DOCSLIB.ORG

Altered Identity: Fleeting Colors and Obscured Surfaces in Van Gogh's Landscapes in Paris, Arles, and Saint-Rémy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Altered Identity: Fleeting Colors and Obscured Surfaces in Van Gogh's Landscapes in Paris, Arles, and Saint-Rémy Pozzi et al. Herit Sci (2021) 9:15 https://doi.org/10.1186/s40494-021-00489-1 RESEARCH ARTICLE Open Access Altered identity: feeting colors and obscured surfaces in Van Gogh’s Landscapes in Paris, Arles, and Saint‑Rémy Federica Pozzi1* , Elena Basso1 , Silvia A. Centeno1 , Louisa M. Smieska2, Nobuko Shibayama1, Roy Berns3, Megan Fontanella4 and Lena Stringari4 Abstract The Thannhauser Collection of the Solomon R. Guggenheim Museum, New York, represents an important survey of European avant-garde art production during the late 19th and early 20th centuries. Among the works included in this collection are three paintings by Vincent van Gogh, namely Roadway with Underpass (1887), Landscape with Snow (1888), and Mountains at Saint-Rémy (1889). These examples each exhibit some degree of surface alteration, including fading of specifc pigments and, in one case, a non-original, discolored varnish, resulting in obscured color and spatial relationships, as well as being the subject of questions regarding authenticity in the case of the two earlier pictures. Initial examination involved documentation of the brushwork, paint quality, and distribution of colors under magnif- cation. Infrared (IR) and ultraviolet (UV) photography, as well as X-radiography, provided additional information on the surface coatings, the structure of the works, and their supports. Subsequently, an in-depth scientifc investigation of the ground and paint layers, with a special focus on fading colors and altered surfaces, was carried out non-invasively with point and macro-X-ray fuorescence (XRF) spectroscopy, visible refection spectroscopy, and multi-channel visible spectrum four-light imaging, followed by the analysis of cross sections and dispersed pigment samples by means of optical microscopy, transmission Fourier-transform infrared (FTIR) and Raman spectroscopies, and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDS), as well as high-performance liquid chro- matography with photodiode array detection (HPLC-PDA) and pyrolysis-gas chromatography/mass spectrometry (Py- GC/MS). Results indicated that both the brushwork and artist’s palette of all three paintings are consistent with data previously reported for other Van Gogh works and with pigments described in the artist’s letters to his friends and his brother Theo. Most notably, evidence of biodeterioration and paint alteration phenomena was found on Roadway with Underpass, while specifc pigments such as eosin red—historically sold as geranium lake—were detected in areas of Landscape with Snow and Mountains at Saint-Rémy that display severe fading. In addition to assisting the develop- ment of a suitable plan for the conservation of the 1887 painting, this study traces the progression of Van Gogh’s prac- tice over three years critical to his artistic development, discusses the historical context in which each masterpiece was created, identifes the range of materials and techniques used, and addresses authenticity questions by providing a comparison with results of scientifc analysis from other similar works. Keywords: Van Gogh, Painting, Ground, Palette, Surface degradation, Fading, Eosin, Biodeterioration, Authenticity Introduction Te Tannhauser Collection of the Solomon R. Guggen- *Correspondence: [email protected] heim Museum, New York, represents an important sur- 1 Department of Scientifc Research, The Metropolitan Museum of Art, vey of European avant-garde art production during the 1000 Fifth Avenue, New York, NY 10028, USA Full list of author information is available at the end of the article late 19th and early 20th centuries. Among the works © The Author(s) 2021. This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creat​iveco​ mmons​.org/licen​ses/by/4.0/. The Creative Commons Public Domain Dedication waiver (http://creat​iveco​mmons​.org/publi​cdoma​in/ zero/1.0/) applies to the data made available in this article, unless otherwise stated in a credit line to the data. Pozzi et al. Herit Sci (2021) 9:15 Page 2 of 19 included in this collection are three paintings by Vincent Dutch period paintings, despite the brightly colored pal- van Gogh (1853–1890) spanning the fnal three years of ette. Furthermore, the surface treatment and its sub- his life: Roadway with Underpass (around mid to late sequent degradation shifted the global tonality of the summer 1887; Fig. 1a), painted in Paris and refecting the composition from cool to warm. artist’s encounters with French Impressionism and Post- Te use of red organic lake pigments by Van Gogh dur- Impressionism; Landscape with Snow (February 1888; ing diferent periods of his life and the impact of their Fig. 1b), among the frst paintings completed upon Van permanence on many of his paintings has been widely Gogh’s arrival in Arles; and Mountains at Saint-Rémy assessed by numerous authors [1–10]. Among these red (July 1889; Fig. 1c), executed during his convalescence at lake pigments, eosin red, commercially known as gera- Saint-Paul-de Mausole in Saint-Rémy-de-Provence. nium lake and one of the most prone to fading, has been Several leading questions regarding the materials the focus of relatively recent studies aiming to elucidate composition and related degradation processes deter- the diferent factors that afect deterioration [11–13]. mined the primary scope of this study. All three paint- Te darkening of lead chromate-based yellows is another ings exhibit some degree of surface alteration, including phenomenon widely reported for Van Gogh works, such fading of certain red organic lake pigments—phenomena as the diferent versions of his iconic Sunfowers, which that are discussed and referenced below. Most notably, has been investigated both in samples removed from Landscape with Snow has lost some of the bold efects of paintings and in model paint systems with the purpose to Van Gogh’s signature use of complementary colors, such clarify the mechanism of degradation [14–17]. as pink next to green and yellow adjacent to purple. Te In addition to materials-related questions, the Guggen- painting no longer retains its original, vibrant juxtapo- heim works pose outstanding issues regarding prov- sitions of hues due to the fading of photosensitive pig- enance and authenticity, largely due to the fact that the ments. Under the microscope, bright pinks and purples two earlier paintings appeared on the art market in Ger- can be observed through cracks in the surface. Likewise, many around the same time as the notorious 1928 con- Mountains at Saint-Rémy is characterized by an overall troversy concerning Van Gogh forgeries, known as the blue palette that appears to be missing some of the red Wacker afair [18–20]. In the sequence of events, Otto hues. Moreover, Roadway with Underpass had a thick, Wacker, an art dealer and former professional dancer, discolored varnish that, until it was removed during a frst came under investigation in 1928, when the art deal- major conservation treatment in 2018, covered a thin, ers Grete Ring and Walter Feilchenfeldt declared to be uneven, brownish-gray layer trapped in the troughs of fakes the four pictures Wacker had lent to an exhibition impasto. Presumably applied to cover abraded areas from at the Paul Cassirer gallery in Berlin. Te number of ques- an earlier restoration, this layer penetrated regions of tionable Van Gogh paintings originating with Wacker exposed ground, and saturation by the varnish accentu- soon swelled to more than thirty. Te police raided the ated its appearance. Overall, these coatings rendered the studio of Otto’s brother, Leonhard Wacker, a restorer, and painting dark and brooding, closer to Van Gogh’s earlier found in progress studies after Van Gogh compositions, Fig. 1 Paintings by Vincent van Gogh analyzed in this study. a Roadway with Underpass (Le Viaduct), Asnières, 1887. Oil on cardboard, 12 7/8 16 × 1/8 inches (32.7 41 cm). Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.17. b Landscape × with Snow (Paysage Enneigé), Arles, February 1888. Oil on canvas, 15 1/16 18 3/16 inches (38.2 46.2 cm). Solomon R. Guggenheim Museum, New × × York, Thannhauser Collection, Gift, Hilde Thannhauser 84.3239. c Mountains at Saint-Rémy (Montagnes à Saint-Rémy), Saint-Rémy-de-Provence, July 1889. Oil on canvas, 28 11/16 36 1/4 inches (72.8 92 cm). Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. × × Thannhauser 78.2514.24 © Solomon R. Guggenheim Foundation, New York Pozzi et al. Herit Sci (2021) 9:15 Page 3 of 19 although Leonhard never admitted his involvement in whose provenance and authenticity were not in question, the forgeries that his brother Otto brought to market. At to the Guggenheim in 1978, following a promised gift the time, scientifc analysis and testimony solidifed the and extended loan. case against Otto Wacker, who was charged with fraud. In this context, an in-depth technical study of the three However, concerns and confusion remain over the meth- Van Gogh paintings at the Guggenheim involved visual odologies employed and the designation of fakes associ- documentation and scientifc analysis of the surface coat- ated with Wacker, though attempts have been made to ings and degradation materials, ground and paint lay- document the pictures [21].
Load more

Recommended publications
  • An Investigation of Children's Abilities to Form and Generalize Visual Concepts from Visually Complex Art Reproductions
    DOCUMENT RESUME ED 061 228 TE 499 769 AUTHOR Clark, Gilbert A. TITLE An Investigation of Children's Abilities to Form and Generalize Visual Concepts from Visually Complex Art Reproductions. Final Report. INsTITUTION Ohio state Univ., Columbus. SPONS AGENCY Office of Education (DHEw), Washington, D.C. Bureau of Research. BUREAU NO BR-0-I-060 PUB DATE Jan 72 GRANT OEG-9-70-0031(057) NOTE 85p. EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Ability Identification; *Art; *children; Classification; *Concept Formation; Correlation; Data Analysis; Data Collection; Discrimination Learning; Individual Differences; Interaction; Rating Scales; Research; Standards; Stimuli; Student Evaluation; Tape Recordings; Task Performance: Test Results; Verbal Ability; *Visual Perception ABSTRACT The re earch reported here was designed to measure the abilities of school-age children to form and generalize "visual concepts" on the basis of their observation of prepared sets of art reproductions. The art reproduction sets displayed similarities based upon various visual attributes. Discrimination of theattributes common to any given set was taken as evidence of concept formation. Selection of similar reproductions in additional displays was taken as evidence of concept generalization. Additionally,tape-recorded discussions of the test administrations were analyzed. These discussions yielded additional evidence of successful test performance (on a verbal dimension) and were useful in describing the character of children's abilities to discuss the visual attributes of art reproductions. Evidence gathered indicates that students at all grades (except, possibly, kindergarten) are able to form visual concepts from their observation of selected sets of art reproductions. Subjects also successfully described their classification of observed visual similarities when discussing the items.
    [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]
  • Dana Anderson
    Huntsville, Alabama dana anderson Untitled s Acrylic on Canvas s 20 " x 30 " Still s Acrylic on Canvas s 36 " x 24 " s $3,200.00 s Dana Anderson $1,600.00 s Dana Anderson Dana Anderson, a 28-year-old Huntsville native and resident, is the South’s first artist with special needs to be given her own solo gallery exhibit. She made history as the first such artist in several states including an upcom - ing exhibit September through December 2021 on Chicago’s Michigan Avenue. Anderson, who has Down syn - drome and autism, is low-functioning and does not care for herself, read, write or speak. Painting has become her voice and she has been featured on local, regional and national media outlets, which has resulted in a large following with sales of more than 100 paintings in 35 states. Unlike neurotypical professional artists, Anderson’s work is her only voice, and she is prolific with more than 300 pieces in less than three years. She paints weekly at the Inside Out Studio, a local studio for adults with disabilities, where she creates museum-worthy art. She works with canvas or board to create landscape and abstract art. She often paints over her work several times before she is finished, and uses a broadly generalized brushstroke, roller or sponge, with smaller, articulate, accentuating strokes. An emerging career artist, Anderson is breaking down barriers. Her exhibit, “Beyond Barriers,” is educating the public that persons with disabilities can do amazing things if given the opportunity. www.danaandersonart.com, facebook.com/danaandersonart.huntsville 50 Nashville, Tennessee kim barrick Chickadees s Oil s 14 " x 11 " s $850.00 s Kim Barrick Nap s Oil s 8" x 10 " s $550.00 s Kim Barrick Kim Barrick is as diverse and complex as the work she creates.
    [Show full text]
  • Robert Lehman Papers
    Robert Lehman papers Finding aid prepared by Larry Weimer The Robert Lehman Collection Archival Project was generously funded by the Robert Lehman Foundation, Inc. This finding aid was generated using Archivists' Toolkit on September 24, 2014 Robert Lehman Collection The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Robert Lehman papers Table of Contents Summary Information .......................................................................................................3 Biographical/Historical note................................................................................................4 Scope and Contents note...................................................................................................34 Arrangement note.............................................................................................................. 36 Administrative Information ............................................................................................ 37 Related Materials ............................................................................................................ 39 Controlled Access Headings............................................................................................. 41 Bibliography...................................................................................................................... 40 Collection Inventory..........................................................................................................43 Series I. General
    [Show full text]
  • Fine Calf&Kangaroi Went Alone, with the Exception of the Looking Store
    B u c h a n a n R e c o r d . PUBLISHED EVERY THURSDAY, ----- BT----- ID. E=C. B O W E R - TERMS, »l.SO PER YEAR PAYABLB IH ADTAHOU ALT* SUBSCRIPTIONS IHSOOKTUnjBD AT EX1 TRAT10X* AND PURSE. j WE ERTIS1SS RITES Mill! U0W1 01 PLICHIIOI, l N U M B E B , 5. 3 VOLUME XXIX. BUCHANAN, BERRIEN COUNTY, MICHIGAN, THURSDAY, EEBEUABY 21, 1895). A lay-out at o’Ur Store of the OFFICE—InRecordBnlldlng.O&kS reet j bain ”at 'Rector street all joy and ex­ THE BETTER PART. Business Directory. A BROKEN SONG. NEED OF AN ENGAGED GIRLS’ CLUB. pectancy and rushed through. the ar­ ST 0BIES OF PAPER. There’s a gray old church on a wind swept hilnl Best Coirespondenoe Tablets CHRISTIAN CHURCH. — Preaching every 11 Where am I from?” From tho green hills of cade. He reached Broadway and looked Difficulties o f tovenialcing In tlie Parlor Where three bent yew trees cower. B rin. The gypsy roses grew there still, L ord's day at 10:30 A . M. and 7:30 F . M. A lso up the pavement Then his heart sank, HOW WATER MARKS WERE MADE AND of a Boarding House. Bandar School at 12:00 noon, and Y .P .S . C.B. ‘ Have I no song now?" My songs are all sung. for she was not there. Tho stand, too, And the thyme and St. John’s gold flower. AT 10 CENTS EACH. at 6:30 P. H. Prayer meeting each Thursday “What o’ my love, then?” Alone, I am farm.
    [Show full text]
  • To Theo Van Gogh. Arles, on Or About Friday, 16 March 1888
    To Theo van Gogh. Arles, on or about Friday, 16 March 1888. on or about Friday, 16 March 1888 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. no. b509 V/1962 Date: The letter was written after 11 March, the date two Zouaves were murdered in Arles (see n. 8). As Van Gogh writes (ll. 91-95), many Italians were hounded out of town over the next few days because of this. The letter must therefore date from a few days after the crime. Van Gogh also refers to the fact that Koning has moved in with Theo (ll. 37-40). This must have been shortly after 14 March (FR b915). Since Van Gogh says he will write to Bernard and Toulouse-Lautrec on Sunday, the letter must moreover have been written before Sunday, 18 March. For these reasons we have dated the letter on or about Friday, 16 March 1888. Additional: Original [1r:1] Mon cher Tho, je te remercie beaucoup de ta lettre sur laquelle je navais mme pas os compter si vite pour ce qui est du billet de 50 fr. que tu y as ajout. Je vois que tu nas encore gure de rponse de Tersteeg je ne vois pas la ncessit dinsister de notre ct par une nouvelle lettre toutefois si tu aurais quelque affaire officielle traiter avec la maison B.V.&C La Haye tu pourrais dans un P.S. faire sentir que tu sois plus ou moins tonn de ce quil ne taie point fait savoir quil a recue la lettre en question.
    [Show full text]
  • Robert B. Honeyman, Jr. Collection of Early Californian and Western American Pictorial Material
    http://oac.cdlib.org/findaid/ark:/13030/tf9p3012wq Online items available Robert B. Honeyman, Jr. Collection of Early Californian and Western American Pictorial Material Finding Aid by Mary W. Elings, Project Archivist and Eva M.M. Garcelon, Project Archivist The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu © 1998 The Regents of the University of California. All rights reserved. BANC PIC 1963.002:0001-1886 1 Robert B. Honeyman, Jr. Collection of Early Californian and Western American Pictorial Material Collection number: BANC PIC 1963.002:0001-1886 The Bancroft Library University of California, Berkeley Berkeley, California Contact Information: The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu Finding Aid by: Mary W. Elings, Project Archivist Eva M.M. Garcelon, Project Archivist Date Completed: September 1998 Encoded by: Campbell Crabtree Gabriela A. Montoya Funding: Finding aid and digital representations of archival material funded in part by a grant from the Library Services and Technology Act (LSTA). © 1998 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Robert B. Honeyman, Jr. Collection of Early Californian and Western American Pictorial Material Collection Number: BANC PIC 1963.002:0001-1886 Collector: Honeyman, Robert B. Extent: 2371 items: oil paintings, watercolors, drawings, lithographs, engravings, etchings, lettersheets, clipper cards, ephemera, objects, etc.2271 digital objects Repository: The Bancroft Library. Berkeley, California 94720-6000 Languages Represented: English Access Restricted originals.
    [Show full text]
  • Using a Multimedia Mix to Teach Concepts of Business Administration
    Proceedings of ASBBS Volume 18 Number 1 USING A MULTIMEDIA MIX TO TEACH CONCEPTS OF BUSINESS ADMINISTRATION Dunphy, Steve M. Indiana University Northwest Meyer, David The University of Akron ABSTRACT An exercise is proposed which the author believes more carefully aligns contemporary undergraduate student interest with a faculty pedagogical delivery mechanism that meets the educational needs of both. The exercise involves the mixing of a piece of popular music synchronized to a slide show constructed using Microsoft’s PowerPoint for the purpose of illustrating a concept, theory or idea as delineated by the business administration textbook. An example based on the song “Vincent” and synchronized with the paintings of Vincent Van Gogh is provided in the appendix. INTRODUCTION The authors believe that the traditional, 15-30 page academic term paper is not always appropriate for today‟s undergraduate business student who may be facing a future that involves running a pawn shop, dry cleaner or convenience store but certainly does not involve matriculating in a doctoral program for the purpose of earning a Ph.D. in business administration. Why then are so many business school academics wedded to the 15-30 page academic term paper as a pedagogical vehicle for teaching concepts of management? Perhaps if the answer is that term paper construction was suggested in the doctoral program, then we know that new questions must be asked. Others have questioned the relevance and didacticism of the typical term paper when used in a business education course (Everett & Ladd, 2010; Carchiolo, Longheu, Malgeri, & Mangioni, 2007). For this reason, a multimedia “mix” exercise is proposed wherein students mix a selection of their own, preferred music ripped from a CD or downloaded from the Internet and synchronized with PowerPoint slides of their own choosing for the purpose of illustrating a concept of management.
    [Show full text]
  • A Fixated People
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-13-2016 A Fixated People Jessie Strauss University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Poetry Commons Recommended Citation Strauss, Jessie, "A Fixated People" (2016). University of New Orleans Theses and Dissertations. 2186. https://scholarworks.uno.edu/td/2186 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. A Fixated People A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Poetry by Jessie Strauss B.A. Kalamazoo College, 2010 May, 2016 Copyright 2016, Jessie Strauss ii ACKNOWLEDGMENTS Thank you to Carolyn Hembree, my living mentor, for always being excited about poetry, and for teaching me when to run wild and when to come back to reality and let readers in.
    [Show full text]
  • ARLES 2020 Press File
    ARLES 2020 Press File #arlestourisme INTRODUCTION February 21st 1888. Vincent van Gogh arrived yesterday in Arles. In a letter to his brother Theo, the painter writes about his first impressions : «I noticed some magnificent plots of red earth planted with vines, with mountains in the background of the most delicate lilac. And the landscape under the snow with the white peaks against a sky as bright as the snow was just like the winter landscapes the Japanese did.» Light: a key factor in painting and in photography. Arles and its surroundings gained notoriety thanks to those whose highlight its beauty : artists of course (Van Gogh, Lucien Clergue, Christian Lacroix…) but mainly people who protect and develop its traditions as well as cultural and natural heritage. When you stay in Arles, you go through more than 2.000 years of history ! Your journey begins in 80/90 BC : Amphitheater (Arena), Roman Theater, Cryptoportico of the Forum, the Baths of Constantine… All these remains of the colony Arelate are listed on the UNESCO world heritage list, as well as Saint-Trophime’s church and cloister, some of the finest Romanesque buildings in Provence. During the Renaissance period, numerous Arlesian families became prosperous and we can still admire today their townhouses (Hôtel de Luppé, hôtel de Quiqueiran de Beaujeu…). The time machine speeds up. 1912 : Pablo Picasso, inventor of Cubism, arrives in Arles to satisfy two passions : Van Gogh and bullfights. The love story with the city comes to its climax 60 years later when Picasso offers 57 drawings to the Réattu Museum ! Still in the late 60’s, Lucien Clergue, photographer, launches with a few friends Les Rencontres d’Arles, which sets Arles out as an international capital of photography.
    [Show full text]
  • Read Ebook {PDF EPUB} Vincent Van Gogh by Robert Goldwater
    Read Ebook {PDF EPUB} Vincent Van Gogh by Robert Goldwater Vincent Van Gogh Paperback – Import, January 1, 1954 by Robert Goldwater (Author) 4.9 out of 5 stars 7 ratings. See all formats and editions Hide other formats and editions. Price New from Used from Hardcover "Please retry" $890.00 . $890.00: $9.37: Paperback "Please retry" $10.36 — $10.38:4.9/5(7)Format: PaperbackAuthor: Robert GoldwaterImages of Vincent Van Gogh by Robert Goldwater bing.com/imagesSee allSee all imagesVincent Van Gogh: Robert Goldwater: 9782010195754: Amazon ...https://www.amazon.com/Vincent-Van-Gogh-Robert- Goldwater/dp/2010195752Vincent Van Gogh (French) Album – January 1, 1953 by Robert Goldwater (Author) See all formats and editions Hide other formats and editions. Price New from Used from Album, January 1, 1953 "Please retry" $9.44 — $9.44: Album $9.44 5 Used from $9.44 The Amazon Book ReviewAuthor: Robert GoldwaterFormat: AlbumVincent Van Gogh 1853 1890 by Goldwater Robert - AbeBookshttps://www.abebooks.com/.../author/goldwater-robertGoldwater, Robert. Vincent van Gogh (1853-1890). New York: Harry N. Abrams in association with Pocket Books, 1953, stated First Printing, unpaginated, 38 plates, small sewn PAPERBACK, original price 50c, very good, lightly scuffed. Vincent Van Gogh, 1853-1890. Text by Robert Goldwater. Reproductions. With a portrait (Fontana Pocket Library of Great Art. no. A6.) Goldwater, Robert. Published by Collins (1954) Boston University Libraries. Services . Navigate; Linked Data; Dashboard; Tools / Extras; Stats; Share . Social. Mail Vincent van Gogh (1853-1890) Item Preview remove-circle ... Gogh, Vincent van, 1853-1890; Goldwater, Robert John, 1907-1973. Publication date 1953 Topics Gogh, Vincent van, 1853-1890, Gogh, Vincent van, 1853-1890 Publisher New York, H.N.
    [Show full text]
  • Thannhauser Collection, Gift, Justin K
    Georges Braque At the 1905 Salon d’Automne in Paris, Braque b. 1882, Argenteuil-sur-Seine, France observed André Derain’s and Henri Matisse’s d. 1963, Paris Fauve (French for “wild beast”) paintings, which were disparagingly so-named for their animated Landscape near Antwerp brushstrokes and interest in an expressionistic (Paysage près d’Anvers) use of color over a realistic representation of natural 1906 forms. Braque himself began working in a Fauvist Oil on canvas style during a trip to Antwerp, Belgium, in 1906. Solomon R. Guggenheim Museum, New York, The artist stayed on the left bank of the Scheldt River Thannhauser Collection, Gift, Justin K. Thannhauser in this thriving port city; Landscape near Antwerp is 78.2514.1 set on the dunes there. In this painting Braque employed vivid, nonnaturalistic color and stylized brushwork, emphasizing pigment and line rather than 201 721 Español 821 a faithful rendering of the landscape. His touches 普通话 of color, particularly in the water, accentuate the tension between surface and depth. Braque began his Cubist period after 1907. Paul Cézanne Paul Cézanne b. 1839, Aix-en-Provence, France b. 1839, Aix-en-Provence, France d. 1906, Aix-en-Provence d. 1906, Aix-en-Provence Still Life: Flask, Glass, and Jug Still Life: Plate of Peaches (Fiasque, verre et poterie) (Assiette de pêches) ca. 1877 ca. 1879–80 Oil on canvas Oil on canvas Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.3 78.2514.4 209 729 Español 829 普通话 Paul Cézanne Though Cézanne engaged with French Impressionism, b.
    [Show full text]