and Archaeology’s Art of the Book Club is reading The Yellow House by Martin Gayford. Below is a schedule of events that relate to the book and will enhance further understanding of the book’s themes and content. Please join us and explore the book The Yellow House in great depth. All events will be conducted via Zoom meetings. Anyone wishing to participate will need to email Christiane Quinn - [email protected] requesting a code for each event’s Zoom meeting. August 11, Wednesday Docent-Led Theme Talk “Van Gogh & Gauguin: A Burst of Creativity in the Studio of the South” David Bedan, Museum Docent 2:00pm, Zoom Meeting August 18, Thursday Art of the Book Club Film Discussion Loving Vincent (2017) Available on Kanopy [Watch the film at your leisure] Loving Vincent is the world’s first fully painted feature film. Each of the movie’s sixty-five thousand frames is an oil painting on canvas, using the same technique as Vincent van Gogh, created by a team of one hundred painters. November 2:00pm, Zoom Meeting Book Selection August 24, Wednesday Art of the Book Club Book Discussion 12:15pm, Zoom Meeting Follow the Art of the Book Club on Facebook at: Daniel Boone: The Life and www.facebook.com/mumaabookclub Legend of an American Pioneer by John Mack Faragher Please direct questions to Christiane Quinn at [email protected] or phone 875-1183. Galleries are CLOSED 115 Business Loop 70 West, Mizzou North We are moving to the East lower level For additional information, please call (573) 882-3591 of Ellis Library on the MU campus or visit our website at https://maa.missouri.edu FREE and ADA accessible.

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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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The Yellow House Revisited
University of Wollongong Research Online Deputy Vice-Chancellor (Academic) - Papers Deputy Vice-Chancellor (Academic) 2016 The elY low House revisited Michael K. Organ University of Wollongong, [email protected] Publication Details Organ, M. 2016, 'The eY llow House revisited', Aquarius Redux: Rethinking Architecture's Counterculture Conference, pp. 1-31. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The elY low House revisited Abstract Martin Sharp's Yellow House represents a transitional phase in the countercultural movement within Australia, from the peace and love Utopian ideals of the Sixties through to the disenchantment and technological changes of the Seventies. Inspired by Vincent Van Gogh's similarly titled building and aborted artist community in the south of France during the 1880s, and the British Arts Lab movement of the late 1960s, a 3-storey Victorian era terrace building in Sydney was transformed into a work of art, living museum, experimental art gallery and performance space, under the liberating and libertine guidance of Martin Sharp - an artist who had experienced some of the extraordinary cultural changes taking place in London and Europe between 1966-69. The eY llow House was a unique expression of the counterculture's disparate elements through a redundant example of the built environment, namely a former art gallery and guest house facing the threat of demolition. Art and architecture fused with lifestyle and culture within a veritable rabbit warren of rooms and performance spaces. Though innately ephemeral, the venture succeeded, during its relatively short period of existence between May 1970 and March 1973, in providing an expressive outlet for a disparate group of counterculture artists, performers and commentators.
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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.
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Van Gogh's Suicide: Ten Reasons Why the Murder Story Is a Myth All the Evidence Suggests It Was the Artist Who Fired the Fatal Shot
AiA news-service BLOG ADVENTURES WITH VAN GOGH Adventures with Van Gogh is a weekly blog by Martin Bailey, our long-standing correspondent and expert on the artist. Published every Friday, his stories will range from newsy items about this most intriguing artist to scholarly pieces based on his own meticulous investigations and discoveries. Van Gogh's suicide: Ten reasons why the murder story is a myth All the evidence suggests it was the artist who fired the fatal shot MARTIN BAILEY 6th September 2019 11:07 BST Vincent van Gogh, Self-portrait (1889), given to Dr Paul Gachet © Photo: Distribution RMN Musée d'Orsay, Paris/Patrice Schmidt A few years ago, the question I was most often asked about Vincent van Gogh was, “Why did he cut off his ear?” Now it's, “Did he commit suicide, or was he actually murdered?” The story of his extraordinary life has always excited just as much interest as his pathbreaking art. The theory that Van Gogh’s death was murder (or manslaughter) first surfaced seriously in 2011, in a comprehensive biography by two American writers, Steven Naifeh and Gregory White Smith. They wrote that Van Gogh was shot in the abdomen on 27 July 1890 by 16-year-old René Secrétan, a summer visitor in Auvers-sur-Oise who taunted the artist. Van Gogh managed to stagger back to his inn, dying two days later from his wounds. The two authors based their theory on their imaginative interpretation of an interview that Secrétan gave in 1957, a few months before his death.
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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.
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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.
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Incent Van Gogh Struggled with Feelings of Rejection and Loneliness. He Felt Rejected by Some of His Family Members, Women
incent van Gogh struggled with feelings of rejection and loneliness. He felt rejected by some of his family members, women, and society. Vincent had V a desperate longing for a companion to subside his fear of loneliness. The failure of his professional partnership with fellow artist Paul Gauguin, and the fact that his younger brother, Theo van Gogh, had a wife and new baby pushed him over the edge. Miserable and alone, Vincent tried to kill himself at the age of thirty-seven. He did not succeed with one shot from the gun, so he crawled back to the café in Auvers where he laid in bed until he died from the wound. Although Vincent never settled down, there is evidence in his painting The Bedroom, which shows he desired companionship and went as far as creating the perfect world with a make-believe woman in his work. Vincent van Gogh spent his developmental years looking for a purpose to his life by trying many careers from being an art dealer, like his brother Theo, to being involved in the church, like his father, as an evangelist in Brussels. Vincent was not successful at either career, so he moved to Belgium to do missionary work in a coal mining town. Since these were the identities of others, they did not give Vincent the fulfillment he was hoping to find. Vincent moved away from work as a missionary and began to draw. He found his passion in life at the age of twenty-three when he began having ambitions to be an artist.
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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.
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Vincent Van Gogh (1853-1890)
Great Falls Elementary Art Enrichment – [Q4 2021] Vincent Van Gogh (1853-1890) Slide 1 • Vincent Van Gogh (1853-1890) is one of the world’s most well-known artists, both Vincent for the legend of his life and the beloved Van Gogh paintings he left behind. He was the embodiment of the “mad genius,” an artist Dutch Painter whose talent and drive were finally too much to bear. (1853-1890) • He had a normal childhood, if not a particularly happy one. Vincent was born in the Netherlands in 1853, the eldest of six children, to a clergyman and his wife. Actually, he wasn’t the first-born; he was named after his parents’ baby who had died just one year before. • Vincent went to the local school until being sent to boarding school at age 12. He didn’t fit in well with other people, as he was shy and unsociable, and not a very good student. At age 16, one of his many uncles got him a job with an art dealing firm. Vincent had always liked art drawing, and the work seemed a good fit. Slide 2 • Vincent did very well for several years, but then was sent to London, where things began to fall apart. He fell in love with a girl who rejected him – this was always the story of Vincent’s love life – and began to feel unsatisfied by the business of selling art. • In his family, the two professions chosen for generations were artist or art dealer on Young Man with a Pipe, 1884 the one hand, and clergyman on the other.
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A Comparative Study of Vincent Van Gogh's Bedroom Series
A comparative study of Vincent van Gogh’s Bedroom series Ella Hendriks,* Leo Jansen, Johanna Salvant, Élisabeth Ravaud, Myriam Eveno, Michel Menu, Inge Fiedler, Muriel Geldof, Luc Megens, Maarten van Bommel, C. Richard Johnson Jr and Don. H. Johnson ABSTRACT Recent plans to clean and restore Vincent van Gogh’s painting of his Bedroom in Arles (Van Gogh Museum, Amsterdam) sparked off a broad collaborative campaign of investigations to compare the materials and techniques used in all three painted versions of this theme, including the Bedroom pictures now in the collections of the Art Institute of Chicago and Musée d’Orsay in Paris. The features considered in this paper include picture format and composition, the preliminary sketch, colour scheme and pigments used, paint handling and condition of the works, all related to relevant passages in the artist’s letters. Findings help to substantiate chronological sequence, as well as providing insight into the broader question of how Van Gogh’s ideas and working methods evolved in the process of making serial repetitions or copies of his own works. Introduction (letter 800). In the same letter, Van Gogh mentions that he will make some copies for his mother and two sisters in Nowadays, Vincent van Gogh’s Bedroom in Arles is one of Holland, including one of the Bedroom (this is the small his best-known paintings and from the artist’s letters we copy now in the collection of Musée d’Orsay). Around know that it was one he was particularly pleased with (see, 19 December he announces that he will send
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Modern Self-Portraits: the Self in the Age of Artistic Autonomy
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship 2020 Modern Self-Portraits: The Self in the Age of Artistic Autonomy Katie Vohr [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Vohr, Katie, "Modern Self-Portraits: The Self in the Age of Artistic Autonomy". Senior Theses, Trinity College, Hartford, CT 2020. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/857 Modern Self-Portraits: The Self in the Age of Artistic Autonomy Katie Vohr Senior Thesis Trinity College, Hartford May 12, 2020 Acknowledgements I would like to express my deepest gratitude to Professor Michael FitzGerald for guiding me through this project and serving as an advisor and mentor to me throughout my time at Trinity. I feel privileged to have had the opportunity work under someone so knowledgeable and dedicated to his field and role as a teacher. Thank you to the faculty members of the Art History Department, each of whom has guided me over the course of my studies. Thank you to Professor Erick Vogt for his ongoing support throughout this project, and thank you to my friends and family who have encouraged me along the way. Maria Lassnig painting in her studio in Vienna, 1983. https://magazine.artland.com/lost-and-found-maria-lassnig/ 2 Table of Contents Introduction -4 Chapter 1- The Self: Who Am I? -7 Chapter 2- The Self and the Body -36 Chapter 3- The Self and Society: Identity -69 Conclusion - 110 Bibliography -113 3 Introduction Who am I? Artists have turned towards self-portraiture to explore this question for centuries.
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Between the Two Bedrooms in Arles: a Brief History of Van Gogh
Between the Two Bedrooms in Arles: A Brief History of Van Gogh Team 3 Jeff Torres Jacob Behling Matthew Krumweide Dania Azhari Our VR recreation of ‘The Bedroom’ by Van Gogh. Our project, Between Two Bedrooms in Arles, is about the time period in between Vincent Van Gogh painting his first and second version of his famous ‘The Bedroom’ painting in the Yellow House. The purpose of this project is to explore the history of an important time in Vincent Van Gogh’s life and to gain insight into his personality, life, and motivations behind his art and his art style. The way this was conveyed is by allowing the user to explore some of Van Gogh’s paintings while reading actual letters that detail the events that relate to the painting the user is exploring. A user begins their journey in the first version of the ‘The Bedroom’, akin to Van Gogh, who was looking to create a new beginning as he moved into the Yellow House. A user can read letters left behind from Van Gogh at this time, or they may simply enjoy and be immersed in the painting, as we strove to create an accurate rendition of his paintings by mapping textures of Van Gogh’s paint strokes to the appropriate models. ‘Reading letter’ interactions in the VR environment. BETWEEN THE TWO BEDROOMS IN ARLES 1 The rest of the house is also created using paint textures in the bright colors and distinctive strokes of Van Gogh to keep the theme consistent, each room representing significant parts of Van Gogh’s life.
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