DOCSLIB.ORG

Read Book the Sunflowers Are Mine: the Story of Van Goghs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Book the Sunflowers Are Mine: the Story of Van Goghs THE SUNFLOWERS ARE MINE: THE STORY OF VAN GOGHS MASTERPIECE PDF, EPUB, EBOOK Martin Bailey | 240 pages | 05 Sep 2013 | Frances Lincoln Publishers Ltd | 9780711232983 | English | London, United Kingdom The Sunflowers are Mine: The Story of Van Goghs Masterpiece PDF Book I learned quite What a gorgeous book! What a stroke of luck! Martin Bailey has written a wonderful exploration of Vincent van Gogh and some of the most famous sunflowers in history. I am reviewing this book the Sunflowers are Mine for Martin Bailey, Quarto Publishing and NetGalley who gave me a copy of their book for an honest review. Relations with his family, which were frequently fraught, only deteriorated. White Lion Publishing. Around the BBC. This is a very readable study of Van Gogh's life as seen through the creation of his 7 paintings of sunflowers; the second half gives us the histories of the paintings since Van Gogh's death. But the weather improved, and — characteristically — he raced off on another idea. In Le Moulin de Blute-Fin, the vibrant greens of the hillside and the blues of the sky reveal the influence of French contemporary art. But she was not alone in her reaction. Some months aft erwards the paintings were sold off for a pittance when Le Tambourin was hit by a financial crisis — and they were never seen again. Painters understand nature and love it, and teach us to see. About Martin Bailey. Alastair Sooke shows how these masterpieces came to be. It is only pages, but they are well employed. You know the saying: There's no time like the present He fell fascinated by sunflowers once in Paris in But I don't know much about it. Last came 15 sunflowers, a roaring yellow on yellow. As it happens often, people bring home used book a Can you believe possible such luck? Martin Bailey. In , while lodging in Brixton, in south London, he wrote that 'I'm doing a lot of gardening and have sown sweet peas, poppies and reseda'. The next, with six yellow flowers backed by rich royal blue, was more audacious this was destroyed in a bombing raid on Japan in the Second World War. The attraction of this wonderful book is not only due to the sumptuous photographs of Van Gogh's mesmerising iconic works but also the informative and lucid prose provided by Martin Bailey who is a leading Van Gogh specialist and has curated several Van Gogh exhibitions. Of course, Van Gogh was not concerned with botanical accuracy. Bennychops rated it it was amazing Jan 02, They also made an ideal subject to tackle in the slightly cramped room in Theo's apartment which served as his studio. Hands down, Vincent is my favourite artist of all time. When the epoch-making exhibition Manet and the Post-Impressionists opened in London in November , it contained not one, but two of the Sunflowers. As it happens often, people bring home used book and they end in the pile of the "I want to read" books. Seeds to Tahiti, , If you love art, this book is for you! No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher. I would recommend this book if you are interested in Vincent Van Gogh enough to wade through a very detailed account of one aspect of his painting specifically his work that involved sunflowers. It has not been exhibited since , when it was lent to the Cleveland Museum of Art for a month. Sherry rated it it was amazing Nov 15, At one point, Van Gogh planned to paint 12 sunflower pictures to hang on the walls of his dwelling the Yellow House. Excerpts are provided by Dial-A-Book Inc. Sign in to Purchase Instantly. These colours were typical of The Hague School artists, who had been fashionable in the Netherlands since the s. Bloodshed was averted with difficulty. That's what I'd call simplicity of technique. This came from the Restaurant du Chalet, a modestly priced establishment just below Montmartre where Van Gogh was a frequent customer. Grade: B This one follows the traumatic decision of Van Gogh of cutting his own ear, a self-injury punishment he inflicted to himself for who knows which reason and the quick departure from Arles of the same Gaugin after the terrible fact. Vincent stayed in The Hague for two years, making real progress with drawing and then painting. At the age of twenty-seven Van Gogh changed tack. Early in the summer of , Theo had written to their mother, reporting back that Vincent had happily settled into working in Paris, 'painting flowers mostly, mainly in order to make his next paintings more colourful'. The Sunflowers are Mine: The Story of Van Goghs Masterpiece Writer In late November and early December, Gauguin painted a portrait of Van Gogh, portraying him at work before a bouquet of blooms, as The Painter of Sunflowers. David Hockney — a sun-seeking artist whose vivid palette owes much to Van Gogh — painted his own sunflowers in tribute to Van Gogh. It was probably this request that prompted Van Gogh to paint copies of both the yellow-on-blue-green and yellow-on-yellow Sunflowers. Two plants towards the right have touches of yellow which enliven the dark greens of the vegetation behind. This is a wonderful art book for art Gorgeous art, great history, good technical info all about Vincent Van Gogh and his revolutionary painting style, his favorite color- yellow. She replied insisting the picture would always stay in the family. Van Gogh painted his first sunflowers in Montmartre in the summer of , a few months after his arrival in Paris to stay with his brother. Log in Subscribe. By Alastair Sooke 21st January Sort order. Thank you! As he had written to Theo a year before his arrival: 'There's a school — I believe — of — Impressionists. Beautiful, lovely book. Before Van Gogh's arrival in Paris, he had painted surprisingly few flower still lifes — only a couple or so pictures done while staying with his parents in Nuenen. Escape the Present with These 24 Historical Romances. But she was not alone in her reaction. A timeline and full bibliography are included, making this an accessible volume for the general reader as well as a useful one for the scholar and art historian. Its boisterous clientele was immortalised by artists such as Pierre-Auguste Renoir, Henri de Toulouse-Lautrec and Pablo Picasso, who focused on the characters who swarmed to Montmartre to spend or earn money. I learned The sunflower is mine, in a way. Last few chapters trace the ownership of the sunflower pictures, tracing the changes in price. Van Gogh didn't choose of portraying a sophisticated life; he went in particular for common people, countrysides, the work of peasants; he was interested to capture the colors of life seen and read examining the daily life. A second picture, again with three flowers in a pot as well as three more on the table in the foreground, in front of a a rich royal blue wall, was destroyed during the American bombardment of the Japanese town of Ashiya in Early in the summer of , Theo had written to their mother, reporting back that Vincent had happily settled into working in Paris, 'painting flowers mostly, mainly in order to make his next paintings more colourful'. It is only pages, but they are well employed. Luke McDonald rated it really liked it Jul 18, Books by Martin Bailey. Alastair Sooke shows how these masterpieces came to be. Get A Copy. Please update your billing details here to continue enjoying your access to the most informative and considered journalism in the UK. A single sunflower with huge leaves looms almost threateningly over the figure of an elderly woman. Based on original research, the b This is the story of one of the world's most iconic images. It has not been exhibited since , when it was lent to the Cleveland Museum of Art for a month. In , at the age of sixteen, he joined as a young assistant at their gallery in The Hague, before being transferred to London and later to Paris. Gorgeous art, great history, good technical info all about Vincent Van Gogh and his revolutionary painting style, his favorite color- yellow. When Van Gogh left Cormon's studio in June, it was the perfect month for floral still lifes. The Impressionists' technique of using numerous small but visible brushstrokes to capture the transient effects of light had an immediate impact on Van Gogh. That years were the most illuminating, most precious, more perfect ones for this artist. Van Gogh embarked on these on Monday, August 20, temporarily forced to work indoors by a Mistral wind which, he complained, blew over his canvas and easel when he painted outdoors. Welcome back. This book traces the journey of all 7 of his Sunflower paintings from their inception, to what happened to them after his death. Still Lifes, 50, 4. Mar 04, Valentina rated it it was amazing. Absolutely stunning and enjoyable read. The Sunflowers are Mine: The Story of Van Goghs Masterpiece Reviews The book delves into the influences of the time that led Van Gogh to paint these flowers, along with the mental fragility that led him to doubt his own talent. Last came 15 sunflowers, a roaring yellow on yellow. The next, with six yellow flowers backed by rich royal blue, was more audacious this was destroyed in a bombing raid on Japan in the Second World War.
Load more

Recommended publications
  • To Theo Van Gogh, the Hague, on Or About Friday, 13 July 1883
    To Theo van Gogh, The Hague, on or about Friday, 13 July 1883. on or about Friday, 13 July 1883 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b323 V/1962 (sheet 1) and b1036 V/1962 (sheet 2) Date: Vincent asks Theo to send a little extra, because he is already broke as a result of spending money in order to be able to start painting in Scheveningen (l. 49 and ll. 82-85). That places this letter after letter 361 of on or about 11 July 1883, since there he wrote that he wanted to work in Scheveningen. It must also have been written before the coming Sunday, when he is expecting a photographer (l. 79; in letter 363 this photographer indeed turns out to have come). We therefore date the letter on or about Friday, 13 July 1883. Additional: Original [1r:1] Waarde Theo, Voor ik naar Schevening ga wou ik nog even een woordje met U praten. Ik heb t maar eens doorgezet met de Bock dat ik bij hem een pied terre krijg. Misschien zal ik nu & dan bij Blommers eens aangaan ook.1 En dan is mijn plan een tijd lang Schevening geheel & al als hoofdzaak te beschouwen, smorgens er heen te gaan en den dag te blijven, of anders als ik thuis moet zijn dat thuis zijn in t middaguur te stellen als t te warm is en dan savonds er weer heen. Dit zou me nieuwe idees geven vertrouw ik, en rust, niet door stilzitten maar door verandering van omgeving en bezigheid.
    [Show full text]
  • Art Assignment #8
    Art Assignment #8 Van Gogh Unit Van Gogh Reading/Reading Guide Due Friday, May 15, @4p Dear Art Class, Please read pages 39-61 of the van Gogh book and answer questions 79-139 of the reading guide. Please start this assignment right away. Try to pace yourself and answer at 15 questions per day. If you are part of Google Classroom turn in your google doc there. Please start a new Google Doc with questions and answers. Good luck! Hope everyone is doing well! Mr. Kohn VAN GOGH BOOK READING GUIDE QUESTIONS Pages 39-61 Vincent the Dog 1883-85 I am getting to be like a dog, I feel that the future will probably make me more ugly and rough, and I foresee that “a certain poverty” will be my fate, but, I shall be a painter. --Letter to Theo, December 1883 Vincent came home ready to give his parents another chance to do the right thing. If only his father would apologize for throwing him out of the house, they could all settle down to the important business of Vincent’s becoming an artist. Mr. van Gogh didn’t see it that way. He and Vincent’s mother welcomed their thirty-year-old problem child, but they were ambivalent at the prospect of having him back in the nest. After a few days Vincent wrote humorously yet bitterly to Theo, comparing himself to a stray dog. 39 Dear brother, I feel what Father and Mother think of me instinctively(I do not say intelligently). They feel the same dread of taking me in the house as they would about taking in a big rough dog.
    [Show full text]
  • 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.
    [Show full text]
  • Feeling Hot, Cold and Wet and Cold Hot, Feeling Copyright 2003, 2012 John F
    Feeling Hot, Cold and Wet Feeling Hot Visual Arts Lessons • Here Come the Clouds • Rain Again? • Favorite Seasons Drama Lessons • Here Comes the Sun • Storms and Sounds • Snow Sculptures Dance and Movement Lessons • Storm Dance • Wind Effects • Hot and Cold Music Lessons • Weather Report • Breezy Chimes • Rain Song Copyright 2003, 2012 John F. Kennedy Center for the Performing Arts. May be reproduced for educational and classroom purposes only. Feeling Hot VISU Here Come the Clouds AL AR Creating clouds with tissue paper collage TS Learning Objectives I Express thoughts and ideas about clouds and the experience of making a collage. I Recognize the shapes and colors of clouds and sky. I Build vocabulary related to the sky and to collage. I Use collage glue and tissue paper. I Tear paper into shapes. I Arrange papers, overlapping them and affixing them to a surface. I Create a collage with tissue paper that shows clouds in the sky. Materials 9"x12" heavy drawing or construction paper, sky colors Larger construction paper for mounting finished artwork TIP Newsprint paper to practice tearing Keep your collage to Tissue paper, assorted sky and cloud colors yourself. Allow children to Collage glue Brushes discover their own Preparation expressions without adult examples. Mix collage glue 3 parts white glue with 1 part warm water • Combine in a jar or bottle with a screw-top lid. • Shake until well mixed. • Transfer to plastic containers for children’s use. 281 Experiment with your own tissue paper collage before the activity to become 281 familiar with the process. T START WITH THE ARTS • VSA arts FEELING HOT, COLD AND WET • Here Come the Clouds • TS INCLUDING ALL CHILDREN AR Teach children the American Sign Language signs for “sky” and “cloud,” and AL use the signs throughout the lesson.
    [Show full text]
  • Aia News-Service
    AiA news-service Van Gogh Had Many Friends, and Even a Girlfriend. A New Show Seeks to Debunk the Myth of the ‘Lonely, Tormented Artist’ An exhibition in Den Bosch counters the popular misconception of the artist as outsider. Nina Siegal, September 20, 2019 L’Arlésienne (Madame Ginoux) by Vincent van Gogh. (1890). Galleria Nazionale d’Arte Moderna e Contemporanea, Rome. By permission of Ministero per I Beni e delle Attività Culturali. In the summer of 1879, Vincent van Gogh was living in the Borinage, a poor coal mining region of Belgium, working as a priest. He sat down to write a letter of gratitude to his brother, Theo, who had recently come for a visit. “Like everyone else,” he wrote. “I have need of relationships of friendship or affection or trusting companionship, and am not like a street pump or lamp-post, whether of stone or iron, so that I can’t do without them without perceiving an emptiness and feeling their lack, like any other generally civilized and highly respectable man.” Through such feelings of connection to others, van Gogh wrote, “one is aware that one has a reason for being, that one might not be entirely worthless and superfluous but perhaps good for one thing or another.” Helewise Berger, curator of the exhibition “Van Gogh’s Inner Circle: Friends, Family, Models” at the Noordbrabants Museum in Den Bosch, which opens tomorrow and runs until January 12, 2020, said that it was time for a museum to “do justice to the broad group of people around van Gogh.” The show sets out to explore how his network of family and friends supported him—emotionally, fiscally, and socially.
    [Show full text]
  • Vincent Van Gogh：The Flaming Soul
    Vincent van Gogh：The Flaming Soul 投稿類別：英文寫作類 篇名： Vincent Van Gogh：The Flaming Soul 作者： 徐 彤。北一女中。高三仁班 (Hsu Tong。Taipei First Girls’ Senior High School。Class 3-Ren) 指導老師： 姜文娟 老師 Vincent van Gogh：The Flaming Soul Table of Contents I. Introduction -------------------------------------------------------------------------------------------- P.02 A. Motivation of the Study ----------------------------------------------------------------------- P.02 B. Purpose of the Study --------------------------------------------------------------------------- P.02 C. Scope & Methods of the Study --------------------------------------------------------------- P.02 II. Thesis -------------------------------------------------------------------------------------------------- P.02 A. Biography --------------------------------------------------------------------------------------- P.02 1. Early Life – Intellectual Formation (1853~1880) ---------------------------------- P.02 2. The Beginning in Holland (1880~1885) --------------------------------------------- P.02 3. Apprenticeship Years in Paris (1886~1888) ---------------------------------------- P.03 4. Artistic Breakthrough Period in Arles (1888~1889) ------------------------------- P.03 5. Final Years in Saint-Rémy & Auvers (1889~1890) -------------------------------- P.03 B. Artistic Influences from Predecessors ------------------------------------------------------ P.04 1. Baroque ----------------------------------------------------------------------------------- P.04 2. Ukiyo-e -----------------------------------------------------------------------------------
    [Show full text]
  • The Example of Vincent Van Gogh Denying Forms, Systems and Academicism in Art and Religion Vasiliki Rouska Aristotle University of Thessaloniki, Greece
    Taking and Denying Challenging Canons in Arts and Philosophy edited by Giovanni Argan, Maria Redaelli, Alexandra Timonina The Example of Vincent van Gogh Denying Forms, Systems and Academicism in Art and Religion Vasiliki Rouska Aristotle University of Thessaloniki, Greece Abstract The Dutch post-impressionist artist Vincent Willem van Gogh (1853-90) af- fected the art movements and artists of the 20th century. His artistic thought, symbolic language and perspective on reality was far from that of the painters of his time and so they could not understand him or appreciate his work. Van Gogh did not consider himself to be an academic artist, or his work to be of academic standard. He knew that they were not technically perfect. In van Gogh’s works, art is governed by spirituality. Van Gogh rejected academicism in both art and religion. Keywords Canon. Academicism. Religion. Systems. Symbols. Summary 1 Introduction. – 2 The Example of Vincent van Gogh and His Religious Background. – 3 Rejected by Theological Schools and by His Parents. – 4 Clergymen in van Gogh’s Thought. – 5 Rejecting Religious Academicism. – 6 Van Gogh’s Relationship with Anton Mauve and Their Quarrel. – 7 Anton van Rappard. Another Breakdown. – 8 Christ in the Garden of Olives. Between Different Perceptions. – 9 Van Gogh’s ‘Non- Technique’. – 10 Conclusion. 1 Introduction What is the canon in Art History? According to the glossary of the Nation- al Gallery of Art (London), ‘canon’ is: the conventional timeline of artists who are sometimes considered as ‘Old Masters’ or ‘Great Artists’. Today’s art history attempts to question these Quaderni di Venezia Arti 4 ISBN [ebook] 978-88-6969-462-2 | ISBN [print] 978-88-6969-463-9 Edizioni Open access 231 Ca’Foscari Published 2020-12-22 © 2020 Creative Commons 4.0 Attribution alone DOI 10.30687/978-88-6969-462-2/011 Vasiliki Rouska The Example of Vincent van Gogh.
    [Show full text]
  • Chanting Flowers by Zsuzsanna Bacsa Palmer
    Palmer Chanting Flowers by Zsuzsanna Bacsa Palmer Ha folyóvíz volnék If I were a river Bánatot nem tudnék No sorrow would I be knowing Hegyek völgyek között Between mountains and valleys Zengedezve járnék I would run forever chanting. Ahol kiterülnék Where I would leave the riverbed Virágot növelnék I would make flowers grow Hegyek völgyek között Between mountains and valleys Virágot növelnék I would make flowers grow. Leányok leszednék The maids would pick the flowers Bokrétába kötnék Tie them into a bunch S az o´´ édesiknek And pin them onto the hats Kalapjára tu´´znék Of their sweethearts. It hasn’t always been like this. Es war nicht immer so. Nem volt mindíg így. In the first half of my life, I was able to think in one language only. I did not have to constantly and unconsciously go through each thought in order to fully understand all the connotations it trilingualism, may have in my three languages. That is the hard part; the thinking, talking to yourself when Dreisprachigkeit there are no listeners. Seeing all the hues of colors that appear with each translation, smelling háromnyelvüség: all the odors, scents, and bouquets. native-like control of I admired people speaking many languages and assumed that they could use them at three languages their liking, but their mother tongue would always prevail as the deepest inner voice. And now that I am in this same situation, I know that songs and prayers stay monolingual. For me, they will always be in Hungarian. However, I also learned that emotions, caresses, and embraces are above any language.
    [Show full text]
  • Vincentiana Vol. 49, No. 1 [Full Issue]
    Vincentiana Volume 49 Number 1 Vol. 49, No. 1 Article 1 2005 Vincentiana Vol. 49, No. 1 [Full Issue] Follow this and additional works at: https://via.library.depaul.edu/vincentiana Part of the Catholic Studies Commons, Comparative Methodologies and Theories Commons, History of Christianity Commons, Liturgy and Worship Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation (2005) "Vincentiana Vol. 49, No. 1 [Full Issue]," Vincentiana: Vol. 49 : No. 1 , Article 1. Available at: https://via.library.depaul.edu/vincentiana/vol49/iss1/1 This Article is brought to you for free and open access by the Vincentian Journals and Publications at Via Sapientiae. It has been accepted for inclusion in Vincentiana by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Via Sapientiae: The Institutional Repository at DePaul University Vincentiana (English) Vincentiana 2-28-2005 Volume 49, no. 1: January-February 2005 Congregation of the Mission Recommended Citation Congregation of the Mission. Vincentiana, 49, no. 1 (January-February 2005) This Journal Issue is brought to you for free and open access by the Vincentiana at Via Sapientiae. It has been accepted for inclusion in Vincentiana (English) by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. VINCENTIANA 49' YI?AR - N. 1 N1 AR1-I k RR1 A Vincentian Reflection on the Eucharist CONGRGGAIION OF Till: MISSION (,I NF:R.\L Gt RI-1 VINCENTIANA Magazine of the Congregation of the Mission Holy See published every two months I \ppoinunents General Curia 49^ Year - N.
    [Show full text]
  • Seeing with Holy Eyes: the Life and Art of Vincent Van Gogh Barbara Meyers
    The Role of the Theologian inUnitarian Times ofUniversalist Terror member of the Graduate Theological Union Seeing with Holy Eyes: The Life and Art of Vincent Van Gogh Barbara Meyers Meyers is fifth-year student at Starr King School for the Ministry. One of the founding members of the Mission Peak Unitarian Universalist Congregation in Fremont, Calif., she created and led a depression support group and is now building a pastoral care program. Her seminary experience marks a career change after 25 years as an IBM software engineer. Everyone has heard of Vincent Van Gogh and seen his work. His is one of the most authentic, original and recognizable artistic styles, and his paintings now bring among the highest prices of any art. As an artist, he undoubtedly was a creative genius, but his career as an artist lasted only 10 years and he sold only one piece of art in his lifetime. And, when he died he felt that he was a failure. What is perhaps less known is that Vincent’s was a devoutly religious spirit who considered all that he did to be an expression of his love of God and a way to teach the Gospel of Christ. In particular, he felt a deep compassion for the downtrodden and drew and painted their lives in solidarity with them and to bring them comfort. He suffered many rejections and failures in his life and didn’t get over them – they wounded him deeply and he remained wounded. It was the fact that he so suffered that allowed him to be compassionate to others.
    [Show full text]
  • VINCENTIANA VINCENTIANA - Année 60 Nº4 Octobre -Décembre 2016
    VINCENTIANA VINCENTIANA - Année 60 Nº4 Octobre -Décembre 2016 ANNÉE 60 N°4 Octobre-Décembre 2016 Quelques reflexions sur l'Assemblée Générale 2016 Couverture: Peinture murale réalisée par le frère Mark Elder, CM de la Province de l'Ouest des Etats-Unis. Elle se trouve sur un des édices de l'Université DePaul CONGRÉGATION DE LA MISSION à Chicago où s'est déroulée l'Assemblée Générale. CURIE GÉNÉRALICE INTRODUCTION 455 Note de l'éditeur VINCENTIANA Magazine publié trimestriellement 1 DE LA CURIE GÉNÉRALICE Congrégation de la Mission Dans notre Curie Généralice - Rome - Italie e Prochain 457 Décret 0003/2016 L'Établissement d'une nouvelle Région 60 Année - N. 4 459 Intervention du SG lors de l'installation de la Région du Venezuela Octobre-Décembre 2016 numéro... 462 Lettre du secrétariat, Catalogue on-line, 11 octobre 2016 Directeur 464 Lettre du SG, communication avec la Curie généralice, 13 oct. 2016 Álvaro Mauricio FERNÁNDEZ, CM Comité de Rédaction 2 DU SUPÉRIEUR GÉNÉRAL Jean LANDOUSIES, CM Javier Álvarez MUNGUÍA, CM 467 Lettre du SG, Fête de Saint Vincent de Paul, 19 septembre 2016 Jorge Luis RODRÍGUEZ, CM Giuseppe TURATI, CM E 475 Circulaire du TEMPS FORT (29 sept - 11 oct.), 21 octobre 2016 482 Lettre du SG, Rome, Appel pour la mission 2016, 25 octobre 2016 R Publication I 492 Lettre du SG, promulgue ofciellement des décisions de l'AG 2016, Curie Généralice de la Congrégation de la Mission 7 novembre 2016 A Via dei Capasso, 30 493 Lettre du SG, attributions aux membres du Conseil, 15 nov. 2016 00164 Rome (Italie) M 496 Lettre de L'Avent : L'Incarnation « ICI ET MAINTENANT », Tel.
    [Show full text]
  • Rembrandt Versus Van Gogh: a Qualitative Contrast Study Applying a Visual Arts Valuation Model
    Rembrandt Versus Van Gogh: A Qualitative Contrast Study Applying A Visual Arts Valuation Model Rene Desborde, [email protected] Kimball P. Marshall, [email protected]* Introduction Few marketing scholars have explored the field of fine arts marketing despite its significance as an area of economic activity and human creativity. Billions of dollars change hands annually in the worldwide visual fine arts industry (Velthuis, 2007; Clark and Flaherty, 2002), defined here to include various paintings, sculptures, and ceramics. This lack of academic attention might be because marketing scholars perceive that issues related to fine arts have little to do with marketing. It could also be that the unique characteristics of fine arts marketing are thought not to lend themselves to a traditional analytical approach to explain a particular artist’s success or lack of success. The inherently subjective nature of art products makes it challenging to identify the factors that determine or influence the “pricing” of a work of art. However, efforts have been made by some marketing scholars to address fine arts valuation. One example is the framework developed by Marshall and Forrest (2011) to identify factors influencing fine arts valuations. The objective of this paper is to illustrate the potential utility of the Marshall-Forrest model factors by contrasting the professional life experiences of two great artists, Rembrandt, who achieved fame and market success during his life, and Van Gogh, who did not receive fame or success until after his death. This paper first reviews the major elements of the Marshall-Forrest model, and then reviews the professional lives of each artist identifying applicable factors from the Marshall-Forrest model.
    [Show full text]