DOCSLIB.ORG

To Emile Bernard. Arles, on Or About Tuesday, 22 May 1888

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
To Emile Bernard. Arles, on Or About Tuesday, 22 May 1888 To Emile Bernard. Arles, on or about Tuesday, 22 May 1888. on or about Tuesday, 22 May 1888 Metadata Source status: Original manuscript Location: New York, Thaw Collection, The Morgan Library & Museum Date: Van Gogh describes the same works as those in letters 610 and 611 to Theo, and mentions a new still life, so this letter must have been written not long after letter 611 of about Sunday, 20 May. He had evidently not started on the drawings that he sent to Theo around 26 May (letter 613), since he does not mention them to Bernard. For these reasons we have dated the present letter on or about Tuesday, 22 May 1888. Additional: Bernard wrote to his parents about this letter on Monday, 28 May 1888: Vincent has written me a very nice letter. He has rented a house in Arles. What appealed to him was that its yellow, with all the walls whitewashed Hes not in very good health, he says. Lets hope it wont be serious Hes an excellent friend. (Vincent ma crit une trs jolie lettre. Il a lou une maison Arles. Ce qui la sduit cest quelle est jaune, avec tous les murs peints la chaux... Il nest pas trs bien portant, dit-il. Esprons que cela sera pas grave... Cest un excellent ami). See Harscot-Maire 1997, p. 171. Original [1r:1] Mon cher Bernard, je viens de recevoir ta dernire lettre tu as bien raison de voir que ces ngresses1 taient navrantes tu as bien raison de ne pas trouver cela innocent. 1 It emerges later in the letter that Van Gogh is talking about the negresses in the paintings that Paul Gauguin2 had painted in Martinique between May and October 1887. Bernard3 certainly knew the two works that Theo and Vincent had in their collection: On the shore of the Lake, Martinique (see letter 576, n. 2) and Among the mangoes, 1887 (W250/W224), Ill. 107 (both Amsterdam, Van Gogh Museum). Bernard had seen these works at the brothers apartment as we learn from his 1904 article Concernant Paul Gauguin, in which he gives a detailed description of Among the mangoes and remarks: This work, with its qualities of style and colour, with its characteristic drawing, is the best that Gauguin painted during that period (Cette oeuvre par ses qualits de style et de couleur, par son dessin caractristique, est la meilleure que Gauguin ait peinte cette poque.) See Bernard 1994, vol. 1, p. 77. 1 2 To Emile Bernard. Arles, on or about Tuesday, 22 May 1888. Je viens de lire un livre pas beau et pas bien crit dailleurs sur les Iles Marquises , 4 mais bien navrant lorsquil raconte lextermination de toute une tribu dindignes antropophages dans ce sens que disons une fois par mois on mangeait un individu, quest ce que a fait? Les blancs, trs crtiens etc. , pour mettre fin cette barbarie? rellement peu froce.... nont pas trouv mieux que dexterminer et la tribu des indigenes antropophages et la tribu avec laquelle la premire guerroyait (pour se procurer ainsi de part et dautre les prisonniers de guerre mangeables ncessaires). Ensuite on a annex les deux les, qui sont devenus dun lugubre!!! Ces races tatoues, ces ngres, ces indiens, tout tout tout disparat ou se vicie. Et laffreux blanc avec sa bouteille dalcool, son portemonnaie et sa vrole, quand donc laura-t on assez vu! Laffreux blanc avec son hypocrisie, son avarice et sa strilit. Et ces sauvages etaient si doux et si amoureux.[1v:2] Ah tu fais rudement bien de penser Gauguin cest de la haute poesie ses ngresses et tout ce que fait sa main a un caractre doux navr tonnant. On ne le comprend pas encore et lui souffre beaucoup de ne pas vendre, comme dautres vrais potes.5 Mon cher copain je taurais dj crit plus tt, seulement ai eu pas mal de chses sur les bras, jai expedi un premier envoi dtudes mon frre et dun, jai eu du mal avec ma sant et de deux, et de trois jai lou une maison peint en jaune en dehors, blanchie la chaux en dedans, en plein soleil (4 pieces). 7 Avec tout cela de nouvelles tudes 4 The Marquesas are in French Polynesia (Oceania), and have been French colonies since 1842. We have been unable to discover which book Van Gogh means here. Merlhs suggested that it was Max Radiguet, Les derniers sauvages. Souvenirs de loccupation franaise aux les Marquises: 1842-1859 (1861). See Merlhs 1989, p. 189 (n. 3). However, the events described by Van Gogh are not found in that book. The conflict he is referring to was probably the war that took place between the islands of Hivaoa and Tahuata at the time the French assumed power there. 5 Theo had paid Gauguin6 400 francs for Among the mangoes : see Gauguin lettres 1983, p. 33. 7 See for the Yellow House: letter 602, n. 3. To Emile Bernard. Arles, on or about Tuesday, 22 May 1888. 3 en train. Et le soir jtais souvent trop abruti pour crire. Voila pourquoi ma rponse a tard. Ecoute, le sonnet des femmes du boulevard a du bon mais ny est pas la fin est banale. une femme sublime, je ne sais pas ce que tu entends par l ni toi non plus dans ce cas. Ensuite dans le clan des vieux et des jeunes maraude Ceux quelle emmenera coucher le soir trs tard.8 quelque chse comme ca cest pas caractristique car [1v:3] les femmes de notre boulevard du petit10 dhabitude couchent seules la nuit car elles tirent 5 ou 6 coups dans la journee ou le soir et trs tard cest cet honorable carnivore, leur maquereau, qui vient les chercher et les reconduire, oui, mais il ne couche pas avec (que rarement). la femme reinte et defaite se couche seule dhabitude et dort dun sommeil de plomb. Mais avec deux ou 3 lignes de refaites cela y sera. Quest ce que tu as peint maintenant. Jai fait moi une nature morte avec une cafetire en fer emaill bleu une tasse & soucoupe bleu de roi, 8 This is a reference to and quotation from the poem La Prostitution by Emile Bernard9, who wrote in his 1911 publication: It will perhaps not be without interest that I publish here the sonnet criticized by Vincent, not for the sake of my lines, which are bad, but because of his opinion itself: PROSTITUTION To Vincent Prostitution sallies forth, her face all paint and rouge; Along the brightly lit boulevard she prowls Hunting among the clan of old and young, Those whom shell take to bed, tonight, very late. In beauty though she be no match for Aude, Her charms are not a jot the less, because Whats beauty, if the females hot And of loves arts has perfect mastery? My friend, lets go attend her dismal rites, I love her shameless nakedness by candle-light; Lets go, and strip her of her bodice and her hose. And when weve set her, naked, on our lap, When paint and rouge are gone, what stranger May emerge, whos more sublime who knows? October 1887. I add the date in order to excuse these follies. (Il ne sera pas sans intrt peut-tre que je publie ici le sonnet critiqu par Vincent, non cause de mes vers, qui sont mauvais, mais cause de son opinion mme: la prostitution A Vincent. La Prostitution sort couverte de fard, Le long du boulevard lumineux elle rde Et dans le clan des vieux et des jeunes maraude Ceux quelle emmnera coucher ce soir, trs tard. Certes, si sa beaut nest exquise comme Aude Elle nen est pas moins trs sduisante, car Quimporte la beaut si la femelle est chaude Et connat cet amour dont elle-mme est lart! Allons tous deux, ami, vers sa funbre orgie, Jaime sa nudit flambant sous la bougie; Allons pour lui ravir ses bas et son corset. Et, quand sur nos genoux nous laurons mise nue, Que le fard tombera, quelque femme inconnue Surgira, qui sera plus sublime... qui sait? Octobre 1887. Je mets la date pour excuser ces folies) See Lettres Bernard 1911, pp. 84-85. Cf. exhib. cat. New Brunswick 1988, p. 23. 10 See for the painters of the Petit Boulevard: letter 584, n. 6. 4 To Emile Bernard. Arles, on or about Tuesday, 22 May 1888. un pot au lait carrel cobalt ple et blanc, une tasse avec dessins orangs et bleus sur fond blanc, un pot en majolique bleu avec fleurs & feuillages verts, bruns, roses, tout cela sur une nappe bleue sur un fond jaune. Avec ces poteries 2 oranges & trois citrons.11 Cest donc une variation de bleus gaye par une serie de jaunes qui vont jusqu lorang. Puis jai une autre nature morte, des citrons dans un [1r:4] panier sur fond jaune. 13 Puis une vue dArles de la ville on napercoit que quelques toits rouges et une tour, le reste est cache par de la verdure de figuiers &c. Cela tout au fond et une bande troite de ciel bleu dessus. La ville est entoure dimmenses prairies toutes fleuries dinnombrables boutons dor une mer jaune. Ces prairies sont coups sur le premier plan par un foss rempli de fleurs diris violettes.14 On a coup lherbe pendant que jetais en train de peindre, ce nest donc quune tude et non un tableau fait que javais lintention den faire. Mais quel motif hein cette mer de fleurs jaunes avec une barre diris violets et au fond la coquette petite ville aux jolies femmes.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Vincent Van Gogh the Starry Night
    Richard Thomson Vincent van Gogh The Starry Night the museum of modern art, new york The Starry Night without doubt, vincent van gogh’s painting the starry night (fig. 1) is an iconic image of modern culture. One of the beacons of The Museum of Modern Art, every day it draws thousands of visitors who want to gaze at it, be instructed about it, or be photographed in front of it. The picture has a far-flung and flexible identity in our collective musée imaginaire, whether in material form decorating a tie or T-shirt, as a visual quotation in a book cover or caricature, or as a ubiquitously understood allusion to anguish in a sentimental popular song. Starry Night belongs in the front rank of the modern cultural vernacular. This is rather a surprising status to have been achieved by a painting that was executed with neither fanfare nor much explanation in Van Gogh’s own correspondence, that on reflection the artist found did not satisfy him, and that displeased his crucial supporter and primary critic, his brother Theo. Starry Night was painted in June 1889, at a period of great complexity in Vincent’s life. Living at the asylum of Saint-Rémy in the south of France, a Dutchman in Provence, he was cut off from his country, family, and fellow artists. His isolation was enhanced by his state of health, psychologically fragile and erratic. Yet for all these taxing disadvantages, Van Gogh was determined to fulfill himself as an artist, the road that he had taken in 1880.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Yellow House Revisited
    University of Wollongong Research Online Deputy Vice-Chancellor (Academic) - Papers Deputy Vice-Chancellor (Academic) 2016 The elY low House revisited Michael K. Organ University of Wollongong, [email protected] Publication Details Organ, M. 2016, 'The eY llow House revisited', Aquarius Redux: Rethinking Architecture's Counterculture Conference, pp. 1-31. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The elY low House revisited Abstract Martin Sharp's Yellow House represents a transitional phase in the countercultural movement within Australia, from the peace and love Utopian ideals of the Sixties through to the disenchantment and technological changes of the Seventies. Inspired by Vincent Van Gogh's similarly titled building and aborted artist community in the south of France during the 1880s, and the British Arts Lab movement of the late 1960s, a 3-storey Victorian era terrace building in Sydney was transformed into a work of art, living museum, experimental art gallery and performance space, under the liberating and libertine guidance of Martin Sharp - an artist who had experienced some of the extraordinary cultural changes taking place in London and Europe between 1966-69. The eY llow House was a unique expression of the counterculture's disparate elements through a redundant example of the built environment, namely a former art gallery and guest house facing the threat of demolition. Art and architecture fused with lifestyle and culture within a veritable rabbit warren of rooms and performance spaces. Though innately ephemeral, the venture succeeded, during its relatively short period of existence between May 1970 and March 1973, in providing an expressive outlet for a disparate group of counterculture artists, performers and commentators.
    [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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]