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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. -
Annual Report 2010 Kröller-Müller Museum Introduction Mission and History Foreword Board of Trustees Mission and Historical Perspective
Annual report 2010 Kröller-Müller Museum Introduction Mission and history Foreword Board of Trustees Mission and historical perspective The Kröller-Müller Museum is a museum for the visual arts in the midst of peace, space and nature. When the museum opened its doors in 1938 its success was based upon the high quality of three factors: visual art, architecture and nature. This combination continues to define its unique character today. It is of essential importance for the museum’s future that we continue to make connections between these three elements. The museum offers visitors the opportunity to come eye-to-eye with works of art and to concentrate on the non-material side of existence. Its paradise-like setting and famous collection offer an escape from the hectic nature of daily life, while its displays and exhibitions promote an awareness of visual art’s importance in modern society. The collection has a history of almost a hundred years. The museum’s founders, Helene and Anton Kröller-Müller, were convinced early on that the collection should have an idealistic purpose and should be accessible to the public. Helene Kröller-Müller, advised by the writer and educator H.P. Bremmer and later by the entrance Kröller-Müller Museum architect and designer Henry van de Velde, cultivated an understanding of the abstract, ‘idealistic’ tendencies of the art of her time by exhibiting historical and contemporary art together. Whereas she emphasised the development of painting, in building a post-war collection, her successors have focussed upon sculpture and three-dimensional works, centred on the sculpture garden. -
Vincent Van Gogh, the Letters: the Complete Illustrated and Annotated Edition Edited by Leo Jansen, Hans Luijten, and Nienke Bakker
Petra ten-Doesschate Chu book review of Vincent van Gogh, The Letters: the Complete Illustrated and Annotated Edition edited by Leo Jansen, Hans Luijten, and Nienke Bakker Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Citation: Petra ten-Doesschate Chu, book review of “Vincent van Gogh, The Letters: the Complete Illustrated and Annotated Edition edited by Leo Jansen, Hans Luijten, and Nienke Bakker,” Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010), http://www.19thc- artworldwide.org/autumn10/vincent-van-gogh-the-letters. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Chu: Vincent van Gogh, The Letters: the Complete Illustrated and Annotated Edition Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Vincent van Gogh, The Letters. The Complete Illustrated and Annotated Edition. Edited by Leo Jansen, Hans Luijten, and Nienke Bakker New York: Thames and Hudson, 2009. Paper edition; 6 vols., and a CD-ROM Web edition at www.vangoghletters.org ISBN-10: 0500238650; ISBN-13: 978-0500238653 $976.98 In April 1889, soon after Theo van Gogh's new bride Johanna ("Jo") Bonger had moved into his apartment in the Cité Pigalle in Paris, she discovered, in the bottom drawer of a small bureau, hundreds of yellow envelopes holding letters from her husband's brother Vincent. The contents of the drawer grew as new letters arrived on a nearly weekly basis. After Vincent's death, in July of the following year, Theo spoke with Jo, as well as with others, such as the critic Albert Aurier, about the publication of the letters, but his own sickness and death, only six months later, put an end to these discussions. -
Vincent Van Gogh
VINCENT VAN GOGH Le Moulin d’Alphonse Daudet à Fontvieille, June 1888 VINCENT VAN GOGH Le Moulin d’Alphonse Daudet à Fontvieille, June 1888 1. VINCENT VAN GOGH Le Moulin d’Alphonse Daudet à Fontvieille, June 1888 dickinson 2. dickinson 4. dickinson VINCENT VAN GOGH Le Moulin d’Alphonse Daudet à Fontvieille, June 1888 5. VINCENT VAN GOGH Le Moulin d’Alphonse Daudet à Fontvieille, June 1888 With inscriptions by J.H. de Bois, verso lower right aquarelle de Vincent van Gogh provenant de la collection de son frère, Theo van Gogh, et garantie aussi par nous. La Haye Dec. 1912, Artz de Bois and verso upper right, in pencil Cat 7/711; inscription by Johanna van Gogh Bonger, verso upper left no 5; and inscription in an unidentified hand, verso lower left A19/2224. Reed pen and watercolour on wove paper, with traces of underdrawing in pencil 30.2 x 49 cm. (11 4/5 x 19 ¼ in.) PROVENANCE Theo van Gogh, Paris, 1890-91, and thence to Johanna van Gogh Bonger (1891 – 1912), Paris and Amsterdam. Erich Schall, Berlin, acquired from the above in Dec. 1912 (for 2000 Guilders). Dr Heinrich Stinnes (1867 – 1932), Cologne-Lindenthal. Private Collection, Germany. Anon. sale; Galerie Wolfgang Ketterer, Munich, 29 Nov. 1976, lot 1034 (as dated September 1888). Dr Peter Nathan (1925 – 2001), Zurich, acquired at the above sale. Hazlitt, Gooden & Fox, London. Private Collection, acquired from the above. LITERATURE List written by Johanna van Gogh Bonger with 52 drawings sent to Ambroise Vollard, including 12 watercolours from the French period, 1896, no. -
La Relève Critique D'albert Aurier
La relève critique d’Albert Aurier Julien Schuh To cite this version: Julien Schuh. La relève critique d’Albert Aurier. Colloque international ” Les revues, laboratoires de la critique (1880-1920) ”, Nov 2007, Le Mans, France. hal-00987276 HAL Id: hal-00987276 https://hal.archives-ouvertes.fr/hal-00987276 Submitted on 5 May 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. LA RELÈVE CRITIQUE D’ALBERT AURIER Julien Schuh Il ne s’agit pas pour moi de revenir une nouvelle fois sur Aurier, découvreur héroïque de Gauguin et de van Gogh, méconnu et pourtant tant lu. Ce qui m’a intéressé dans sa figure, c’est moins sa présence que sa disparition : en mourant opportunément le 5 octobre 1892, à vingt-sept ans, d’une fièvre typhoïde qu’il refusa crânement de faire soigner, Aurier nous a donné l’occasion d’observer ce que l’effacement d’une figure importante dans un champ critique donné peut révéler de la structuration dudit champ. Cet instant de tension met à nu les rouages et permet de mesurer les influences réelles, les polarisations, et d’analyser, par l’appel d’air créé, les effets de carambolage, la redistribution des critiques, des éloges et des blâmes. -
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. -
Vincent Van Gogh Experienced Another Devastating Life Event
STUDYING ART, FEELING PAIN 0. STUDYING ART, FEELING PAIN - Story Preface 1. EARLY LIFE 2. AN ARTIST IS BORN 3. STUDYING ART, FEELING PAIN 4. THE FIRST MASTERPIECE 5. THE PARIS YEARS 6. INFLUENCE of JAPANESE ART 7. EARLY LIFE in ARLES 8. THE BANDAGED EAR 9. VINCENT at SAINT-REMY 10. THE ATTACKS CONTINUE 11. PAINTING in AUVERS-sur-OISE 12. WORRIES and TURMOIL 13. VINCENT COMMITS SUICIDE 14. THE SADNESS WILL LAST FOREVER Vincent painted “The Vicarage at Nuenen,” where his parents were living in 1885, between the months of September and October that year. The original is now owned by the van Gogh Museum in Amsterdam. Nuenen is located in the south-central area of The Netherlands. To study art, van Gogh moved to Brussels where he was financially supported by his father and younger brother Theo. But Vincent didn't really like formal training in an academic setting, and scholars dispute whether he was actually accepted by the Ecole des Beaux-Art in Brussels. He made progress on his own, however, as he studied - and copied - works by his favorite artist, Jean-François Millet, such as The Sower and Angelus. Before getting too far ahead of himself, Vincent also studied the basics. Charles Bargue, a Frenchman, had designed courses which Vincent ferociously practiced. He told Theo that Exercises au fusain (how to use your pencil) and Cours de dessin (the drawing course, republished in 2003) were especially helpful. Only a few of his drawings from this time period survive. Brussels, in 1881, was an expensive place to live. -
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. -
Eduard Vuillard: Exploring the Limits of Intimism Belinda Thomson Henri
Eduard Vuillard: Exploring the Limits of Intimism Belinda Thomson Henri de Toulouse-Lautrec’s “Femmes de Maison”: The “Back” Story Richard Thomson April 1, 2010 Dallas Museum of Art Horchow Auditorium Olivier Meslay: Good evening, and welcome the Dallas Museum of Art’s Late Night and to this evening’s lecture. I am Olivier Meslay, Senior Curator for European and American Art and the Barbara Thomas Lemmon Curator for European Art here at the DMA, and it’s my privilege to introduce you to tonight’s speakers, Belinda and Richard Thomson, as part of our Richard R. Brettell Lecture Series. Richard and Belinda Thomson will speak not together, but successively. They will enlighten us, commenting on works from the collection of another formidable couple, Wendy and Emery Reves, as part of a year-long celebration of the jubilee of the Reves Collections coming to Dallas Museum of Art. Belinda Thomson is now an independent art historian and an Honorary Fellow at the University of Edinburgh. She curated many exhibitions on both sides of the ocean. Belinda shares with Richard interests for some same artists, but had focused more on the later generation with artists like Vuillard and Bonnard. She will talk tonight on “Vuillard: Exploring the Limits of Intimism.” Vuillard is one of the artists best represented in our collection with six paintings, two in the Reves Collection, one given by Mrs. Margaret McDermott, one given by Mr. and Mrs. Barron Kidd, and another by the Bromberg family and one by the Meadows Foundation. I do not mention the works on paper, drawings, and prints and it would be a real pleasure to learn more about them. -
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. -
Looking East: Vincent Van Gogh and Japan
Looking east: Vincent van Gogh and Japan CLIVE YOU Abstract During the formative years of his life in Arles, Vincent van Gogh became deeply enamoured with the art of Japan. This vision, while short-lived, was crucial for the eventual flowering of his unique painting style. Therefore, it is vital for us to understand the Japanese aesthetics and philosophy hidden in his paintings. This article commences with a discussion on the origins of van Gogh’s Japonism interests, and then proceeds with an analysis of how this manifested itself in three periods of his ‘Japanese Era’, including where it drew on Japanese study, philosophy and utopia as well as paintings and prints. The visual analysis technique is widely utilised in this article to consider van Gogh’s paintings and the Japanese influences on their colour, line, texture and size. The research shows that van Gogh established a rich connection to Japanese aesthetics and created the largest numbers of masterpieces of his career in his ‘Japanese Era’. Origin Vincent van Gogh first expressed an interest in Japonaiserie in 1885 while he stayed in Antwerp. At that time, he already owned some Japanese prints; their exotic nature was the primary reason for his fondness of them. In one of his letters, he wrote that he was very much delighted by the Japanese prints he pinned on his walls. Later, when he moved to Paris, he read far more about Japan, and studied a substantial number of Japanese prints. The countryside played a more important role in his career and in his existence as an artist because of the inspiration of peace and beauty that nature provided to his work.1 Eventually, while he lived in Arles, Japanese art and philosophy became major inspirations for van Gogh, affecting his paintings, behaviours and values. -
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.