Van Gogh & Japan List of Work
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Van Gogh Museum, Amsterdam (Vincent Van Gogh Stichting)
(detail), 1887. Van Gogh Museum, Amsterdam (Vincent van Gogh Stichting) van (Vincent Gogh Museum, Amsterdam Van 1887. (detail), Courtisane (naar Eisen) Courtisane Vincent van Gogh, van Vincent Van Gogh Museum Jaarverslag 2018 Inhoud Voorwoord Raad van Toezicht 3 1 Verslag van de directie 4 2 Jaaroverzicht 12 2.1 Museale Zaken 13 2.2 De Mesdag Collectie 21 2.3 Publiekszaken 25 2.4 Bedrijfsvoering 35 2.5 Van Gogh Museum Enterprises 39 De ondernemingsraad 43 3 Bijlagen jaarverslag 44 Overzicht organisatie 45 Sociaal jaarverslag 47 Aankopen 49 Schenkingen 53 Steungevers 54 Behandelde werken 58 Bibliotheek en documentatie 64 Bruikleenoverzicht uitgaand 65 Langdurige bruiklenen aan het VGM 83 Langdurige bruiklenen VGM aan andere musea 85 Onderzoeksprojecten 86 Museumpublicaties 88 Relevante nevenactiviteiten 89 Lezingen en academische activiteiten 91 Publicaties medewerkers 94 Voorwoord Raad van Toezicht 2018 was voor het Van Gogh Museum opnieuw een bijzonder succesvol jaar. Vincent van Gogh en zijn tijdgenoten blijven een inspiratiebron voor veel mensen over de hele wereld, wat blijkt uit de onverminderd hoge bezoekersaantallen aan het museum en online. Afgelopen jaar bezochten 2.165.000 kunstliefhebbers uit binnen- en buitenland het museum, en groeide de online fanbase explosief. De tentoonstelling Van Gogh en Japan, die feestelijk werd geopend door koning Willem-Alexander, was met 430.000 bezoekers een enorm succes. Afgelopen jaar is Van Gogh ambieert geïntroduceerd, het Strategisch Plan 2018-2020, waarin is uitgestippeld hoe de strategische pijlers van het museum de komende jaren zullen worden verwezenlijkt. In het nastreven van de missie, visie en kernwaarden van het museum ligt de focus op drie dimensies: lokaal, mondiaal en digitaal. -
Vincent Van Gogh, Who Grew up Walking the Dutch Countryside
"Sorrowful yet always rejoicing," Vincent van Gogh, who grew up walking the Dutch countryside, traveled through life seeking the eternal "Light that rises in the darkness"- like these swans readying for flight south of Amsterdam. From the pain and beauty of his journey, he created masterworks of passion, including penetrating self-portraits, such as this one at age 34. Van Gogh likened painting to performing music. "Whether I really sang a lullaby in colors," he wrote, "I leave to the critics." National Geographic, October, 1997 By JOEL L. SWERDLOW, ASSISTANT EDITOR Photographs by LYNN JOHNSON THE LETTERS FROM VINCENT VAN GOGH to his brother Theo are yellowed. Some are torn at the corners or have holes from aging. Acid from ink eats through the cheap paper. I have come to this bombproof vault in the cellar of the Van Gogh Museum in Amsterdam to begin my search for Vincent. Who was this man who said he "sang a lullaby in colors:' and why does he have such a hold on us? His paintings sell for the most money; his exhibitions attract the highest number of visitors; reproductions of his work-on socks, sheets, party napkins, coffee cups-permeate homes and offices; the song "Vincent" has sold more than ten million copies since 1971; movies mythologize his life. No other artist, at any time in any culture, has been more popular. THE 650 LETTERS from Vincent to Theo fill three volumes. Their first surprise is immediate: I knew that Theo financed Vincent's painting and had assumed Theo was the big brother. -
The Letters of Vincent Van Gogh
THE LETTERS OF VINCENT VAN GOGH ‘Van Gogh’s letters… are one of the greatest joys of modern literature, not only for the inherent beauty of the prose and the sharpness of the observations but also for their portrait of the artist as a man wholly and selessly devoted to the work he had to set himself to’ - Washington Post ‘Fascinating… letter after letter sizzles with colorful, exacting descriptions … This absorbing collection elaborates yet another side of this beuiling and brilliant artist’ - The New York Times Book Review ‘Ronald de Leeuw’s magnicent achievement here is to make the letters accessible in English to general readers rather than art historians, in a new translation so excellent I found myself reading even the well-known letters as if for the rst time… It will be surprising if a more impressive volume of letters appears this year’ — Observer ‘Any selection of Van Gogh’s letters is bound to be full of marvellous things, and this is no exception’ — Sunday Telegraph ‘With this new translation of Van Gogh’s letters, his literary brilliance and his statement of what amounts to prophetic art theories will remain as a force in literary and art history’ — Philadelphia Inquirer ‘De Leeuw’s collection is likely to remain the denitive volume for many years, both for the excellent selection and for the accurate translation’ - The Times Literary Supplement ‘Vincent’s letters are a journal, a meditative autobiography… You are able to take in Vincent’s extraordinary literary qualities … Unputdownable’ - Daily Telegraph ABOUT THE AUTHOR, EDITOR AND TRANSLATOR VINCENT WILLEM VAN GOGH was born in Holland in 1853. -
First at the Villa the Tenth Graders Are Beginning to Learn the Ropes And
First at the Villa February 2007 Ninth Graders In the Field The tenth graders are beginning to learn the ropes and our dis- For the freshman Interdiscipli- covery process. We started off nary class, this year was off to a the fall semester learning about great start with two field trips. the foundation of democracy by The unit Darkness and Light searching for perfection from brought them to the Dorothy the Greeks and Romans. Chandler Pavilion in downtown Los Angeles to see the German To enhance their understanding Ms. Gray, Ms. Curi and students from opera Hansel and Gretel. It was tenth graders took a trip to The the IS Leadership at Winterfest (story about a poverty-stricken brother Villa (Getty Museum) in on page 2) and sister who got lost in the Malibu where they visited a woods. They found a cottage time “that was” by viewing in- IS Grade 11 made of candy and the witch credible artwork and architec- Field Trip Ties in with Service who was living there. She ture. After a nine-year, $275 Learning wanted to turn them into ginger- million renovation and expan- bread children, but Hansel and sion the J. Paul Getty Museum In October, Ms. Lim's first and Gretel got the last laugh when at the Getty Villa has re-opened fifth period classes accompa- they shoved the witch in her as home to the Museum’s An- nied the IS ninth graders on a own oven and ended up break- tiquities Collection. (continued field trip to the Getty Center. -
Hockney – Van Gogh the Joy of Nature
Please get a head start! Prior to entry, read the exhibition texts and help us avoid congestion in the galleries. Hockney – Van Gogh The Joy of Nature The British painter David Hockney is one of the best- known artists in the world. Over the course of his 60-year career, he has created an impressive range of work, from his swimming-pool paintings in the 1960s to portraits and still lifes. This exhibition focuses on the landscapes that Hockney created in Yorkshire, in the north of England, between 2004 and 2013. They demonstrate Hockney’s constant exploration of different techniques—oil paintings, watercolors, charcoal and iPad drawings, sketchbooks, and films. For the first time in the United States, these works are on display together with a number of landscapes by Vincent van Gogh. Hockney has always been an admirer of Van Gogh’s work, and although separate in time and space, the two artists have much in common. Both show a deep connection with nature in their work. They view the landscape with fresh eyes and capture what they see through brilliant color. Their works express a desire to depict the natural world in all of its beauty and variety. David Hockney (born 1937) Born in the industrial town Bradford, West Yorkshire, in the north of England, in 1937, David Hockney came to public attention while still a student at the Royal College of Art, London, which he attended from 1959 to 1962. Drawn to the light of California, he settled in Los Angeles in 1964. In the late 1960s and 1970s, the artist moved back and forth between Los Angeles, London, and Paris. -
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. -
Original Colours of Van Gogh's Paintings Research Project REVIGO
Original colours of Van Gogh’s paintings Research project REVIGO ‘All the colours that Impressionism has made fashionable are unstable’, Van Gogh wrote from Arles to his brother Theo, underlining the sentence to emphasize the gravity of the matter. ‘All the more reason’, he continued, ‘boldly to use them too raw, time will only soften them too much’ [letter 595]. He was right. The REVIGO (REassessing VIncent van GOgh) research project was launched four years ago to gain a clearer understanding of the extent to which his colours have diminished in intensity. Ironically, Van Gogh wrote the relevant letter in a purple ink that was just as unstable as certain of the pigments he painted with. Several drawings he made with the same ink have likewise discoloured and faded dramatically – another aspect studied by the REVIGO project. Discoloured pigments It is a sobering experiment to search Van Gogh’s correspondence for the keywords violet, lilac, purple and pink and then to view the paintings in which he says he used the colours in question. The first three tones have given way in many cases to blue, while the pink has become off-white. This is because Van Gogh mixed unstable red pigments – red lakes – with blue and white to obtain the composite colours purple and pink. Over the years, the red has faded or disappeared, causing the other colour in the mixture to dominate. A digital reconstruction that the museum made a few years ago of the purple and red tones in The Bedroom starkly illustrates the consequences of this discoloration: the painting’s strikingly blue walls and doors were originally purple, and the floor a harder red. -
The Examination of Van Gogh's Chrome Yellow Pigments In
Geldof et al. Herit Sci (2019) 7:100 https://doi.org/10.1186/s40494-019-0341-3 RESEARCH ARTICLE Open Access The examination of Van Gogh’s chrome yellow pigments in ‘Field with Irises near Arles’ using quantitative SEM–WDX Muriel Geldof1* , Inez Dorothé van der Werf1 and Ralph Haswell2 Abstract In this paper we present the results of quantitative measurements on the pigment chrome yellow (PbCr 1 xSxO4 with 0 x 0.8) using scanning electron microscopy-wavelength dispersive X-ray analysis (SEM–WDX). Traditionally,− Opti- cal≤ Microscopy≤ (OM) in combination with scanning electron microscopy-energy dispersive X-ray analysis (SEM–EDX) is used for the identifcation of many pigments in paint cross-sections based on their particle characteristics and elemental composition. However, in the case of chrome yellow, the lead (Pb) and sulphur (S) peaks overlap, which makes quantitative analysis unreliable. SEM–WDX does not sufer from this problem and we have demonstrated that this technique can distinguish diferent types of chrome yellow based on the quantifcation of the sulphur-content of the pigment. This identifcation can be performed on paint cross-sections, allowing for distinction between chrome yellows in diferent paint layers. In addition, our study showed that the diferent types of chrome yellow can still be identifed even in low concentrations. Van Gogh made wide use of diferent hues of chrome yellow. Using this method, we have identifed the types of chrome yellow he used in Field with Irises near Arles, which we have been able to correlate with the information in his letters. Raman spectroscopy of the same samples confrmed the SEM–WDX results, but evidenced a higher sensitivity of the latter technique in revealing small amounts of sulphur-rich PbCr1 − xSxO4 in mixtures with PbCrO4. -
Gallery Texts Van Gogh En Japan
Gallery texts exhibition Van Gogh & Japan Inhoud Gallery texts exhibition Van Gogh & Japan ................................................................ 1 Inhoud......................................................................................................................... 1 Floor -1 ....................................................................................................................... 4 Introduction Van Gogh & Japan .............................................................................. 4 Painting: Vincent van Gogh, Flowering Plum Orchard (after Hiroshige), 1887 .... 4 Gallery text: Discovering Japanese prints ............................................................... 4 Colour woodcut: Utagawa Hiroshige, Ishiyakushi: The Yoshitsune Cherry Tree near the Noriyori Shrine, from the series Famous Places near the 53 Stations [Along the Tōkaidō], 1855 .................................................................................... 5 Colour woodcut: Togaku, Finches and Pomegranates, from the series Illustrations of Plants, Trees, Flowers and Birds .................................................. 5 Magazine in showcase: Cover of Paris Illustré, Le Japon, 1 May 1886 ............... 5 Gallery text: Japonisme in Paris .............................................................................. 5 Painting: Vincent van Gogh, In the Café: Agostina Segatori in Le Tambourin, 1887 .................................................................................................................... 6 Painting: -
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 ----------------------------------------------------------------------------------- -
Vincent Van Gogh El Alma Japonesa De Arlés
Vincent Van Gogh El alma japonesa de Arlés GRADO EN HISTORIA DEL ARTE AÑO ACADÉMICO: 2019-2020 TRABAJO REALIZADO POR: DANIEL MARTÍN HERNÁNDEZ DIRIGIDO POR: CARMEN MILAGROS GONZÁLEZ CHÁVEZ 2 Índice 1. Introducción ............................................................................................................ 3 1.1. Objetivos ............................................................................................................ 3 1.2. Plan de Trabajo .................................................................................................. 4 2. Desarrollo y Análisis ............................................................................................... 5 2.1. Contexto Histórico ............................................................................................. 5 2.2. Japonismo y Exposiciones Universales ............................................................. 7 2.3. Marchantes, galeristas, coleccionistas y publicaciones ..................................... 9 2.4. Temas, Producción y características del Ukiyo-e ............................................ 12 3. Vincent Van Gogh, El alma japonesa de Arlés ..................................................... 14 3.1. Etapa Parisina .................................................................................................. 18 3.2. Etapa Arlesiana ................................................................................................ 24 3.3. Etapa Saint-Rémy y su final en Auvers-sur-Oise ........................................... -
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