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The Role of Van Gogh's Suggestive Colour in His Decoration

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The Role of Van Gogh's Suggestive Colour in His Decoration THE ROLE OF VAN GOGH'S SUGGESTIVE COLOUR IN HIS DECORATION CANVASES FOR THE YELLOW HOUSE by MAUREEN RYAN B.A., University of British Columbia, 1973. A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in the Department of Fine Arts We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA November, 19 76. (c) Maureen Ryan, 19 76. In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of i~~ISU.jp (jLwfc The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date ^/^V(>P. ABSTRACT In the late summer of 1888, Vincent van Gogh undertakes to paint a number of canvases intended to decorate the Yellow House, his rented accomodation in Aries. Between mid August 1888,when this project is initiated in anticipation of sharin the Yellow House with Paul Gauguin, and October 23 or 24, 1888, when Gauguin arrives in Aries from Pont Aven, seventeen size 30 canvases for this decoration are painted. In descr• ibing two of these canvases to Theo van Gogh, Vincent expli- citely states that much of the meaning of his subject matter is to be conveyed by the use of suggestive or expressive colour. Several other times during the period in which the decoration is Vincent's major concern, a reference is made in the letters to Theo, to a concern with exploring the sugg• estive and expressive possibilities of colour. This thesis examines the nature of Vincent's concept of suggestive colour and it's role in the decoration canvases for the Yellow House As neither aspect of this topic have been examined in the van Gogh literature, this thesis is divided into two parts. In Part One, the concern with suggestive colour is shown to have it's roots in Nuenen in 1884 and 1885 where Vincent was introduced to several art texts that attributed the impact cfDelacroix' paintings to his understanding ' ii of the colour laws, in particular the various effects achieved through the juxtaposition or admixture of complementary colours. An analysis of Vincent's writings at this time shows that he gives a symbolic significance to his use of complementary admixtures and uses such colours to convey a particular aspect of his subject matter. While Vincent's palette and technique change radically in Paris and Aries due to Vincent's contact with impressionism and neoimpressionism and the exaggerated colour effects of the Japanese print, the re-emergence of a concern with the suggestive properties of colour which is announced in the early summer of 18 88, is based to a large extent on the significance given to complementary relationships formed in , s-Nuenen. An analysis of the colour structures in several canvases executed in July and early August of 1888, in light of the special role given to complementary relation• ships, shows that Vincent intended his use of complementary colours to convey much of the meaning of his images. Part Two examines the decoration canvases for the Yellow House. A study of Vincent's letters reveals the Yellow House as an essential part of Vincent's vision of a studio in the south that would give asylum and refuge to artists in need. This studio was to provide for artists of the present and the future,as Vincent sees his own role as a painter as a link in a chain of artists working with colour. By establishing a studio that is to remove the threat of poverty and hardship iii 1 from artistic life Vincent hoped to create a stable and serene environment, enabling artists to work productively/ in turn effecting an artistic renaissance and a new art of colour. Examined individually within this - context several of the decoration canvases are shown to refer to ijhi.s vision, suggesting a thematic link for the series as a whole. Sugg• estive colour continues as a major concern during the period in which the decoration canvases are painted. Vincent sees complementary harmonies and contrasts as able to convey "l'idees poetiques" and uses such colour relationships in several of the canvases of the series to convey important aspects of meaning. The decoration for the Yellow House thus emerges as a crystallization of Vincent's vision of an asso• ciation of artists working towards a renaissance, and as a major effort to formulate an expressive art in the summer and fall of 1888. Both aspects establish the series as an important development in the evolution of Vincent's art and theory. iv TABLE OF CONTENTS PAGE LIST OF PLATES . vi ACKNOWLEDGEMENT . vii INTRODUCTION 1 PART ONE: THE ROLE OF COLOUR 1883 - 1888. CHAPTER I. THE INTRODUCTION TO COLOUR THEORY AND EXPRESSIVE COLOUR IN NUENEN 11 II. THE CHANGE IN PALETTE AND TECHNIQUE IN PARIS 31 III. THE MOVEMENT TOWARD EXAGGERATED COLOUR AT ARLES 44 IV. THE RE-EMERGENCE OF SUGGESTIVE COLOUR IN JULY AND AUGUST, 1888 66 The Sower, F. 422.. 66 The Zouave, F. 423 75 The Bridge at Trinquetaille, F. 426. .80 The Portrait of Patience Escalier, F. 443 82 PART TWO: THE DECORATION CANVASES FOR THE YELLOW HOUSE V. THE CONCEPT OF THE YELLOW HOUSE 88 VI. THE DECORATION CANVASES 97 The Sunflowers, F. 454 and F. 456. .97 The Night Cafe, F. 463 104 The Poets Garden, F. 468, and F. 1465.. Ill V DECORATION CANVASES cont'd. PAGE The Furrows, F. 574 127 The Starry Night, F. 474 133 The Vineyard, F. 475 141 The House, F. 464 145 The Tarascon Dilligence, F. 478a 151 The Autumn Gardens, F. 470, F. 566 or F. 472 156 The Iron Bridge at Trinquetaille, F. 481, and The Railway Bridge, F. 480..161 The Poet's Garden, F. 479 and F. 485. 165 The Bedroom, F. 4 82 173 CONCLUSION 181 FOOTNOTES 190 BIBLIOGRAPHY ..... 252 PLATES 25 8 vi LIST OF PLATES PLATE 1. Vase with Twelve Sunflowers, F. 456. 2. Vase with Fourteen Sunflowers, F. 454 3. The Night Cafe', F. 463. 4. The Poet's Garden, F. 46 8. 5. The Poet's Garden, F. 1465. 6. The Furrows, F. 574. 7. The Starry Night, F. 4 74. 8. The Vineyard, F. 4 75. 9. The House, F. 464. 10. The Tarascon Diligence, F. 478a. 11. The Cedar Walk, F. 4 70. 12. The Entrance to the Public Garden , F. 566. 13. The Public Garden, F. 472. 14. The Iron Bridge at Trinquetaille, F. 481. 15. The Railway Bridge, F. 4 80. 16. The Poet's Garden, F. 479. 17. The Poet's Garden, F. 4 85. 18. The Bedroom, F. 482. ACKNOWLEDGEMENT I would like to thank Professor George Rosenberg, Department of Fine Arts, University of British Columbia, for the careful and useful criticisms offered throughout the writing of this thesis. 1 INTRODUCTION In letter 526, (c.21 August, 1888)} Vincent van Gogh writes to his brother Theo to let him know that he has just 2 received a letter from Paul Gauguin in Pont Aven. Vincent understands this letter as an indication that Gauguin is willing to join him in Aries. Je t'ecris bien a la hate, mais pour te dire que je viens de recevoir un mot de Gauguin, qui dit qu'il n'a pas ecrit beau• coup, mais se dit toujours pret a venir dans le midi, aussitSt que le chance le permettra. (526) The concept of joining with Gauguin had concerned Vincent since the spring of 1888 when Gauguin had written to Theo describing his poor financial situation at Pont Aven, and had asked for 3 some assistance. Upon hearing of Gauguins plight, no doubt in a letter from Theo, Vincent had suggested to his brother, in letter 493 ,(c. 5 June, 1888), and to Gauguin in letter 494a, (c. 5 June, 1888), that Gauguin and himself share both accom• odation in Aries, and the support money that Theo was sending 4 to Vincent. The accomodation in Aries was to be the Yellow 5 House that Vincent had rented in May of 188 8, which he planned both to live in and to use as a studio. Gauguin appears to have been slow to respond definitely to this proposal that he 7 join Vincent in the south of France; It is no doubt on this account that Vincent responds so enthusiastically in letter 526, 2 (c. 21 August, 1888) to the prospect of Gauguin coming to Aries. Vincent informs Theo in this letter that in the hope of living in his studio with Gauguin , he plans to paint a decoration of 8 sunflowers, that will ultimately comprise twelve canvases. He is already at work, it is explained, on three such canvases. Je suis en train de peindre avec 1"entrain d'un Marseillais mangeant la bccuillabaise, ce qui ne t'etonnera pas lorsqu'il s'agit de peindre des grands Tournesols. J'ai trois toiles en train.... Dans l'espoir de vivre dans un atelier a nous avec G.(Gauguin), je voudrais faire une de'coration pour 1'atelier. Rien que des grands Tournesols.... Enfin si j'execute ce plan, il y aura une douzaine de panneaux. Le tout sera une symfonie/en bleu et jaune done.
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