Auvers-Sur-Oise

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Auvers-sur-Oise During the 19th century, a number of painters lived and worked in Dr. Paul Gachet lived in Auvers-sur-Oise. He was acquainted with Auvers-sur-Oise, including Paul Cézanne, Charles-François the avant-garde artists of the time. Through this connection, Daubigny, Camille Pissarro, Jean-Baptiste-Camille Corot and Vincent van Gogh moved to Auvers to be treated by him, though Vincent van Gogh. Daubigny's house is now a museum where he considered the doctor to be in a worse state than himself. one can see paintings by the artist, his family, and friends, such Gachet befriended Van Gogh and was the subject of two portraits, as Honoré Daumier, as well as rooms decorated in period style. one of which, Portrait of Dr. Gachet, was sold at auction for over $80m (£48m) in 1990. If you walk along the river from Auvers toward Pontoise you can see a number of views which figured in the paintings of Pissarro. Van Gogh died by a gunshot to the chest. The room on the upper floor of the Auberge Ravoux where he died has been preserved, During the 20th century artists continued to frequent Auvers, although no furniture remains. Auvers-sur-Oise is the final resting including Henri Rousseau (Douanier Rousseau), Otto Freundlich place of both Vincent and his brother Theo van Gogh, who died and Pierre Daboval. The COBRA artist Corneille spent his last six months later years in the village and is buried a few meters from Vincent van Gogh Artists of the Artists' Colony European Federation of Artists' Colonies - Management Office Bergstraße 13 [email protected] D- 27726 Worpswede www.euroart.eu Jean-Baptiste-Camille Corot (1796 - 1875) Charles-François Daubigny (1817 - 1878) Camille Pissarro (1830 - 1903) Léonide Bourges (1838 - 1909) Paul Cézanne (1839 - 1906) Vincent Willem van Gogh (1853 - 1890) Tourist Information Tourist Office Château d’Auvers-sur-Oise Auberge Ravoux – Maison de Van Gogh 38 rue du Général de Gaulle Parc Van Rue de Léry 95430 Auvers-sur-Oise Place de la mairie 95430 Auvers-sur-Oise Gogh 95430 Auvers-sur-Oise +33 (0)1.34.48.48.45 +33 (0)1 30 36 60 60 + 33 (0)1 30 36 71 81 www.chateau-auvers.fr www.maisondevangogh.fr [email protected] www.tourisme-auverssuroise.fr Musée de l'Absinthe Musée Daubigny Manoir des 44 rue Callé 95430 Auvers-sur-Oise Colombières Mayor +33 (0)1 30 36 83 26 Rue de la Sansonne 95430 Auvers-sur- Isabelle Mézières 38 Rue du Général de www.musee-absinthe.com Oise Gaulle 95430 Auvers-sur-Oise +33 (0)1 30 36 80 20 +33 (0)1 30 36 70 30 www.musee-daubigny.com www.ville-auverssuroise.fr European Federation of Artists' Colonies - Management Office Bergstraße 13 [email protected] D- 27726 Worpswede www.euroart.eu Powered by TCPDF (www.tcpdf.org).

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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.
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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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Van-Gogh-LM0918 Lores-1.Pdf
LUXURYLUXURY MAGAZINE FALL 2018 ARTIST PROFILE Garden at Arles, 1888, oil on canvas, 73 x 92 cm, located at Haags Gemeentemuseum, The Hague, the Netherlands LOVING VINCENT VINCENT VAN GOGH has long been a mainstay of popular culture and international exhibitions, and now he is the subject of a new book and Hollywood film, proving the fascination with the fabled painter has not abated. by Jason Edward Kaufman NY HIP / Art Resource, 182 Fall 2018 Fall 2018 183 Van Gogh painted more than three dozen self-portraits, a self-examination rivaling that of Rembrandt. The 1889 picture, created after he injured himself, seems to show a restored left ear, but depicts his right ear seen in reverse in the mirror. From left: Self-portrait with Straw Hat, 1887, oil on cardboard, 40.9 cm x 32.8 cm, located at the Van Gogh Museum, Amsterdam, the Netherlands; Self-Portrait as a Painter (Self-portrait before Easel), 1887-1888, oil on canvas, 65.1 x 50 cm, located at the Van Gogh Museum, Amsterdam, the Netherlands; Self-Portrait, 1887, oil on canvas, 44.1 x 35.1 cm, located at Musée d’Orsay, Paris; Self-Portrait Dedicated to Paul Gauguin, 1888, oil on canvas, 61 x 50 cm, located at the Fogg Art Museum, Harvard Art Museums, Cambridge, MA; Self-Portrait, 1889, oil on canvas, 65 x 54.5 cm, located at Musée d’Orsay, Paris. ince he died from a self-inflicted gunshot wound in 1890, the world has venerated Vincent van Gogh. SFew artists have been as obsessively studied and perhaps none is more adored by the general public.
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Camille Pissarro's Jardinière (1884-1885) in the Context of His
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
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Information to Users
INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23” black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. 8710060 Walls, Gary Neil METAPHORICAL RELEVANCE AND THEMATIC CONTINUITY IN THE EARLY PAINTINGS OF PAUL CEZANNE, 1865-1877 The Ohio State Universily Ph.D. 1987 University Microfilms International300 N. Zeeb Road. Ann Arbor, Ml 46106 Copyright 1987 by Wells, Gary Neil All Rights Reserved PLEASE NOTE: in all cases this material has been filmed In the best possible way from the available copy.
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Art Between Beauty and Health: Eo-Impressionism, Color Therapy
Fȱውɨ ዄĞ༳ʧૡዅȱۀÏŹƂʧ͗ Art between Beauty and Health: eo-Impressionism, Color Therapy, and Homeopathy Yukiko KATOb Paul Signac’s Forgotten Letter This essay will consider an understudied dimension of the Neo-Impressionist movement, namely the group’s interest in homeopathy and color therapy, the relation of such views to their founding of a short-lived Neo-Impressionist boutique at 20 rue Lafitte, Paris. The founders of the boutique included almost all the members of Neo-Impressionism, such as Paul Signac, Maximilien Luce, Henri-Edmond Cross, Hippolyt Petitjean, Théo Van Rysselberghe, Charles Angrand, and Camille Pissarro and his three sons Lucien, Georges, 1 and Félix. The boutique founded by the artists as a collective enterprise was based on the anarcho-communist ideal of mutual aid and through it they sought to give every participant equal rights. It was a left-wing boutique that promoted direct marketing, equal opportunity, and mutual aid, in direct opposition to the 2 renowned commercialism of the Durand-Ruel gallery. Although this project was short-lived, and having 3 opened in 1893 and closed in 1894 due to its commercial failure, the boutique held four important collective 4 exhibitions of Luce, Signac, Cross, Petitjean, and Van Rysselberghe. It unequivocally played a central role in the dissemination of Neo-Impressionist aesthetics and politics. Significantly, the facade of this gallery was painted with bright blue and red letters. The group’s choice of glittering red and blue for their boutique was not merely to create attractive decoration, it had deep implications for their artistic philosophy. Some time in the winter of 1893-1894, Signac wrote about the boutique in a letter to his colleague Van Rysselberghe (Figure 1).
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To Theo Van Gogh and Jo Van Gogh-Bonger. Auvers-Sur-Oise, Tuesday, 20 May 1890
To Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, Tuesday, 20 May 1890. Tuesday, 20 May 1890 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. no. b684 V/1962 Date: The letter was most likely written on the day of Van Goghs arrival in Auvers. In this letter he tells about his first visit to Gachet and reflects on his stay in Paris. Dr Gachet noted in his diary on 20 May: M. Van Gogh. See Paul Gachet, Deux amis des impressionnistes: le docteur Gachet et Murer. Paris 1956, p. 106. On 20 May 1890 Jo van Gogh-Bonger made entries in her Household book for railway and carriage (0.20 en 2.00 francs, respectively). These expenses presumably indicate that Vincent went to the station that day (Wednesday, 21 May contains no entries that could be connected with his departure on that day). See Household book of Mrs Theodorus van Gogh-Bonger, April 1889 - September 1891 (FR b2211). Jos brother, Andries Bonger, wrote on 21 May 1890 to his parents: Vincent the painter has already left (FR b1852). On the basis of this information, we have dated Van Goghs letter to Tuesday, 20 May 1890. Twenty-five years later, however, Jo said that Vincent had left on 21 May (Brieven 1914, p. lxi), though her reasons for saying this are not clear. Additional: Original [1r:1] Mon cher Theo et chre Jo Aprs avoir fait connaissance avec Jo il me sera dsormais difficile dcrire Theo seul mais Jo me permettra jespre decrire en franais parceque aprs deux ans dans le midi reellement je crois, ainsi faisant, mieux vous dire ce que jai dire.
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Mary Cassatt Biography
Paul Cézanne (1839 –1906) was a French artist and Post-Impressionist Grand Master, whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour (realism) to a new and radically different world of art in the 20th century (mind’s eye). Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of color and small brushstrokes, which build up to form complex fields. The paintings convey Cézanne's intense study of his subjects. Insomuch as the phenomenon of optics ruled his style, Cézanne can be said to form the bridge between late 19th-century Impressionism and the early 20th-century's new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne, after all, "is the father of us all." Lifetime output of prints: 8 -- five etchings and three lithographs (two in color, one in B&W) “Portrait of Guillaumin with the Hanged Man” is Cézanne’s second etching (1873). Famously, Cézanne had to be coaxed into printmaking in the first place, most notably by fellow artists Camille Pissarro and Armand Guillaumin, both Impressionist painters and printmakers of notoriety. The third ‘lobbyist’ was Dr. Gachet, a French physician most famous for treating the painter Vincent van Gogh during his last weeks in Auvers-sur- Oise. Gachet was a great supporter of artists and of the Impressionist movement. In fact, he himself was an amateur painter and etcher, signing his works "Paul van Ryssel" (literally, ‘Paul of Lille’ in Dutch). The tiny hanged man in the upper-left corner of the etching is a reference to a Cézanne painting “The Hanged Man’s House,” done at Auvers-sur-Oise, the country town wherein Gachet lived.
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Neurological Stamp
596 Becker, Becker, Seufert, Hofmann, Lange, Naumann, et al 58 Kuhn W, Fuchs G, Laux G, et al. Clinical and biochemical 61 Hillegaart V. Functional topography of brain serotonergic characteristics in early depression in Parkinson’s disease. In: pathways in rat. Acta Pysiol Scand Suppl 1991;598:1–54. Przuntek R, Riederer P, eds. Early diagnosis and preventive 62 Ungerstedt U. Stereotactic mapping of the monoamine therapy in Parkinson’s disease. Wien: Springer, 1989:49–54. pathways in rat brain. Acta Psychiatr Scand 1971;367:1–48. 59 Phillips AG, Fibiger HC. The role of dopamine in maintain- 63 Simson PE, Weiss JM. Altered activity of the locus coeruleus ing intracranial self-stimulation in the ventral tegmentum, in an animal model of depression. Neuropsychopharmacol- nucleus accumbens, and medial prefrontal cortex. Cana- ogy 1988;1:287–95. dian Journal of Psychology 1978;32:58–66. 64 Nakamura S. Axonal sprouting of the noradrenergic locus 60 Deakin JF. Depression and 5HT. Int Clin Psychopharmacol coeruleus neurons following repeated stress and antide- 1991;6(suppl 3):23–8. pressant treatment. Prog Brain Res 1991;88:587–98. NEUROLOGICAL STAMP Paul Ferdinand Gachet (1828-1909) Paul Ferdinand Gachet was a general practitioner with a training in mental ailments. His thesis (1858) entitled Étude sur la Mélancholia contained principles for the moral treatment of the insane. Gachet’s system of therapy for melancholies was based on three principles, admission to hospital, therapeutic activities, and psychological support. For physical therapy Gachet allowed the use of warm baths to calm anxious patients. He strongly condemned the prevalent use of phlebotomy and purgation.
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DOCTOR GACHET’S
PAUL-FER DINAND GACHET MÉDECIN, 1828 1909 COLLECTIONNEUR ET GRAVEUR S'INSTALLE DANS CETTE MAISON EN 1872 QUI DEVIENT POUR LUIMÊME ET SES AMIS ARTISTES UN LIEU D'INSPIRATION DOCTOR GACHET’s 78, rue Gachet 95430 AUVERS-SUR-OISE house 01 30 36 81 27 • www.valdoise.fr and its history The house and garden of Doctor Gachet © Conseil départemental du Val d’Oise. Photo Michel Jourdheuil. CONTENTS 5 The Garden 7 GACHET the Doctor 9 GACHET the Artist 11 The collection 13 traces of the Past 15 vincent van gogh 17 The other Artists 23 Engraving 25 The Eclectiques 27 PAUL GACHET FILS 29 The Women of the House 31 The vandenbrouckeS 4 The Garden Facing due south and backed against the limestone cliff, the garden – tousled and full of flowers - prolongs terraces, crannies, and openings onto the former quarries or troglodytic annexes which give it its originality. In Doctor Gachet’s time the garden had many domestic and farmyard animals; there were eight cats, geese, ducks, rabbits, and a goat, Henriette - whom Gachet’s son, wrapped up in large black heavy woollen cloak, took for walks through the alleyways of Auvers. The garden played an important part in the phytotherapy and homeopathy practised by Doctor Gachet. It contains a wide variety of medicinal plants. The foxglove is very toxic. In medicine its leaves are used as a cardiotonic to treat various disorders and heart failure. Vincent van Gogh painted Doctor Gachet in an attitude of melancholy reflecting the “the heartbroken expression of our time” and with a foxglove flower which – owing to its powers to cure, comfort, and pacify – recalls his medicinal calling.
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AUBERGE RAVOUX (Ravoux Inn) Called the House of VAN GOGH
Beat: Arts AUBERGE RAVOUX (Ravoux Inn) called the House of VAN GOGH The INN & The BEDROOM PARIS - AUVERS-SUR-OISE, 25.03.2017, 17:03 Time USPA NEWS - Vincent Van Gogh was a Dutch Post-Impressionist painter who is among the most famous & influential figures in the History of Western art. In just over a decade he created about 2,100 artworks, including around 860 Oil Paintings, most of them in the last two years of his life in France, where he died Vincent Van Gogh was a Dutch Post-Impressionist painter who is among the most famous & influential figures in the History of Western art. In just over a decade he created about 2,100 artworks, including around 860 Oil Paintings, most of them in the last two years of his life in France, where he died. They include landscapes, still lifes, portraits and self-portraits, and are characterised by bold colours and dramatic, impulsive and expressive brushwork that contributed to the foundations of Modern Art. His suicide at 37 followed years of mental illness and poverty. He drifted in ill health and solitude before taking up painting in 1881, having moved back home with his parents. His younger brother Theo Van Gogh supported him financially, and the two kept up a long correspondence by letter. In 1886 he moved to Paris, where he met members of the avant-garde, including Ã‰mile Bernard & Paul Gauguin, who were reacting against the Impressionist sensibility. Vincent Van Gogh suffered from psychotic episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly and drank heavily.
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Sky & Telescope
A FIFTH NIGHT-SKY PAINTING BY VINCENT VAN GOGH HAS REAPPEARED AFTER BEING LOST FOR A HALF CENTURY. WHAT CELESTIAL OBJECT DID HE INCLUDE IN WHITE HOUSE AT NIGHT? O + uring the last century four paintings by Vincent van Gogh have emerged as the most familiar and often-reproduced images of the night sky. Cafe Terrace at Night and Starry Night Over the Rhône depict the heavens above Arles, a town in Provence in southern France. In nearby St. Rémy he created the famous Starry Night as well as Road with Cypress and Star. But recently, to the astonishment of the art world, a ﬁfth night-sky painting by van Gogh has resurfaced at the State Hermitage Museum in St. Petersburg, Russia. In his exhibition catalog, Hidden Treasures Revealed (1995), Albert Kostenevich explains: The paintings in this book were long thought to have been destroyed in the war. Only now has it been revealed that they spent the last half century hidden in the store- rooms of the Hermitage, their existence a carefully guard- ed state secret....Outstanding paintings include several BY DONALD W. OLSON, RUSSELL L. DOESCHER, AND THE SOUTHWEST TEXAS HONORS ASTRONOMY CLASS 34 April 2001 Sky & Telescope STATE HERMITAGE MUSEUM, ST. PETERSBURG, RUSSIA by van Gogh, among them his remarkable White House at Night, Kostenevich describes the Russian pursuit of the retreating painted six weeks before his death and depicting the kind of noc- German army in 1945: turnal sky seen in his well-known Starry Night.... Private collections and museum objects ...found their way The pictures in this book ...have a most unusual history...
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