1.
Jerome Flynn
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Jerome Patrick Flynn is an English actor and singer. He and his Soldier Soldier co-star Robson Green also performed as Robson & Jerome in the half of the 1990s. They released a version of Unchained Melody which stayed at number 1 for 7 weeks on the UK Chart, selling more than a million copies, the duo had two further number 1 singles, I Believe and What Becomes of the Brokenhearted. Their eponymous debut album and the follow-up Take Two both reached number 1 on the UK Albums Chart, Flynn was born in Bromley, Kent, the son of actor and singer Eric Flynn and drama teacher Fern Flynn. He has a brother and sister, and a half-brother and sister from his fathers second marriage and his brother Daniel Flynn is also an actor, and his half-brother Johnny Flynn is a musician and actor. In 1986 Flynn appeared in the LWT television film Londons Burning as firefighter Kenny Rambo Baines, when the film spawned a series of the same name in 1988, he was the only member of the main cast who was unable to reprise his role due to previous commitments. In 1988 he played the character Freddie in the ITV drama and he appeared as D. S Eddie Hargreaves for six episodes of the police drama Between The Lines. Flynn portrayed Corporal Paddy Garvey of the Kings Fusiliers in the ITV series Soldier Soldier and he acted alongside Robson Green in the series. The single was released under the name Robson & Jerome and reached number one in the UK chart in 1995. The duo had two number one hits in 1995 and 1996 with I Believe and What Becomes of the Brokenhearted both re-makes of standards, they also produced two number one albums. Flynn went on to star as Eddie Wallis in the comedy-drama Aint Misbehavin and he played Bobby Charlton in the 1999 film Best. On stage, he played Tommy Cooper in Jus Like That, having semi-retired from acting and moved to Pembrokeshire, in 2007 Flynn directed and starred in the low budget film, Rude Tales. The film was split into a series of stories, all centred around the lead character, Jerome Rude. The film was screened at a number of independent cinemas in the Pembrokeshire area. R. Flynn provides the voice of Daniel in the television show Tommy Zoom. He also appeared on the television programme So You Think Youre Royal. Where it was established that through his mother he is a descendant of Oliver Cromwell, through his son Henry Cromwell, and also a descendent of Edward I, Edward II. Flynn stars alongside Matthew Macfadyen in four series of Ripper Street for the BBC, in 2016, he appeared in Shut Up and Dance, an episode of the anthology series Black Mirror
Jerome Flynn
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Flynn at the 2013 BAFTA TV Awards
2.
Saoirse Ronan
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Saoirse Una Ronan is an Irish and American actress. She is a two-time Academy Award nominee, receiving a Best Supporting Actress nomination for Atonement, and she also received three BAFTA Award nominations, two Golden Globe nominations, two Screen Actors Guild nominations and two Satellite Awards. She had her film debut in the romantic comedy I Could Never Be Your Woman. Other roles include City of Ember, The Lovely Bones, Hanna, The Way Back, Byzantium, The Host, How I Live Now, in January 2016, Ronan was included in Forbes 30 Under 30 in both the European and USA editions. In March 2016, Ronan made her Broadway debut in a revival of the The Crucible, in the role of Abigail Williams and she appeared on the cover of Time magazine in June 2016, one of ten young leaders selected as Next Generation Leaders. Born in The Bronx, in New York City, Ronan is the child of Irish parents Monica and Paul Ronan. Her father is also an actor, and her mother had acted as a child, Ronans family moved to County Carlow, Ireland, when she was three years old, later settling in Howth, Dublin. Ronan made her debut on Irish public service broadcaster RTÉ, in the 2003 prime time medical drama The Clinic. During the same time, Ronan auditioned to play Luna Lovegood in Harry Potter and the Order of the Phoenix, at the age of twelve, Ronan was asked to attend a casting call for Joe Wrights 2007 film adaptation of Ian McEwans 2001 novel Atonement. She auditioned for and won the part of Briony Tallis, a 13-year-old aspiring novelist and she acted alongside Keira Knightley and James McAvoy. Wright grew more and more impressed with Ronan on-set, and Ronan declared her role a fantastic part, Ronans next film was Amy Heckerlings often-delayed romantic comedy I Could Never Be Your Woman. In 2008, Ronan starred in both Death Defying Acts and the fantasy film City of Ember. Ronan was awarded an Irish Film & Television Award for her performance, released to a mixed reception, the film was not a success at the box office, barely grossing US$8.3 million worldwide. In Gil Kenans City of Ember Ronan starred as Lina Mayfleet, the fantasy film, based on the 2003 novel by Jeanne DuPrau, received mixed reviews from critics, and grossed US$17 million worldwide, well below its US$55 million budget. The Lovely Bones was released to mixed reviews critics, who criticised the films story. Critics praised the acting however, particularly Ronans, whose performance Richard Corliss of Time described as magic, the film garnered various accolades, winning Ronan a Critics Choice Award and a Saturn Award as well as a second BAFTA Award nomination the following year. Her performance in the film garnered Ronan her fourth IFTA Award, in 2010, Ronan was invited to join the Academy of Motion Picture Arts and Sciences. In 2011, Ronan starred as the character in the action thriller Hanna about a 15-year-old girl who has been brought up in the Arctic wilderness to be the perfect assassin
Saoirse Ronan
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Ronan at 2015 Toronto International Film Festival
Saoirse Ronan
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Saoirse Ronan
Saoirse Ronan
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Ronan at the TIFF 2012 premiere of Byzantium
3.
Helen McCrory
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Helen Elizabeth McCrory, OBE is an English actress. She portrayed Cherie Blair in both The Queen and The Special Relationship, McCrory was born in Paddington, London. Her mother, Anne, is Welsh, and her father, Iain McCrory, is a diplomat from Glasgow and she is the eldest of three children. She was educated at Queenswood, a Hertfordshire boarding school, after which she spent a year living in Italy, upon her return to Britain, she began studying acting at the Drama Centre in London. McCrory won Third Prize at the Ian Charleson Awards for her 1993 performance as Rose Trelawny in Trelawny of the Wells at the National Theatre, in 2002 she was nominated for a London Evening Standard Theatre Award for Best Actress. She was later nominated for a 2006 Laurence Olivier Theatre Award for her role as Rosalind in As You Like It in Londons West End, in April 2008, she made a compelling Rebecca West in a production of Ibsens Rosmersholm at the Almeida Theatre, London. In The Queen she played Cherie Blair, a role she reprised in Peter Morgans follow-up The Special Relationship and she appeared in a modernised TV adaptation of Frankensteins Monster, simply called Frankenstein. Her first pregnancy forced her to out of Harry Potter. McCrory was later cast as Bellatrixs sister Narcissa Malfoy in Harry Potter and she also played the principal villain role of Rosanna Calvierri in the episode The Vampires of Venice of the BBC television series Doctor Who. McCrory starred in The Last of the Haussmans at the Royal National Theatre, the production was broadcast to cinemas around the world on 11 October 2012 through the National Theatre Live programme. In 2013, McCrory narrated poetry for The Love Book App, again, in 2013 McCrory played Lady Macbeth at the Little Angel Theatre. She plays Polly Gray in Peaky Blinders In 2014, McCrory played the role in the National Theatres production of Medea. Also in 2014, McCrory made a guest appearance on the TV series Penny Dreadful and she returned as a regular for the shows second season, playing the main antagonist. In August 2016, McCrory was confirmed to play Emma Blunt in upcoming ITV drama series Fearless, McCrory was appointed an Officer of the Order of the British Empire in the 2017 New Year Honours for services to drama. On 4 July 2007, McCrory married actor Damian Lewis and they have a daughter, Manon, and a son, Gulliver. She is a patron of the London childrens charity Scene & Heard. Helen McCrory at the Internet Movie Database Helen McCrory at AllMovie
Helen McCrory
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McCrory at the 65th Berlin International Film Festival, February 2015
4.
Chris O'Dowd
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Christopher Chris ODowd is an Irish actor, best known for comedic roles such as Roy Trenneman in the Channel 4 comedy The IT Crowd. ODowd created and starred in the Sky 1 television series Moone Boy and he had a recurring role on the drama series Girls and starred in the television series Family Tree. ODowd is also known for his roles, most notably Bridesmaids, This Is 40, The Sapphires, Thor, The Dark World, Calvary. He made his Broadway debut in the adaptation of Of Mice and Men in 2014. ODowd was born and raised in Boyle, County Roscommon and his father, Seán, is a graphic designer, and his mother, Denise, is a counsellor and psychotherapist. He is the youngest of five siblings and he represented Roscommon in Gaelic football at under-16, minor and under-21 level, the highlight being his performance as a goalkeeper in the 1997 Connacht Minor final against Mayo. This was highlighted by his guest appearance on the Sunday Game and he studied politics and sociology at University College Dublin, and subsequently attended the London Academy of Music and Dramatic Art. ODowd did not obtain a degree from UCD, telling the UCD student newspaper the College Tribune, the politics part of it was fine, but I was doing sociology as well and I could never bring myself to find an interest in it. He contributed to The University Observer, Ógra Fianna Fáil and was active in UCD Dramsoc, the slogan was a huge success thanks to ODowds improvisation with classmate Ronan Kirbys hurley. ODowd revealed to The College Tribunehe was personally thanked by De Valeras ghost in a dream, ODowd has starred in the United Kingdom in Channel 4s comedy The IT Crowd, BBC Twos Romans Empire, Red Cap and the award-winning documentary-drama The Year London Blew Up. He has also appeared on Irish television, having starred in the RTÉ One drama The Clinic, ODowd has appeared in How to Lose Friends & Alienate People in a minor role. ODowd appears in Frequently Asked Questions About Time Travel, a comedy film with Marc Wootton, Dean Lennox Kelly. He played Liam in the 2007 German film Hotel Very Welcome and he starred in the 2009 film The Boat That Rocked, released in Canada and the U. S. as Pirate Radio. The film was inspired by the story of pirate broadcasters Radio Caroline. ODowd plays Simon, the stations breakfast DJ. The breakfast jock on Radio Caroline at the time was Tony Blackburn, so theres definitely an element of him in it, says ODowd of his character. And then I called in different Irish DJs that would have been contemporaries of Tony Blackburn at the time, a guy called Larry Gogan, ODowd starred opposite Sienna Miller in the film Hippie Hippie Shake, which is about the groundbreaking 60s magazine, Oz. The publication was the precursor to a generation of lad mags. ODowd plays Felix Dennis, who would become the publisher of Maxim
Chris O'Dowd
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O'Dowd at the British Comedy Awards, December 2013
Chris O'Dowd
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O'Dowd at Lingerie London in 2012
5.
Eleanor Tomlinson
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Eleanor May Tomlinson is an English actress, known for her roles as Princess Isabelle in Jack the Giant Slayer, Isabel Neville in The White Queen, and Demelza Poldark in Poldark. She moved with her family to Beverley, East Riding of Yorkshire, England when she was young and she is the daughter of Judith Hibbert, a singer, and Malcolm Tomlinson, an actor. Her brother, Ross Tomlinson, is also an actor, Tomlinson appeared in The Illusionist as Young Sophie. In 2013 she was Xenya in the film Siberian Education by Gabriele Salvatores, after an extensive search, Tomlinson was cast as Princess Isabelle in Jack the Giant Slayer, directed by Bryan Singer. She also starred in the TV series, The White Queen, as Lady Isabel Neville, since 2015, she has played Demelza Poldark in the BBC One television series Poldark. Eleanor Tomlinson at the Internet Movie Database Eleanor Tomlinson at AllMovie Eleanor Tomlinson at Rotten Tomatoes
Eleanor Tomlinson
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Eleanor Tomlinson at the British Independent Film Awards 2014
6.
Aidan Turner
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Aidan Turner is an Irish actor. He is best known for his roles as Kíli in the fantasy film The Hobbit. Notable television roles include those of Dante Gabriel Rossetti in Desperate Romantics, Ruairí McGowan in The Clinic and he also portrayed Luke Garroway in the film adaptation of The Mortal Instruments, City of Bones in 2013. Turner was born at home in Clondalkin, a town of Dublin. The family moved later to Walkinstown, Turner attended secondary school at St Mac Daras Community College in Templeogue before leaving to join his older brother at Firhouse Community College. Turner has stated, “I probably wasn’t a great student, I had a car when I was 17, so I used to just run out of school when I could, jump in the car and go play pool in Tallaght. I don’t know how I knew, but I convinced myself that my results were never going to matter to me. ”After finishing secondary school, Turner briefly worked as an apprentice electrician, alongside his father. After he saw a notice up in Dublin’s Gaiety School of Acting and he graduated from the Gaiety School of Acting in 2004. After graduating, Turner appeared in theatre plays, including The Plough and the Stars, Romeo and Juliet. Turners television acting career began in 2007 with an appearance on the first episode of The Tudors. Between 2008 and 2009, he appeared in a role on The Clinic. Appearing in 18 episodes as Ruairí McGowan, he followed The Clinic with a BBC production and he portrayed Dante Gabriel Rossetti in all six episodes of the show, which aired in 2009. Turner played the vampire John Mitchell on the supernatural drama programme Being Human during the first three series from 2009 to 2011 and his film career began with two short films, The Sound of People and Matterhorn, both in 2007. He later played Mal in the feature film Alarm. His role on Being Human brought Turner to the attention of Peter Jackson, in 2014, he won the Empire Award for Best Male Newcomer for the second film in the series, The Desolation of Smaug, which had been released the previous year. In 2013, he also played shadowhunter-turned-werewolf Luke Garroway in The Mortal Instruments, Turner portrays the titular character Ross Poldark in the 2015 revival of the BBC series Poldark. In the 2015 BBC TV miniseries And Then There Were None, based on the Agatha Christie novel, at the National Television Awards ceremony in 2016, Turner was presented with the Impact Award for his performance in Poldark. In November 2015, Turner announced his separation from actress Sarah Greene, aidan Turner at the Internet Movie Database
Aidan Turner
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Aidan Turner
7.
Clint Mansell
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Clinton Darryl Clint Mansell is an English musician, composer, and former lead singer of the band Pop Will Eat Itself. After Pop Will Eat Itself disbanded in 1996, Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Mansell then wrote the score for Aronofskys next film, Requiem for a Dream, which has been well received. The films primary composition Lux Aeterna has become popular, appearing in a variety of advertisements, film trailers. His notable film scores include Pi, The Fountain, Moon, Smokin Aces, Requiem for a Dream, The Wrestler, Doom, Black Swan, Mansell was the lead singer and guitarist of Pop Will Eat Itself. When PWEI signed to Nothing Records, Mansell became close friends with Trent Reznor of Nine Inch Nails, mansells score for Darren Aronofskys π was followed up by his score for Aronofskys next film, Requiem for a Dream, which became a cult hit. Since their first collaboration in 1996, Mansell has composed the music to every Aronofsky film. Other notable achievements include the theme for the film The Hole, the music for the episode of CSI, NY, and the score for Aronofskys later films The Fountain. The piece, named Requiem for a Tower, was recorded especially for the trailer, the orchestration was arranged by Simone Benyacar, Dan Nielsen, and Veigar Margeirsson. D. and the TV series Lost and Top Gear. It was also used on Sky Sports News and as the theme for Soccer Saturday from 2007–2009, in 2006, the theme was used in EuroSport LIVE trailers. The theme was used by Americas Got Talent as an introduction of the judges before being changed slightly. The new variant is now a piece on the show. Mansells theme tune for science-fiction movie Moon also appears on the trailer for the film The Iron Lady and computer game Aliens, Colonial Marines
Clint Mansell
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Mansell with the Sonus Quartet, playing in Union Chapel, London, 20 July 2009
8.
Biographical film
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A biographical film, or biopic, is a film that dramatizes the life of a non-fictional or historically-based person or people. Such films show the life of a person and the central characters real name is used. Because the figures portrayed are actual people, whose actions and characteristics are known to the public, biopic roles are considered some of the most demanding of actors and actresses. Biopic scholars include George F. Custen of the College of Staten Island, Custen, in Bio/Pics, How Hollywood Constructed Public History, regards the genre as having died with the Hollywood studio era, and in particular, Darryl F. Zanuck. On the other hand, Binghams 2010 study Whose Lives Are They Anyway, ellen Cheshires Bio-Pics, a life in pictures examines UK/US films from the 1990s and 2000s. Each chapter reviews key films linked by profession and concludes with further viewing list, christopher Robé has also written on the gender norms that underlie the biopic in his article, Taking Hollywood Back in the 2009 issue of Cinema Journal. The Hurricane is not a documentary but a parable, some biopics purposely stretch the truth. Confessions of a Dangerous Mind was based on game show host Chuck Barris widely debunked yet popular memoir of the same name, Kafka incorporated both the life of author Franz Kafka and the surreal aspects of his fiction. The Errol Flynn film They Died with Their Boots On tells the story of Custer but is highly romanticized, casting can be controversial for biographical films. Casting is often a balance between similarity in looks and ability to portray the characteristics of the person, anthony Hopkins felt that he should not have played Richard Nixon in Nixon because of a lack of resemblance between the two. The casting of John Wayne as Genghis Khan in The Conqueror was objected to because of the American Wayne being cast as the Mongol warlord. Egyptian critics criticized the casting of Louis Gossett, Jr. an African American actor, also, some objected to the casting of Jennifer Lopez in Selena because she is a New York City native of Puerto Rican descent while Selena was Mexican-American. Biographical novel Biography in literature List of biographical films
Biographical film
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Chapaev
9.
Vincent van Gogh
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Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
Vincent van Gogh
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Self-Portrait, Spring 1887, Oil on pasteboard, 42 × 33.7 cm., Art Institute of Chicago (F 345)
Vincent van Gogh
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Vincent c. 1871-1872 aged 18. This photograph was taken at the time when he was working at the branch of Goupil & Cie 's gallery in The Hague.
Vincent van Gogh
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Vincent c. 1866, approx. age 13
Vincent van Gogh
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Van Gogh's drawing of 87 Hackford Road
10.
BreakThru Films
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BreakThru Films is a film production company based in London, Warsaw and Dublin. The company concentrates mostly in the production of short and feature films, animation, documentary, BreakThru Films was founded in 2002 by Hugh Welchman, initially producing a number of short films before diversifying into feature, animation and theatre-based projects. In 2007, they produced Alex, a show based on the Daily Telegraph comic strip of the same name. It premiered in London West End in Autumn 2007 and has since been touring in Sydney, Hong Kong, Singapore, in 2008, the BreakThru animated short, Peter and the Wolf, won an Academy Award for Best Short Film. As well as developing their own productions, BreakThru have served as Visual Effects producers for La Vie En Rose, the Clap Peter and the Wolf Free Jimmy. Special Effects Company The Last Thakur Scratch Battle for Britain Papas Boy The Flying Machine Hound Official website
BreakThru Films
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Breakthru Films
11.
Cinema Management Group
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Cinema Management Group is an American company located in Beverly Hills, California that acquires, licenses, and distributes feature films, animation and documentaries. The company was founded in 2003 by Edward Noeltner, in 2004 the company acquired the right for the CGI animated film Hoodwinked. The True Story of Red Riding Hood, CMG expanded its genre distribution with the indie film Reeker and the sequel No Mans Land, The Rise of Reeker. Edward Noeltner is the founder of Cinema Management Group, in 2008, film producer Gray Frederickson brokered the sale of CMG shares to The Cleveland Family Trust, managed by Brian and Jason Cleveland to establish the CMG Acquisitions Fund. Adventures in Zambezia The Adventures of the Little Prince Hoodwinked
Cinema Management Group
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Cinema Management Group
12.
The Daily Telegraph
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It was founded by Arthur B. Sleigh in 1855 as The Daily Telegraph and Courier, the papers motto, Was, is, and will be, appears in the editorial pages and has featured in every edition of the newspaper since April 19,1858. The paper had a circulation of 460,054 in December 2016 and its sister paper, The Sunday Telegraph, which started in 1961, had a circulation of 359,287 as of December 2016. The Daily Telegraph has the largest circulation for a newspaper in the UK. The two sister newspapers are run separately, with different editorial staff, but there is cross-usage of stories, articles published in either may be published on the Telegraph Media Groups www. telegraph. co. uk website, under the title of The Telegraph. However, critics, including an editor, accuse it of being unduly influenced by advertisers. The Daily Telegraph and Courier was founded by Colonel Arthur B, Sleigh in June 1855 to air a personal grievance against the future commander-in-chief of the British Army, Prince George, Duke of Cambridge. Joseph Moses Levy, the owner of The Sunday Times, agreed to print the newspaper, the paper cost 2d and was four pages long. Nevertheless, the first edition stressed the quality and independence of its articles and journalists, however, the paper was not a success, and Sleigh was unable to pay Levy the printing bill. Levy took over the newspaper, his aim being to produce a newspaper than his main competitors in London. The same principle should apply to all other events—to fashion, to new inventions, in 1876, Jules Verne published his novel Michael Strogoff, whose plot takes place during a fictional uprising and war in Siberia. In 1937, the newspaper absorbed The Morning Post, which espoused a conservative position. Originally William Ewart Berry, 1st Viscount Camrose, bought The Morning Post with the intention of publishing it alongside The Daily Telegraph, for some years the paper was retitled The Daily Telegraph and Morning Post before it reverted to just The Daily Telegraph. As an result, Gordon Lennox was monitored by MI5, in 1939, The Telegraph published Clare Hollingworths scoop that Germany was to invade Poland. In November 1940, with Fleet Street subjected to almost daily bombing raids by the Luftwaffe, The Telegraph started printing in Manchester at Kemsley House, Manchester quite often printed the entire run of The Telegraph when its Fleet Street offices were under threat. The name Kemsley House was changed to Thomson House in 1959, in 1986 printing of Northern editions of the Daily and Sunday Telegraph moved to Trafford Park and in 2008 to Newsprinters at Knowsley, Liverpool. During the Second World War, The Daily Telegraph covertly helped in the recruitment of code-breakers for Bletchley Park, the ability to solve The Telegraphs crossword in under 12 minutes was considered to be a recruitment test. The competition itself was won by F. H. W. Hawes of Dagenham who finished the crossword in less than eight minutes, both the Camrose and Burnham families remained involved in management until Conrad Black took control in 1986
The Daily Telegraph
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The Sunday Telegraph
The Daily Telegraph
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The Daily Telegraph front page on 29 June 2015
The Daily Telegraph
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In 1882 The Daily Telegraph moved to new Fleet Street premises, which were pictured in the Illustrated London News.
The Daily Telegraph
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The Daily Telegraph building in 1974
13.
Slate.com
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Slate is an online liberal / progressive magazine that covers current affairs, politics and culture in the United States. It was created in 1996 by former New Republic editor Michael Kinsley, on 21 December 2004, it was purchased by The Washington Post Company, later renamed the Graham Holdings Company. Since 4 June 2008, Slate has been managed by The Slate Group, Slate is based in New York City, with an additional office in Washington, DC. A French version was launched in February 2009 by a group of four journalists, including Jean-Marie Colombani, Eric Leser, among them, the founders hold 50% in the publishing company, while The Slate Group holds 15%. In 2011, slate. fr started a separate site covering African news, Slate Afrique, in July 2014, Julia Turner replaced David Plotz, who had been editor of Slate since 2008. Plotz had been the deputy editor to Jacob Weisberg, Slates editor from 2002 until his designation as the Chairman, the Washington Post Companys John Alderman is Slates publisher. Slate, which is updated throughout the day, covers politics, arts and culture, sports, as of mid-2015, it publishes about 1500 stories per month. Slate is also known for adopting contrarian views, giving rise to the term Slate Pitches and it is ad-supported and has been available to read free of charge since 1999, but restricted access for non-US readers via a metered paywall in 2015. Slate features regular and semi-regular columns such as Explainer, Moneybox, Spectator, Transport, many of the articles are short and argument-driven. Around 2010, the magazine began running long-form journalism. Many of the stories are an outgrowth of the Fresca Fellowships. In the context of a 2014 reader discussion, it was stated that the magazine is perceived to have left-liberal leanings, in 1998, Slate introduced a paywall-based business model that attracted up 20,000 subscribers but was abandoned afterwards. A similar subscription model would later be implemented by Slates independently owned competitor, Salon. com, on November 30,2005, Slate started a daily feature ”Todays Pictures”, featuring fifteen to twenty photographs from the archive at Magnum Photos that share a common theme. The column also features two flash animated ”Interactive Essays” a month, in June 2006, on its tenth anniversary, Slate unveiled a redesigned website. In 2007, it introduced Slate V, a video magazine with content that relates to or expands upon their written articles. In 2013, the magazine was redesigned under the guidance of Design Director Vivian Selbo, in 2011, Slate was nominated for four digital National Magazine Awards and won the NMA for General Excellence. In the same year, the laid off several high-profile journalists, including co-founder Jack Shafer. At the time, it had around 40 full-time editorial staff, the following year, a dedicated ad sales team was created
Slate.com
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Slate
14.
Vincent van Gogh chronology
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This is a chronology of the artist Vincent van Gogh. It is based as far as possible on Van Goghs correspondence, however, it has only been possible to construct the chronology by drawing on additional sources. Most of his letters are not dated, and it was only in 1973 that a sufficient dating was established by Jan Hulsker, subsequently revised by Ronald Pickvance and marginally corrected by others. Many other relevant dates in the chronology derive from the biographies of his brother Theo, his uncle and godfather Cent, his friends Émile Bernard and Paul Gauguin, facts and dates which are undisputed, remain unreferenced. Theodorus van Gogh, since 1849 pastore in Groot-Zundert, married Anna Cornelia Carbentus, his brother Cents sister-in-law, March 30, a first son, called Vincent, died at birth. March 30, Vincent Willem van Gogh is born in Groot-Zundert, February 17, sister Anna Cornelia van Gogh, called Anna, is born. May 1, brother Theodorus van Gogh, called Theo, is born, may 16, sister Elisabeth Huberta van Gogh, called Lies, is born. March 26, Uncle Cent becomes partner of Goupil & Cie. March 16, sister Willemina Jacoba van Gogh, October 1, in Zevenbergen to attend the school of Jan Provily. September 3, enters secondary school at Tilburg, may 17, brother Cornelis Vincent van Gogh, called Cor, is born. March, leaves Tilburg and returns to his family in Zundert, July 30, Vincent starts apprenticeship with Goupil & Cie, The Hague. January, Van Goghs family moves to Helvoirt, January 1, Theo starts apprenticeship with Goupil & Cie, Brussels. February 19, the lot to serve in the army has fallen on Vincent, may 12, Vincent leaves for Paris where he visits the Paris branches of Goupil & Cie, the annual Salon and the Musée du Luxembourg. A week later, takes up work at the London branch of Goupil & Cie, August, moves to the house of Ursula Loyer and her daughter Eugenie in Brixton,87 Hackford Road. June 27 - July 15, summer holiday with his family in Helvoirt, November, on the demand of Uncle Cent, Vincent is transferred to Paris to get acquainted with the headquarters of Goupil & Cie. November 26, Jet Carbentus, a cousin of Vincent, marries Anton Mauve, Christmas, with his family in Helvoirt. May 24, Goupils London opens its first exhibition, end of May, Vincent is re-transferred to Paris headquarters. October 18, Van Goghs family moves to Etten, Christmas, with his family in Etten. December 30, visits Uncle C. M. in the Hague to talk about his future, December 31, father thinks he has to advise Vincent to resign
Vincent van Gogh chronology
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Self-Portrait, August 1889, Oil on canvas, National Gallery of Art, Washington D.C. (F626, JH1770)
Vincent van Gogh chronology
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The Van Gogh family: On top Theodorus van Gogh (1822-1885) and Anna Cornelia van Gogh-Carbentus (1819-1907), below left to right Vincent Willem (1853-1890), Anna Cornelia (1855-1930), Theo (1857-1891), Elisabetha Huberta (1859-1936), Willemina Jacoba (1862-1941) and Cornelis Vincent (1867-1900)
Vincent van Gogh chronology
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Van Gogh's birthplace in Zundert
Vincent van Gogh chronology
15.
Post-Impressionism
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Post-Impressionism is a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists concern for the depiction of light. The movement was led by Paul Cézanne, Paul Gauguin, Vincent van Gogh, the term Post-Impressionism was first used by art critic Roger Fry in 1906. Three weeks later, Roger Fry used the term again when he organized the 1910 exhibition, Manet, the Post-Impressionists were dissatisfied with what they felt was the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to make of Impressionism something solid and durable and he achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid-1880s and the early 1890s, Vincent van Gogh used colour and vibrant swirling brush strokes to convey his feelings and his state of mind. Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement, yet, the abstract concerns of harmony and structural arrangement, in the work of all these artists, took precedence over naturalism. Artists such as Seurat adopted a scientific approach to colour. Younger painters during the early 20th century worked in geographically disparate regions and in various categories, such as Fauvism and Cubism. Most of the artists in Frys exhibition were younger than the Impressionists, Fry later explained, For purposes of convenience, it was necessary to give these artists a name, and I chose, as being the vaguest and most non-committal, the name of Post-Impressionism. This merely stated their position in time relatively to the Impressionist movement, john Rewald limited the scope to the years between 1886 and 1892 in his pioneering publication on Post-Impressionism, From Van Gogh to Gauguin. This volume would extend the period covered to other artistic movements derived from Impressionism, though confined to the late 19th, Rewald focused on such outstanding early Post-Impressionists active in France as van Gogh, Gauguin, Seurat, and Redon. Pont-Aven School, implying more than that the artists involved had been working for a while in Pont-Aven or elsewhere in Brittany. Symbolism, a highly welcomed by vanguard critics in 1891. Rewald wrote that the term Post-Impressionism is not a precise one. Convenient, when the term is by definition limited to French visual arts derived from Impressionism since 1886, rewalds approach to historical data was narrative rather than analytic, and beyond this point he believed it would be sufficient to let the sources speak for themselves. Rival terms like Modernism or Symbolism were never as easy to handle, for they covered literature, architecture and other arts as well, Symbolism, however, is considered to be a concept which emerged a century later in France, and implied an individual approach
Post-Impressionism
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Henri Rousseau, The Centenary of Independence, 1892, Getty Center, Los Angeles
Post-Impressionism
Post-Impressionism
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Poster of the 1889 Exhibition of Paintings by the Impressionist and Synthetist Group, at Café des Arts, known as the The Volpini Exhibition, 1889
Post-Impressionism
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Henri de Toulouse-Lautrec, Portrait of Émile Bernard, 1886, Tate Gallery London
16.
Auberge Ravoux
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The Auberge Ravoux is a French historic landmark located in the heart of the village of Auvers-sur-Oise. It is known as the House of Van Gogh because the Dutch painter Vincent van Gogh spent the last 70 days of his life as a lodger at the auberge. During his stay at Auvers, Van Gogh created more than 80 paintings and 64 sketches before shooting himself in the chest on 27 July 1890, the auberge has been restored and is now a museum and tourist attraction. The room where Van Gogh lived and died has been restored, the auberge was built in the mid-nineteenth century as a family home on the main road leading to Pontoise. Various parts of buildings were incorporated into the auberge – including an entire eighteenth-century wall. The auberge was ideally situated in front of the Town Hall, the daughter of Mr Levert, the original owner, put the centrality of the location to use by opening a retail wine business. During Van Gogh’s stay, the rooms were all occupied by Dutch, the Spaniard artist Nicolás Martínez de Valdivieso, who lived nearby, took his meals at the auberge with Van Gogh. Van Gogh arrived in Auvers-sur-Oise on 20 May 1890 and he had spent a year in a convalescent home in Saint-Rémy-de-Provence and wanted to settle in the North, closer to Paris. Camille Pissarro, a friend of Van Goghs, suggested that he go to Auvers-sur-Oise where Dr Gachet lived, Dr Gachet had treated mental patients before and was interested in and sympathetic to the arts. The doctor was immortalized in a portrait Van Gogh made of him in June of that year, which fetched a record price of $82.5 million in 1990. Upon arrival in Auvers, Van Gogh decided to stay at the Auberge Ravoux, mainly because it was cheaper than the proposed by Dr. Gachet. At the Auberge Ravoux, Vincent paid 3 francs 50 a day, half board, and rented room 5, an attic room measuring 75 square feet and containing only a bed, a dressing table. He stored his paintings and drawings in a shed at the back and he became acquainted with Arthur Ravoux and his family and painted a portrait of Adeline Ravoux, the eldest daughter of Ravoux, on more than one occasion. Van Gogh was charmed by the village and in a letter to his brother Theo van Gogh praised its old thatched roofs and colours and he found the juxtaposition between the rustic country life and recent modern additions such as the railway and the bridge on the River Oise fascinating. He was in health, covering large distances with his painting gear. Despite his love of his new surroundings and his activity, on the morning of 27 July 1890, Van Gogh walked into a field. The bullet was deflected by a rib and lodged in his stomach and he survived the impact and managed to walk back to the auberge. Adeline Ravoux later recalled, Vincent walked bent, holding his stomach, crossed the hall, took the staircase and climbed to his bedroom
Auberge Ravoux
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Auberge Ravoux
Auberge Ravoux
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Vincent van Gogh: Portrait of Adeline Ravoux (Auvers, June 1890)
Auberge Ravoux
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Auberge Ravoux c. 1890. From left to right: Arthur Gustave Ravoux, Germaine Ravoux, Raoul Levert, Adeline Ravoux. Vincent Levert may be one of the three men sitting on the right (© Van Gogh Museum).
Auberge Ravoux
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Vincent's room at the Auberge Ravoux
17.
The Letters of Vincent van Gogh
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The Letters of Vincent van Gogh refers to a collection of 903 surviving letters written or received by Vincent van Gogh. More than 650 of these were from Vincent to his brother Theo, the collection also includes letters van Gogh wrote to his sister Wil and other relatives, as well as between artists such as Paul Gauguin, Anthon van Rappard and Émile Bernard. Vincents sister-in-law and wife to his brother Theo, Johanna van Gogh-Bonger, spent many years after her husbands death in 1891 compiling the letters, by contrast Vincent infrequently kept letters sent him and just 84 have survived, of which 39 were from Theo. Nevertheless, it is to these letters between the brothers that we owe much of what we know today about Vincent van Gogh, indeed, the only period where we are relatively uninformed is the Parisian period when they shared an apartment and had no need to correspond. The letters effectively play much the role in shedding light on the art of the period as those between the de Goncourt brothers did for literature. Within two years both brothers were dead, Vincent as the result of a wound, and Theo from illness. Joanna began the task of completing the collection, which was published in full in January 1914 and that first edition consisted of three volumes, and was followed in 1952–1954 by a four-volume edition that included additional letters. Jan Hulsker suggested, in 1987, that the letters be organized in date order, the project consists of a complete annotated collection of letters written by and to Vincent. In the last days of December 1901, running through January 1902, Bruno Cassirer and his cousin Paul Cassirer organized the first van Gogh exhibition in Berlin, Germany. Paul Cassirer first established a market for van Gogh, and then, with the assistance of Johanna van Gogh-Bonger, in 1906 Bruno Cassirer published a small volume of selected letters of Vincents to Theo, translated into German. Of the 844 surviving letters that van Gogh wrote,663 were written to Theo,9 to Theo, of the letters Vincent received from Theo, only 39 survive. The first letter was written when Vincent was 19 and begins, at that time Vincent was not yet developed as a letter writer – he was factual, but not introspective. When he moved to London, and later to Paris, he began to add personal information. Beginning in 1888 and ending a year later, van Gogh wrote 22 letters to Émile Bernard in which the tone is different from those to Theo, in these letters van Gogh wrote more about his techniques, his use of color, and his theories. Van Gogh was a reader, and his letters reflect his literary pursuits as well as a uniquely authentic literary style. His writing style in the letters reflect the literature he read and valued, Balzac, historians such as Michelet, additionally he read novels written by George Eliot, Charlotte Brontë, Charles Dickens, Keats poetry, reading mostly at night when the light was too poor for painting. Gauguin told him that he read too much, poet W. H. Auden wrote about the letters, there is scarcely one letter by van Gogh which I. do not find fascinating. Pomerans believes the letters to be on the level of world literature based on style, in the letters Vincent reflects different facets of his personality and he adopts a tone specific to his circumstances
The Letters of Vincent van Gogh
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Self-portrait dedicated to Paul Gauguin, September 1888, (F476), oil on canvas, 62 × 52 cm, Fogg Art Museum, Cambridge, MA
The Letters of Vincent van Gogh
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Vincent c. 1873 aged 19. This photograph was taken at the time when he was working at the branch of Goupil & Cie 's gallery at The Hague.
The Letters of Vincent van Gogh
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Vincent van Gogh, Self-portrait without beard, September 1889, van Gogh's last self-portrait. Given as a birthday gift to his mother.
The Letters of Vincent van Gogh
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Photograph of Theo van Gogh, 1890
18.
Wil van Gogh
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Wilhelmina Jacoba Wil van Gogh was a nurse and early feminist. She is best known as the youngest sister of the artist Vincent van Gogh, wilhelmina Jacoba van Gogh was born on 16 March 1862 in Zundert in the Netherlands, daughter of Theodorus van Gogh and Anna Cornelia Carbentus. She had three brothers Vincent, Theo, and Cor, and two sisters Elisabeth and Anna, during the first part of her life Wil van Gogh served her family and others, nursing the sick. After the death of her brothers in 1890 and 1891, she obtained a modest job in a hospital, There she engaged in the committee to organise the National exhibition of womens work,1898. This was a successful enterprise and funds raised from the exhibition,20,000 Dutch guilders. No sources record what happened, but on 4 December 1902 Wil van Gogh was interned and later transferred to the House Veldwijk, the diagnosis of dementia praecox, on which this measure was based, was at the time considered a fatal illness. Asylum records later noted, There has been no significant change in the condition of this long-standing patient and she remains solitary and withdrawn, rarely speaks and generally does not respond to questions. She spends her day in the same place in the lounge, sitting in her chair. She has refused food for years and has to be fed artificially, Wil van Gogh remained at Ermelo for almost four decades before she died there on 17 May 1941. Whether she was ill or not is nowadays difficult to prove. Renate Berger asserts that Wil van Gogh shared the fate of many sisters of men at the time. Anonymous, Van Gogh, s-Gravenhage, Nederlands Patriciaat 50,1964, pp. 171–183 Berger, Renate, Willemina Jacoba van Gogh, Du bist sehr tapfer, liebe Schwester, in, Schwestern berühmter Männer
Wil van Gogh
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Willemina Jacoba van Gogh
19.
Johanna van Gogh-Bonger
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Johanna Gezina Jo van Gogh-Bonger was the wife of Theo van Gogh, art dealer, and the sister-in-law of the painter Vincent van Gogh and key player in the growth of Vincents fame. Johanna Gezina Bonger was born on 4 October 1862 in Amsterdam in the Netherlands and she was the fifth of seven children, the daughter of an insurance broker. The family was musical, holding evening performances of quartets, and she stayed some months in London, working in the library of the British Museum. From the age of seventeen she kept a diary, which was to become a source of much information about Vincent van Gogh. At this time she came under the influence of the non-conformist writer Multatuli. At the age of twenty-two she became a teacher of English at a school for girls at Elburg. About this time while in Amsterdam she was introduced by her brother Andries to Theo van Gogh, one of the Van Gogh sisters described her as smart and tender. Theo became preoccupied with Johanna, and the following year paid a visit to Amsterdam to declare his love, surprised and annoyed that a man she hardly knew should wish to marry her, she rejected him. However, she accepted his proposal the following year, and they were married in Amsterdam on 17 April 1889 and their son Vincent Willem, was born on 31 January 1890. Following Theos death in January 1891, Johanna was left a widow with her infant son to support and she was left with only an apartment in Paris filled with a few items of furniture and about 200 then valueless works of her brother-in-law Vincent. She had not kept her diary during her marriage, but resumed it, to earn extra income she translated short stories from French and English into Dutch. In 1905, to the evident disapproval of her family, she was one of the members of a womens socialist movement. It is schoolgirlish twaddle, nothing more, in August 1901, she married Johan Cohen Gosschalk, a Dutch painter who was born in Amsterdam. She was widowed again in 1912, in 1914, she moved Theos body from Utrecht to Auvers-sur-Oise and interred it next to Vincents grave. A sprig of ivy taken from the garden of Dr Paul Gachet carpets both graves to this day, after the death of Vincent and her husband, she worked assiduously on editing the brothers correspondence, producing the first volume in Dutch in 1914. She also played a key role in the growth of Vincents fame and she wrote a Van Gogh family history as well. Johanna van Gogh stayed in contact with Vincent van Goghs friend Eugène Boch to whom she offered the portrait of Eugene Boch in July 1891. She also stayed in touch with Émile Bernard, who helped her to promote Vincent van Goghs paintings, the legacy and renown of Vincent van Gogh the long-suffering artist began to spread in the years after his death, first in the Netherlands, and Germany and then throughout Europe
Johanna van Gogh-Bonger
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Johanna van Gogh-Bonger in 1889
Johanna van Gogh-Bonger
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Johanna Bonger, by her second husband Johan Cohen Gosschalk, 1905
Johanna van Gogh-Bonger
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Jo with son Vincent Willem at the studio of photographer Raoul Saisset, 4 Rue Frochot, Paris, 1890
20.
Andries Bonger
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Andries Bonger, nicknamed Dries, was Johanna van Gogh-Bongers favorite brother. Bonger was a friend of his future brother-in-law Theo van Gogh in Paris and it was through Andries that Johanna and Theo met. He also knew Vincent van Gogh who called him André in letters and he mentioned that Van Gogh was not very strong, and so this was a very melancholy circumstance. In several letters over the remainder of the year, Bonger comments on an appreciation for. Vincent van Gogh arrived in Paris in 1886 which meant that Bonger saw less of Theo, Bonger expressed his concern that Vincent van Gogh was harsh with his brother Theo, who had begun to look haggard. Theo met Bongers parents during a visit to the Netherlands about August,1886, Bonger went into the insurance business later in Amsterdam. He was a friend of Bertrand-Jean Redon, better known as Odilon Redon. His collection also included works by Van Gogh, Paul Cézanne and Émile Bernard and he is buried at Zorgvlied cemetery
Andries Bonger
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Johan Cohen Gosschalk, Johanna Bonger, 1905
Andries Bonger
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Vincent van Gogh, self-portrait in 1887
21.
Theo van Gogh (film director)
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Theodoor Theo van Gogh was a Dutch film director, film producer, television director, television producer, television presenter, screenwriter, actor, critic and author. On 2 November 2004, Van Gogh was murdered by Mohammed Bouyeri, Theo van Gogh was born on 23 July 1957 in The Hague, Netherlands to Anneke and Johan van Gogh. His father served in the Dutch secret service and he was named after his paternal uncle Theo, who was captured and executed while working as a resistance fighter during the Nazi occupation of the Netherlands during World War II. Theo van Gogh was the great-grandson of Theo van Gogh, the brother of painter Vincent van Gogh, after dropping out of law school at the University of Amsterdam, Van Gogh became a stage manager. His self-proclaimed passion was film-making, and he made his debut as a director with the movie Luger and he was awarded a Gouden Kalf for Blind Date and In het belang van de staat. For the latter, he received a Certificate of Merit from the San Francisco International Film Festival. As an actor, he appeared in the film, De noorderlingen and he made numerous films, many on political themes. From the 1990s, van Gogh worked in television and his last book was Allah weet het beter, in which he strongly condemned Islam. He was a critic of Islam, particularly after the September 11 attacks in the United States. He supported the nomination of writer Ayaan Hirsi Ali for the Dutch parliament, born in Somalia, she had immigrated to the Netherlands to escape an arranged marriage. She became a writer and liberal politician, in the 1980s, Van Gogh became a newspaper columnist. Through the years he used his columns to express his frustration with politicians, actors, film directors, writers and he delighted in provocation and became a controversial figure, frequently criticizing Islamic cultures. He used his website, De Gezonde Roker, to express criticism of multicultural society. He said the Netherlands was so rife with social turmoil that it was in danger of turning into something Belfast-like, working from a script written by Ayaan Hirsi Ali, Van Gogh created the 10-minute short film Submission. The movie deals with violence against women in some Islamic societies, it tells the stories, using visual shock tactics, the title, Submission, is a translation of the word Islam into English. Following the broadcast, both Van Gogh and Hirsi Ali received death threats, Van Gogh did not take the threats seriously and refused any protection. According to Hirsi Ali, he said, Nobody kills the village idiot, Van Gogh was a member of the Dutch Republican society Republikeins Genootschap, which advocates the abolition of the Dutch monarchy. He was a friend and supporter of the controversial Dutch politician Pim Fortuyn, the killer shot Van Gogh eight times with an HS2000 handgun
Theo van Gogh (film director)
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Theo van Gogh in 2004
Theo van Gogh (film director)
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Place where van Gogh was killed
Theo van Gogh (film director)
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Ten years after the murder, the bullet holes are still visible in the bicycle lane in front of Linnaeusstraat 22 (picture taken 2 November 2014)
Theo van Gogh (film director)
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Demonstration at the Dam square after Van Gogh was killed
22.
Johannes Stricker
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Johannes Paulus Stricker was a Dutch theologian and biblical scholar. He attended the University of Leiden where he worked with J. F. van Oordt and he sat his ordination examination in May 1841, and was appointed to a ministerial post in October of that year. In December of that year, he married Willemina Carbentus, a sister of Vincent van Goghs mother. As an uncle he tutored the young Vincent in theology and biblical criticism in 1877-78, in the summer of 1881, van Gogh became infatuated with Strickers daughter Kee. He proposed marriage, but was rebuffed with an adamant no, nay, never
Johannes Stricker
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A photo of Kee Vos Stricker with her son taken around 1879/1880 by Albert Greiner.
23.
Anna Boch
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Anna Rosalie Boch was a Belgian painter, born in Saint-Vaast, Hainaut. Anna Boch died in Ixelles in 1936 and is interred there in the Ixelles Cemetery, Brussels, Boch participated in the Neo-Impressionist movement. Her early works used a Pointillist technique, but she is best known for her Impressionist style which she adopted for most of her career, a pupil of Isidore Verheyden, she was influenced by Théo van Rysselberghe whom she met in the Groupe des XX. Besides her own paintings, Boch held one of the most important collections of impressionist paintings of her time and she promoted many young artists including Vincent van Gogh whom she admired for his talent and who was a friend of her brother Eugène Boch. The Vigne Rouge, purchased by Anna Boch, was believed to be the only painting Van Gogh sold during his lifetime. The Anna Boch collection was sold after her death, in her will, she donated the money to pay for the retirement of poor artist friends. 140 of her own paintings were left to her godchild Ida van Haelewijn, many of these paintings show Ida van Haelewijn as a little girl in the garden. In 1968 these 140 paintings were purchased by her great nephew Luitwin von Boch, the paintings remained in the house of Ida van Haelewijn until her death in 1992. The Anna & Eugène Boch Expo opened March 30,2011, some paintings were also donated by Anna Bochs will to various museums like the Musées royaux des beaux-arts de Belgique. Different exhibitions of her life and work were held at the Royal Museum of Mariemont at Morlanwelz and her name is associated with famous museums like the Pushkin Museum in Moscow, the Musée dOrsay in Paris or the Van Goghhuis in Zundert, the Netherlands. In 2005 the Belgian historian Dr Therèse Thomas published a catalogue raisonné, in 2010 a great great great nephew of Anna Boch and Dr Therèse Thomas created the Anna Boch. com website. Since 2011 the website is edited from the Cremerie de Paris, P. & V. Berko, Dictionary of Belgian painters born between 1750 &1875, Knokke 1981, p.51. Anna Boch. com - includes painting reproductions Newsletter on Anna Boch
Anna Boch
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Photo of Anna Boch (before 1900)
Anna Boch
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Falaise - Côte de Bretagne. 62 x 84 cm. Oil on canvas.'
Anna Boch
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Anna Boch, c. 1889, by Théo van Rysselberghe
24.
Fernand Cormon
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Fernand Cormon was a French painter born in Paris. He became a pupil of Alexandre Cabanel, Eugène Fromentin, and Jean-François Portaels and his father was the playwright Eugène Cormon. His mother was Charlotte Furais, the actress, the Musée dOrsay has his Cain flying before Jehovahs Curse, and for the Mairie of the fourth arrondissement of Paris he executed in grisaille a series of panels, Birth, Death, Marriage, War, etc. A Chiefs Funeral, and a series of paintings for the Museum of natural history in Paris with themes from the Stone Age. He was appointed to the Legion of Honor in 1880, subsequently he also devoted himself to portraiture. Among his students with whom he was unsuccessful on this point were, for instance, Henri de Toulouse-Lautrec, Louis Anquetin, Eugène Boch, Paul Tampier, Émile Bernard, other students included Alphonse Osbert, Marius Borgeaud, and Theodor Pallady. This article incorporates text from a now in the public domain, Chisholm, Hugh. Atelier Cormon ~1885 (note e. g. Toulouse-Lautrec, Tampier, Anquetin, last row, second after sculpture, É. Bernard
Fernand Cormon
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Fernand Cormon.
Fernand Cormon
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Murder in the Seraglio, (1874)
Fernand Cormon
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Cain flying before Jehovah's Curse (1880)
Fernand Cormon
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A Forge (1894)
25.
John Peter Russell
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John Peter Russell was an Australian impressionist painter. Born and raised in Sydney, Russell moved to Europe in his teenage years to attend art school. A mans man, popular with students, Russell befriended fellow pupil Vincent Van Gogh. Van Gogh maintained correspondence with Russell throughout his life, Russells work was also admired by the French Impressionists, with whom he often painted. Russell returned to Sydney in old age, where he died and his works are held in major galleries in his home country and in Europe. John Peter Russell was born at the Sydney suburb of Darlinghurst, the eldest of four children of John Russell, J. P. Russell was a nephew of Sir Peter Nicol Russell. After his fathers death J. P. Russell enrolled at the Slade School of Fine Art, University College London, on 5 January 1881, Russell then went to Paris to study painting under Fernand Cormon. His fellow students there included Henri de Toulouse-Lautrec and Émile Bernard, Russell was a man of means and, having married a beautiful Italian, Mariana Antoinetta Matiocco, he settled at Belle Île off the coast of Brittany, where he established an artists colony. He would have 11 children with Matiocco, of whom six survived, Russell had met Vincent van Gogh in Paris and formed a friendship with him. Van Gogh spoke highly of Russells work, and after his first summer in Arles in 1888 he sent twelve drawings of his paintings to Russell, to inform him about the progress of his work. Claude Monet often worked with Russell at Belle Île and influenced his style, due to his substantial private income Russell did not attempt to make his pictures well known. In 1897 and 1898 Henri Matisse visited Belle Île, Russell introduced him to impressionism and to the work of van Gogh. Matisses style changed radically, and he would later say Russell was my teacher, in 1907, Russells wife Matiocco died in Paris. Grief-stricken, Russell buried her next to his home and destroyed 400 of his oils, Auguste Rodin despaired at the destruction of those marvels, and in one of his final letters to Russell, said Your works will live, I am certain. One day you will be placed on the level with our friends Monet, Renoir. Russell returned to Sydney, where he suffered a heart attack. Thea Proctor, a cousin of Russell prominent in Sydney art and society circles, Russell was a friend of Auguste Rodin and Emmanuel Frémiet, and his wifes beauty is immortalised in Rodins Minerve sans Casque and Fremiets Joan of Arc. Five of Russells sons served in France during World War I and his portrait of van Gogh, painted about 1886-87, was acquired by the Van Gogh Museum, at Amsterdam in 1938
John Peter Russell
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John Peter Russell, c. 1888
John Peter Russell
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John Peter Russell: Vincent van Gogh, 1886, Van Gogh Museum, Amsterdam
26.
Anthon van Rappard
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Anthon Gerard Alexander van Rappard was a Dutch painter and draughtsman. He was a pupil of Lawrence Alma-Tadema and for four years a friend and mentor of Vincent van Gogh. According to the RKD he worked in Paris, Brussels, Utrecht, Amsterdam and he studied at the Rijksakademie and was a member of the Utrecht artist societies Kunstliefde and Utrechtse Kunstkring, and Arti et Amicitiae in Amsterdam. The letters Van Gogh wrote to Van Rappard during their correspondence in the years 1881-1885 are a source for Van Goghs biography. Today, Van Rappards works are due to his short life
Anthon van Rappard
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G. A. Ridder van Rappard, (1858-1892) portrait by unknown photographer
Anthon van Rappard
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Workers at a brickworks
27.
Early works of Vincent van Gogh
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The early works of Vincent van Gogh is a group of paintings and drawings that Vincent van Gogh made when he was 27 and 28, in 1881 and 1882, his first two years of serious artistic exploration. Over the course of the two-year period Van Gogh lived in several places and he left Brussels, where he had studied for about a year in 1881, to return to his parents home in Etten, where he made studies of some of the residents of the town. In January 1882 Van Gogh went to The Hague where he studied with his cousin-in-law Anton Mauve and set up a studio, in 1882 Van Gogh had an offer for a commission of paintings of The Hague however the paintings, now considered masterpieces, were not acceptable. Van Gogh started out primarily drawing and painting with watercolor, under Mauves tutelage Van Gogh began painting with oils in 1882. A subject that fascinated Van Gogh was the class or peasant, inspired by the works of Jean-François Millet. In July 1869, Van Goghs uncle Philip James Quinlan helped him obtain a position with the art dealer Goupil & Cie in The Hague. After his training, in June 1873, Goupil transferred him to London, where he lodged at 87 Hackford Road, Brixton and this was a happy time for him, he was successful at work and was, at 20, earning more than his father. He fell in love with his landladys daughter, Eugénie Loyer and he was increasingly isolated and fervent about religion. His father and uncle sent him to Paris to work in a dealership, however, he became resentful at how art was treated as a commodity, a fact apparent to customers. On 1 April 1876, his employment was terminated, Van Gogh explored his interest in ministry to serve working people. He studied for a time in the Netherlands but his zeal and he became somewhat embittered and rejected the church establishment, yet found a personal spirituality that was comforting and important to him. By 1879, he made a shift in the direction of his life and found he could express his love of God and man through painting. After having moved to Brussels Van Gogh decided to study on his own, rather than at the art academy, often in the company of Dutch artist Anthon van Rappard. It is at this point his brother Theo, working as an art dealer at the Paris Goupil & Cie branch, began sending him money for support, a practice that continued throughout the brothers lives. In April 1881, Van Gogh moved to the Etten countryside in the Netherlands with his parents where he continued drawing, through the summer he spent much time walking and talking with his recently widowed cousin, Kee Vos-Stricker. She was the daughter of his mothers sister and Johannes Stricker. Although Van Gogh would have liked to marry Stricker, given her decisive refusal, No, never, never and his inability to support himself financially, marriage was out of the question. That Christmas he quarreled violently with his father, to the point of refusing a gift of money, in January 1882, he settled in The Hague where he called on his cousin-in-law, the painter Anton Mauve
Early works of Vincent van Gogh
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The Sower (after Millet)
Early works of Vincent van Gogh
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Rooftops, View from the Atelier The Hague (1882), watercolor, Private collection.
Early works of Vincent van Gogh
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Van Gogh's drawing of 87 Hackford Road
Early works of Vincent van Gogh
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Man Stooping with Stick or Spade 1882 Kuboso Memorial Museum of Arts, Izumi, Japan (F12)
28.
Sien (Van Gogh series)
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Vincent van Gogh drew and painted a series of works of his mistress Sien during their time together in the Netherlands. In particular, his drawing Sorrow is widely acknowledged as a masterwork of draftsmanship, commonly called Sien Hoornik, Clasina Maria Hoornik lived with van Gogh during much of his time in The Hague from 1881 to 1883. Van Gogh used Sien, a pregnant prostitute, as a model for his work and later took Sien, Van Gogh made drawings and paintings of Sien and her daughter, baby and mother over that period, which reflected the domestic life and hardships of the working poor. Their relationship was not accepted by his family or supporters, although his brother Theo did not withdraw his support over it, at his brother Theos urging, van Gogh left Sien in 1883 to paint in Drenthe, ending the only domestic relationship he would ever have. Sien resumed her life as a seamstress, cleaning woman and likely prostitute before marrying in 1901. On 12 November 1904, aged 54, she threw herself into the Schelde river and drowned, fulfilling a prediction she had made to van Gogh in 1883, it’s bound to end up with me jumping into the water. In the summer of 1881, van Gogh fell in love with his widowed cousin. He proposed marriage, but was rebuffed with an adamant no, nay, Mauve was a successful and noted artist, a leading member of the Hague School and a master colorist whose paintings found a ready market both home and abroad. He had married van Goghs cousin, Ariëtte Carbentus, in 1874 while she was very young and he was already established and successful. After a last, humiliating, effort to win Kee over, on Christmas Day that year he refused to attend church, provoking a violent quarrel with his father, a pastor, which resulted in his leaving home the very same day. He returned to The Hague and studied further under Mauve and he also introduced van Gogh to painting, first in oils and then with watercolor. At the end of January 1882, on his own account, van Gogh met a homeless, pregnant, the exact date of this meeting is not known beyond van Goghs dating of it in a letter to Theo written in May. However another letter written mid-January mentions he was negotiating modelling with a mother with a little child, based on the dates, van Gogh could not have been the father of the child. Sien was born in 1850, the eldest of ten children of Pieter Hoornik, a porter in the district of the Geest. To provide for the family, Sien and her mother worked as seamstresses and their earnings were supplemented by what Siens brother, Pieter, could provide from the income of his chair-making business. The family often relied upon public assistance, for a time Sien and some of her siblings lived at a Catholic orphanage, relying on assistance from the public soup kitchen and church charities. So meager were her earnings, she turned to prostitution for a better income, by the age of 32, the unmarried Sien had given birth to four children, two of whom lived, Maria Wilhelmina, born about 1877, and Willem, born July 1882. Sien posed for van Gogh throughout the winter, in exchange, van Gogh provided Sien and her daughter with a place to live and food to eat
Sien (Van Gogh series)
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Sorrow, drawing in chalk, the Garman Ryan Collection, at The New Art Gallery Walsall (F929a)
Sien (Van Gogh series)
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Kee Vos Stricker with her son Jan c. 1879/1880.
Sien (Van Gogh series)
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Anton Mauve - Ariëtte (Jet) Carbentus, the Artist's Wife,in the Dunes. Jet Carbentus was a cousin of Van Gogh on his mother's side.
Sien (Van Gogh series)
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Anton Mauve - Fishing boat on the beach, 115 x 172 cm. This was the painting Mauve was busy with at the time of his dealings with Van Gogh. It was shown in May at the 1882 Salon. Gemeentemuseum, The Hague.
29.
Peasant Character Studies (Van Gogh series)
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Peasant Character Studies is a series of works that Vincent van Gogh made between 1881 and 1885. Van Gogh had an attachment and sympathy for peasants and other working class people that was fueled in several ways. He was particularly fond of the peasant genre work of Jean-François Millet and he found the subjects noble and important in the development of modern art. Van Gogh had a particular interest in creating character studies of working men and women in the Netherlands and Belgium, such as farmers, weavers, and fishermen. Making up a body of Van Goghs work during this period. The peasant genre of the Realism movement began in the 1840s with the works of Jean-François Millet, Jules Breton, Van Gogh described the works of Millet and Breton as having religious significance, something on high, and described them as being the voices of the wheat. The Van Gogh Museum says of Millets influence on Van Gogh, Millets paintings, with their depictions of peasants and their labors. Before Millet, peasant figures were just one of many elements in picturesque or nostalgic scenes, in Millets work, individual men and women became heroic and real. Millet was the major artist of the Barbizon School who was not interested in pure landscape painting. In 1880 when he was 27 years old, Van Gogh decided to become an artist, in October of that year he moved to Brussels and began a beginners course of study. Van Gogh returned to Etten in April 1881 to live with his parents and his younger brother Theo, an art dealer at the main branch of Goupil & Cie, encouraged him and started covering Van Goghs expenses. Van Gogh used images from illustrated magazines to teach himself how to draw, Charles Bargue, a French artist, wrote two books on drawing that were a significant source of study for Van Gogh. In January 1882, he settled in The Hague where he called on his cousin-in-law, Mauve introduced him to painting in both oil and watercolor and lent him money to set up a studio. Van Gogh began drawing people from the poor, including the prostitute Clasina Maria Sien Hoornik. Van Gogh dreamed his studio would one day become a form of respite for the poor where they could receive food, shelter and money for posing. His work was not well received, Mauve and H. G. Tersteeg, manager of Goupil & Cie, considered the drawings coarse, Van Gogh likened the unrefined characteristics of his drawings to harsh yellow soap made of lye. Van Goghs relationship with Sien changed as they lived together with Maria, her five-year-old daughter, Mauve appears to have suddenly gone cold towards Van Gogh and did not return a number of his letters. Van Gogh supposed that Mauve did not approve of his arrangement with Sien
Peasant Character Studies (Van Gogh series)
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Woman Sewing
Peasant Character Studies (Van Gogh series)
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Jean-François Millet, La Charité, 1859
Peasant Character Studies (Van Gogh series)
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Two Hands, 1885, Private collection (F66)
Peasant Character Studies (Van Gogh series)
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Head of a Woman, 1885, Van Gogh Museum, Amsterdam (F160)
30.
Cottages (Van Gogh series)
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Cottages is a subject of paintings created by Vincent van Gogh from 1883 and 1885. This is related to the Peasant Character Studies that Van Gogh worked on during the time period. Inspired by the work of Jean-François Millet and others working in the peasant genre, Van Gogh became interested in representing peasant life in his art. To depict the essence and spirit of their life, he for a time lived as they lived, he was in the fields as they were, enduring the weather for long hours as they were. To do so was not something taught in art schools, he wrote, so thoroughly was he engaged in living the peasant lifestyle that his appearance and manner of speech began to change. This alienated some of his friends and family, but was a cost, he believed, Van Gogh visited the province of Drenthe for three months, staying in Nieuw-Amsterdam. While there, he explored the countryside still untouched by progress found in larger towns, cottages is a study of farm cottages and an outbuilding that Van Gogh found on one of his treks. The dark cottage is set against the evening sky, here he was greatly impressed by the working poor, but unable to find models for his character studies. In 1882 Van Goghs father became pastor in Nuenen and the family lived at the vicarage at Nuenen, having been in Drenthe for several months, Van Gogh came to live with his parents in December 1883 and stayed there until May 1885. During the winter in Nuenen Van Gogh worked on studies of the local peasants. There was little to be done in the fields and Van Gogh was able to make connections to people through his father, Van Goghs character studies culminated in his famous painting The Potato Eaters. The Cottage was a home that the De Groot family, immortalized in The Potato Eaters shared with another family, the cottage has double front doors, a split chimney and quarters for two families. Seen in the light, the cottage seems peaceful. Van Gogh called the peasant homes human nests, Peasant Woman Digging in Front of Her Cottage was one of the paintings that Van Gogh left behind when he went to Antwerp in 1885 and it went to his mother Anna Carbentus van Gogh. Houses at Auvers, a return to the subject of cottages by van Gogh in 1890 Impressionism List of works by Vincent van Gogh Postimpressionism Saint-Paul Asylum, Saint-Rémy
Cottages (Van Gogh series)
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Cottages, 1883, Van Gogh Museum, Amsterdam (F17)
Cottages (Van Gogh series)
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Farmhouse Among Trees, 1883, Museum Kolekcji Jana Pawla II, Warsaw, Poland (F18)
Cottages (Van Gogh series)
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Cottage, 1885, Van Gogh Museum, Amsterdam (F83)
Cottages (Van Gogh series)
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Cottage with Peasant Woman Digging, 1885, Private collection (F89)
31.
Le Moulin de la Galette (Van Gogh series)
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Le Moulin de la Galette is the subject and title of several paintings made by Vincent van Gogh in 1886 of a windmill. The Moulin de la Galette was near Van Goghs apartment with his brother, the owners of the windmill maximized the view on a butte overlooking Paris, creating a terrace for viewing and a dance hall for entertainment. The windmill paintings are a subset of paintings from Montmartre, in 1886 van Gogh left the Netherlands for Paris and the guidance of his brother Theo van Gogh. While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he would have the opportunity to be influenced by Impressionists, Symbolists, Pointillists and his circle of friends included Émile Bernard, Paul Gauguin, Camille Pissarro, Henri de Toulouse-Lautrec, and others. Montmartre, sitting on a butte overlooking Paris, was known for its bars, cafes and it was also located on the edge of countryside that afforded van Gogh the opportunity to work on paintings of rural settings while living in Paris. The landscape and windmills around Montmartre were the source of inspiration for a number of van Goghs paintings, Moulin de la Galette, still standing, is located near the apartment that van Gogh shared with his brother Theo from 1886 until 1888. Built in 1622, it was originally called Blute-Fin and belonged to the Debray family in the 19th century, Moulin de la Galette was also the name of an outdoor dance hall that was located between two of the last windmills on a Montmartre hilltop. In addition to van Gogh, Toulouse-Lautrec and Pierre-Auguste Renoir also painted Moulin de la Galette, renoirs painting of the dance hall is titled Bal du moulin de la Galette. In van Gogh’s first year in Paris he painted rural areas around Montmartre, such as the butte, the colors are somber and evoke a sense of his anxiety and loneliness. Le Moulin de la Galette, also called The Blute-Fin Windmill, Montmartre reflects van Goghs artistic transition from his work in the Netherlands which was somber, influenced by Impressionism, van Goghs painted this work with lighter colors and unrestrained brushstrokes to capture light and movement. Van Gogh made the painting from an empty lot on rue Lepic, the painting features the Moulin de Blute-Fin, a 17th-century grain-mill, which was an attraction for its views of Paris. At this time there were three windmills on the butte, but this was the windmill van Gogh favored as a subject for his paintings, Moulin a Poivre, a second windmill, is just inside the left frame of the painting on the horizon. The painting was sold by Scottish art dealer Alex Reid to William McInnes, Le Moulin de la Galette is an example how van Gogh used a technique for heavily applying paint called impasto that it created a relief effect, partly to convey emotion. The brushstrokes in the windmill and doorsteps are noticeable, the faces of the two people were created with just a couple of brushstrokes. In addition to Le Moulin de la Galette, which is also named The Blute-Fin Windmill, here are the images of paintings from van Goghs period in Paris that include windmills
Le Moulin de la Galette (Van Gogh series)
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Le Moulin de la Galette (F348a)
Le Moulin de la Galette (Van Gogh series)
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Le Moulin de la Galette 1886 Neue Nationalgalerie, Berlin (F228)
32.
Seine (Van Gogh series)
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Seine is the subject and location of paintings that Vincent van Gogh made in 1886. The Seine has been a part of Parisian life for centuries for commerce, travel. Here van Gogh primarily captures the respite and relief from city life found in nature, a few of the paintings were made in Paris and the rest in the northwestern suburbs of Paris in Clichy and Asnières. Through these works the audience can see a transition in his work one of dark colors and serious themes to more joyous use of color and light. In the Netherlands van Gogh was influenced by great Dutch masters as well as cousin-in-law Anton Mauve a Dutch realist painter who was a member of the Hague School. In Paris van Gogh was exposed to and influenced by Impressionism, Symbolism, Pointillism, the spring of 1887 seemed to trigger an awakening within van Gogh where he experimented with the genres to develop his personal style. To dull colors, van Gogh often added black to his paintings, in 1886 van Gogh left the Netherlands for Paris never to return. His brother Theo, a successful Parisian art dealer, provided Vincent the support, starting March 1886 van Gogh studied with Fernand Cormon. During that time he lived with Theo who leased an apartment on Rue Lepic in Montmartre with space for a studio for his brother. Three months later Vincent abandoned his studies with Cormon, but his education continued on a basis as he met local artists. During 1886 he was introduced to Impressionist artists and their works, such as Edgar Degas, Claude Monet, Auguste Renoir, Georges Seurat, many of the Impressionist artists also shared his interest in Japanese ukiyo-e wood block prints. In the two years, from 1886 through 1888, Van Gogh emerged as a sophisticated, thoughtful, one of van Goghs quarrels with Impressionists, though, was subject matter. In the late 1880s the avant-garde painted the city, one modified significantly by the work of Baron Georges Haussmann. His plan was to build a city of grand boulevards, bridges and parks, which figure into van Goghs works of the Seine. The city lost tens of thousands of old buildings, some of them cherished historical buildings, paradoxically, renovations along the Seine provided some of artists most cherished views. Prior to the renovation buildings crowded the Seine, which could only be reached at right angles from narrow streets, new bridges were built and existing ones rebuilt, without shops and other structures that previously sat on the bridges. The city benefited by more light and air and improved commerce, to celebrate the modern city, Impressionists painted the changing urban landscape. Many, including van Gogh, felt that the city now dwarfed the individual and this was one of the key reasons for van Goghs growing unease in Paris
Seine (Van Gogh series)
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Fishing in Spring, the Pont de Clichy (Asnières)
Seine (Van Gogh series)
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The State Lottery 1882 Musée d'Orsay, Paris (F970)
Seine (Van Gogh series)
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Two Women in the Moor 1883 Van Gogh Museum, Amsterdam (F19)
Seine (Van Gogh series)
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Head of a Peasant Woman with White Cap, 1885, National Gallery of Scotland, Edinburgh (F140)
33.
Flowering Orchards
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Flowering Orchards is a series of paintings which Dutch artist Vincent van Gogh executed in Arles, in southern France in the spring of 1888. Van Gogh arrived in Arles in February 1888 in a snowstorm, appreciating the symbolism of rebirth, Van Gogh worked with optimism and zeal on about fourteen paintings of flowering trees in the early spring. He also made paintings of flowering trees in Saint-Rémy the following year, Flowering trees were special to Van Gogh, they represented awakening and hope. He enjoyed them aesthetically and found joy in painting flowering trees, the trees and orchards in bloom paintings that he made reflect Impressionist, Divisionist and Japanese woodcut influences. When Van Gogh arrived in Arles in February 1888, the fruit trees in the orchards were about to bloom. The blossoms of the apricot, peach and plum trees motivated him, excited by the subject matter, he completed nearly one painting a day. Around April 21 Van Gogh wrote to his brother Theo, that he will have to something new. In 1888 Van Gogh became inspired in southern France and began the most productive period of his painting career and he sought the brilliance and light of the sun which would obscure the detail, simplifying the subjects. It also would make the lines of composition clearer, which would suit his ambition to create the patterns that he appreciated in Japanese woodblocks. Arles, he said, was the Japan of the South, Van Gogh found in the south that colors were more vivid. Mancoff says of flowering trees and this work, In his flowering trees, Vincent attained a sense of spontaneity, in Almond Tree in Blossom, Vincent used the light, broken strokes of impressionism and the dabs of colour of divisionism for a sparkling surface effect. The distinctive contours of the tree and its position in the foreground recall the formal qualities of Japanese prints, the southern region and the flowering trees seems to have awakened Van Gogh from his doldrums into a state of clear direction, hyper-activity and good cheer. He wrote, I am up to my ears in work for the trees are in blossom, while in the past a very active period would have drained him, this time he was invigorated. To paint the flowering orchards, Van Gogh contended with the winds which were so strong that he drove pegs into the ground to which he fastened his easel, even so, he found painting the orchards too lovely to miss. Van Gogh may have envisioned several triptychs of his paintings of orchards, However, only one triptych grouping has been documented, one which Vincent envisioned and sketched for Theos apartment. Johanna van Gogh-Bonger displayed them in the apartment according to Van Goghs sketch, in Paris, Van Gogh had learned to paint more than what one sees, but what it should be. He felt Pink Orchard was an example of use of that technique. The way in which he outlined the bark of the tree indicates influence of the Japanese prints that he greatly admired, using an Impressionist technique of placing colors side by side, Van Gogh makes short dots or brush strokes of colors to represent grass
Flowering Orchards
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Flowering peach trees
Flowering Orchards
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The Pink Orchard also Orchard with Blossoming Apricot Trees March 1888 Van Gogh Museum, Amsterdam (F555)
Flowering Orchards
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Peach Tree in Blossom March–April 1888 Van Gogh Museum, Amsterdam (F404)
Flowering Orchards
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The White Orchard April 1888 Van Gogh Museum, Amsterdam (F403)
34.
Almond Blossoms
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Almond Blossoms is from a group of several paintings made in 1888 and 1890 by Vincent van Gogh in Arles and Saint-Rémy, southern France of blossoming almond trees. Flowering trees were special to van Gogh and he enjoyed them aesthetically and found joy in painting flowering trees. The works reflect the influence of Impressionism, Divisionism, and Japanese woodcuts, Almond Blossom was made to celebrate the birth of his nephew and namesake, son of his brother Theo and sister-in-law Jo. In 1888 van Gogh became inspired in southern France and began the most productive period of his painting career, Arles, he said, was the Japan of the South. Here, he felt, the effect of the sun would strengthen the outlines of compositions. Pairs of complements—the red and green of the plants, the highlights of oranges and blue in the fence. When van Gogh arrived in Arles in March 1888 fruit trees in the orchards were about to bloom, the blossoms of the apricot, peach and plum trees motivated him, and within a month he had created fourteen paintings of blossoming fruit trees. Excited by the matter, van Gogh completed nearly one painting a day. Around April 21 he wrote to Theo, that he will have to something new. Van Goghs work reflected his interest in Japanese wood block prints, hiroshiges Plum Park in Kameido demonstrates portrayal of beautiful subject matter with flat patterns of colors and no shadow. Hiroshige was one of the last great masters of the Japanese genre called ukiyo-e, Van Gogh integrated some of the technical aspects of ukiyo-e into his work as his two 1887 homages to Hiroshige demonstrates. The southern region and the trees seems to awakened van Gogh from his doldrums into a state of clear direction, hyper-activity. He wrote, I am up to my ears in work for the trees are in blossom, while in the past a very active period would have drained him, this time he was invigorated. Vincent wrote to Theo, Down here it is freezing hard and there is snow in the countryside. The two studies are Blossoming Almond Branch in a Glass and Blossoming Almond Branch in a Glass with a Book, to reflect the early signs of spring, he used delicate brushstrokes and pastel shades for Blossoming Almond Branch in a Glass. A broken-off sprig is set in a simple glass, the sprig is highlighted by a red line along the beige wall and lavish empty space. There is no formal decorative intent, Van Goghs name, also in bright red, hovers above a sprig in the upper left as if a symbol of hope. Van Gogh has transformed the life with the help of these values
Almond Blossoms
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Almond Blossom, 1890
Almond Blossoms
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Japonaiserie Flowering Plum Tree (after Hiroshige) by Vincent van Gogh, 1887 Van Gogh Museum, Amsterdam (F371)
Almond Blossoms
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Blossoming Almond Branch in a Glass 1888 Van Gogh Museum, Amsterdam (F392)
Almond Blossoms
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Blossoming Almond Branch in a Glass with a Book 1888 Private Collection (F393)
35.
Saintes-Maries (Van Gogh series)
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Saintes-Maries is the subject of a series of paintings that Vincent van Gogh made in 1888. When Van Gogh lived in Arles, he took a trip to Saintes-Maries-de-la-Mer on the Mediterranean sea, in June 1888 Van Gogh took a 30-mile stagecoach trip from Arles to the sea-side fishing village of Saintes-Maries-de-la-Mer on the coast of the Mediterranean sea. Van Goghs week-long trip was taken to recover from his health problems, at that time Saintes-Maries was a small fishing village with under a hundred homes. In just a few days he made two paintings of the sea, one of the village and nine drawings and it was before the boats hastened out, I had watched them every morning, but as they leave very early I didnt have time to paint them. Some of the work on the painting was finished in the studio, such as capturing the light in the sand, sea, another seascape Van Gogh made was The Sea at Les Saintes-Maries-de-la-Mer in which he sought to capture lights effect on the sea. The setting includes fishing boats returning to the village, to emphasize contrast to the color green in the painting, Van Gogh signs his name in large bright letters. Fishing Boats at Saintes-Maries-de-la-Mer is one of Van Goghs reed pen drawings of Saint-Maries which he based on his painting The Sea at Les Saintes-Maries-de-la-Mer, the fluid movements of Van Goghs pen bring an energy to the drawing, not intended to be a mimetic copy. Both his choice of the pen and the placement of tiered-patterned strokes reflect the influence of Japanese prints. He brings life to the painting through technique, the Pointillist dotted sky accentuates the clouds. Whitecaps are evoked by the lines and horizontal lines portray the calmer sea in the distance. Seascape at Saintes-Maries was painted six years after Van Gogh wrote that he wished to paint a painting of sand, sea. In this painting the combination of a high horizon and boats close to the top edge of the frame, draw the audience in to the sea in the foreground. He also made three drawings of this composition, a wall encloses the town in which a large church becomes the focal point. The painting takes upon a three-dimensional appearance, starting with relief-like layers of paint in the sky. Finer brushstrokes were used on the field and town buildings, the Philadelphia Museum of Art owns a drawing that Van Gogh made titled The Road at Saintes-Maries. It is also known as Cottages in Saintes-Maries, beaujean, D. Van Gogh, Life and Work
Saintes-Maries (Van Gogh series)
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Fishing Boats on the Beach at Saintes-Maries, June 1888, Van Gogh Museum, Amsterdam, Netherlands (F413)
Saintes-Maries (Van Gogh series)
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The Sea at Les Saintes-Maries-de-la-Mer, 1888, Van Gogh Museum, Amsterdam (F415)
Saintes-Maries (Van Gogh series)
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Fishing Boats at Saintes-Maries-de-la-Mer, Pen and ink and pencil, June 1888, St. Louis Museum of Art (F1433)
36.
Hospital in Arles
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Hospital at Arles is the subject of two paintings that Vincent van Gogh made of the hospital in which he stayed in December 1888 and again in January 1889. The hospital is located in Arles in southern France, one of the paintings is of the central garden between four buildings titled Garden of the Hospital in Arles, the other painting is of a ward within the hospital titled Ward of the Hospital in Arles. Van Gogh also painted a Portrait of Dr. Félix Rey his physician while in the hospital, Arles is located in a region called Provence-Alpes-Côte dAzur, department of Bouches-du-Rhône in southern France. It is about 32 kilometres southeast of Nîmes, Arles became a successful port for trade in France during the Roman period. Many immigrants from North Africa came to Arles in the 17th and 18th centuries, Arles remained economically important for many years as a major port on the Rhône. The arrival of the railway in the 19th century eventually took away of much of the river trade, because Arles maintained Provençal charm it attracted artists, like Van Gogh. Van Gogh came to Arles on February 20,1888 and initially stayed at the lodgings at Restaurant Carrel, signs of spring were evident in the budding almond trees and of winter by the snow-covered landscape. To Van Gogh the scene seemed like a Japanese landscape, Arles was quite a different place than anywhere else he had lived. The climate was sunny, hot and dry and the inhabitants had more of an appearance. The vivid colors and strong compositional outlines of Provence led van Gogh to call the area the Japan of the South, in this time he produced more than 200 paintings including The Starry Night, Café de Nuit and The Sunflowers. Part of his difficulty in making friends was his inability to master the Provençal dialect, whole days go by without my speaking a word to anyone. In the beginning of his time in Arles, though, he was so enthused by the setting in Provence that the lack of connection with others hadnt troubled him, in October 1888 Paul Gauguin came to Arles and joined van Gogh in his rented rooms at The Yellow House. Unfortunately many of the places that van Gogh had visited and painted were destroyed during bombing raids in World War II. Van Goghs mental health deteriorated and he became eccentric, culminating in an altercation with Paul Gauguin in December 1888 following which van Gogh cut off part of his own left ear. He was then hospitalized in Arles twice over a few months and his condition was diagnosed by the hospital as acute mania with generalised delirium. Dr. Félix Rey, an intern at the hospital. In January 1889, he returned to the Yellow House where he was living, in March 1889, the police closed his house after a petition by 30 townspeople, who called him fou roux. Signac visited him in hospital and van Gogh was allowed home in his company, in April 1889, he moved into rooms owned by Dr. Félix Rey, after floods damaged paintings in his own home
Hospital in Arles
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Garden of the Hospital in Arles (F519)
Hospital in Arles
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The Yellow House 1888 Van Gogh Museum, Amsterdam (F464)
Hospital in Arles
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Portrait of Doctor Félix Rey (F500, JH1659), oil on canvas 1889, Pushkin Museum. Rey disliked his portrait and gave it away.
Hospital in Arles
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Ward in the Hospital in Arles 1889 The Oskar Reinhart Collection "Am Römerholz", Winterthur, Switzerland (F646)
37.
The Wheat Field
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The Wheat Field is a series of oil paintings executed by Vincent van Gogh in Saint-Rémy-de-Provence. From May 1889 to May 1890, Van Gogh recorded this view in changing settings, after a storm, with a reaper in the field, with fresh wheat raising in autumn and with flowers in the spring. This is one of Van Goghs major series from Saint-Rémy, comprising wonderful works such as the Wheat Field at Sunrise in the Kröller-Müller Museum, Van Gogh included the Enclosed Field with Rising Sun made in December 1889 in his Display at Les XX1890 in Brussels. Van Gogh worked on a group of paintings The Wheat Field that he could see from his cell at Saint-Paul Hospital, from the studio room he could see a field of wheat, enclosed by a wall. Beyond that were the mountains from Arles, during his stay at the asylum he made about twelve paintings of the view of the enclosed wheat field and distant mountains. In May Van Gogh wrote to Theo, Through the iron-barred window I see a field of wheat in an enclosure. The stone wall, like a frame, helped to display the changing colors of the wheat field. Kröller-Müller Museums Enclosed Wheat Field with Rising Sun was painted in May 1889, Van Gogh used the rising sun above fields of wheat to represent its life giving energy. Green Wheat Field was painted in June 1889, towards the end of his life he regarded his most delicate works, a young wheat field with the rising sun or a blooming orchard, as his babies. A boundary wall and beyond the grey foliage of a few trees, some huts. Then at the top of the canvas a great white and grey cloud floating in the azure, in late June Van Gogh painted Wheat Field with Reaper and Sun which he described as a wheat field, very yellow and very light, perhaps the lightest canvas I have done. It is dull yellow-ochre and violet, Enclosed Field with Ploughman was made in August 1889, which is held in a private collection. The Wheat Field with a Reaper was started in the summer before a bout of illness, here Van Gogh depicts a reaper in a sun-drenched wheat field. But there is nothing sad in this death, it place in broad daylight, under a sun that bathes everything in a fine. Enclosed Field with Peasant was painted over several days in October and it accurately reflects the topography of the walled wheat field with the peaks of the Alpilles in the background. Van Goghs brushwork brings life to this picture of furrowed soil, at the center, a peasant carries a bundle of straw, a symbol of the cycles of life. Van Gogh described this painting as a pendant to The Reaper, both he considers harsh studies, but instead of being almost entirely yellow like The Reaper, the picture is almost entirely violet. In September Van Gogh worked on Wheat Field behind Saint-Paul Hospital with a Reaper, intending to paint a pure sulfur yellow, he wrote to Émile Bernard that he had taken up the devil of a question of yellow
The Wheat Field
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The Wheat Field, Sunrise
The Wheat Field
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Green Wheat Field, June 1889, owner unclear, possibly on loan to Kunsthaus Zurich, Zurich (F718)
The Wheat Field
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Mountainous Landscape Behind Saint-Rémy, June 1889, Ny Carlsberg Glyptotek, Copenhagen (F611)
The Wheat Field
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Wheat Field with Reaper and Sun, Late June 1889, Oil on canvas, Kröller-Müller Museum, Otterlo, Netherlands (F617)
38.
Trees and Undergrowth (Van Gogh series)
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Trees and Undergrowth is the subject of paintings that Vincent van Gogh made in Paris, Saint-Rémy and Auvers, from 1887 through 1890. Van Gogh made several paintings of undergrowth, a genre called sous-bois brought into prominence by artists of the Barbizon School, the works from this series successfully use shades of color and light in the forest or garden interior paintings. Van Gogh selected one of his Saint-Rémy paintings, Ivy for the Brussels Les XX exhibition in 1890, the woodland scene genre, or sous-bois in French for undergrowth, was popular with artists from the Barbizon School and Impressionists. Rather than painting landscapes from afar like traditional painters, 19th century rural painters climbed or walked into forested areas for a view of wooded scenes. Paintings of the sous-bois, evoking the trees and grassy undergrowth, were often made vertically on canvas, as opposed to views of sweeping landscapes. In a sous-bois, the sky is visible, just a glimpse of sky sometimes penetrating the branches. This type of composition was rare before the 19th century when artists of the Barbizon School made paintings of forested areas in the Fontainebleau region of France, close to the subject of the painting, artists painting sous-bois capture their experience in the forested scene. In German, the painting of interior forests was called Waldinneres, in Trees and Undergrowth Van Gogh portrays the play of light falling through the trees to the low-lying plants in highlights of white, yellow and red. The effect of the light and shade produces many shades of green which van Gogh paints in short brushstrokes across the canvas, a horizon line is suggested by a line of yellow, suggesting a clearing beyond the cropping of trees and foliage. Van Gogh explored the grounds of the asylum where he found an overgrown garden. He wrote, Since I have been here, I have had work with the overgrown garden with its large pine trees, under which there grows tall and poorly-tended grass. The paintings are of growth below ivy covered trees, Van Gogh Museum says of Undergrowth with Ivy, The effect of light and shade created an almost abstract pattern, with small arcs of paint covering the entire surface of the canvas. Ivy, originally Le Lierre is a painting van Gogh made May 1889 and he incorporated the first version in his selection of works to be displayed at Les XX, Brussels, in 1890. Vincents brother Theo, was impressed with his undergrowth, or sous-bois, paintings. The same painting was on exhibit in Paris by Père Tanguy, in 1975 wax was applied on the back of Undergrowth with Two Figures painting to protect the canvas and secure the paint. Over more than three decades the wax has turned milky and the painting has lost its gloss, an art historian at the Cincinnati Art Museum is restoring the work, a painstaking process with a solvent to gently loosen and a cotton swab to remove the wax. A microscope is used see the detail, whether describing ivy crawling up a home - or lit by rays of sun beneath trees, van Gogh enjoyed ivy and referred to Charles Dickens poem Ivy Green in his early letters. The Ivy Green by Charles Dickens Oh, a dainty plant is the Ivy green, of right choice food are his meals, I ween, In his cell so lone and cold
Trees and Undergrowth (Van Gogh series)
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Trees and Undergrowth, 1887, Van Gogh Museum, Amsterdam (F307)
Trees and Undergrowth (Van Gogh series)
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Marie-Ferdinand de Dartein, Sous-bois à Ottrott, 1875
Trees and Undergrowth (Van Gogh series)
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Undergrowth, 1887, Centraal Museum, Utrecht, Netherlands (F306)
39.
Copies by Vincent van Gogh
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Copies by Vincent van Gogh form an important group of paintings executed by Vincent van Gogh between 1887 and early 1890. While at Saint-Paul asylum in Saint-Rémy-de-Provence, France, where Van Gogh admitted himself, seeking to be reinvigorated artistically, Van Gogh did more than 30 copies of works by some of his favorite artists. About twenty-one of the works were copies after, or inspired by, rather than replicate, Van Gogh sought to translate the subjects and composition through his perspective, color, and technique. Spiritual meaning and emotional comfort were expressed through symbolism and color and his brother Theo van Gogh would call the pieces in the series some of his best work. During the winter months at Saint-Remy Van Gogh had a shortage of subjects for his work. Residing at Saint-Paul asylum, he did not have the freedom he enjoyed in the past, Millets work, who greatly influenced Van Gogh, figures prominently in this series. He wrote to Theo about these copies, I started making them inadvertently and now find that I can learn from them and my brush then moves through my fingers like a bow over the strings of a violin – completely for my pleasure. Several religious works, such as The Pietà, were included in the series, Saint-Paul asylum, housed in an old monastery, may have provided some of the inspiration for the specific subject. The nuns devoutness sometimes annoyed him, but he did find solace in religion and he wrote, I am not indifferent, and pious thoughts often console me in my suffering. Van Gogh Museum asserts that Van Gogh may have identified with Christ who had also suffered and they also offer the conjecture of some scholars of a resemblance between the Van Gogh and the red-bearded Christ in The Pietà and Lazarus in the copy after Rembrandt. However it is whether or not this was Van Goghs intention. Émile Bernard, an artist and Catholic mystic, was a personal friend to Van Gogh. Bernard influenced Van Gogh artistically several ways, Bernard outlined figures in black, replicating the look of religious woodcut images of the Middle Ages. This resulted in a flattened, more primitive work, Van Goghs Crows over the Wheatfield is one example of how Bernards simplified form influenced his work. Bernard also taught Van Gogh about how to manipulate perspective in his work, just as Van Gogh used color to express emotion, he used distortion of perspective as a means of artistic expression and a vehicle to modernize his work. As a demonstration of the sharing of artistic viewpoints, Van Gogh painted a copy in watercolor of a made by Bernard of Breton woman. Van Gogh wrote to Bernard of a utopian ideal where artists worked cooperatively, focused on a common idea, the Breton Women is one of many examples of how Van Gogh and one of his friends brought their unique temperaments and skills to a single idea. Gauguin made a work, Breton Women at a Pardon which was may have inspired by Bernards work of Breton women
Copies by Vincent van Gogh
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Noon - Rest from Work (after Millet)
Copies by Vincent van Gogh
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Breton Women in the Meadow by Émile Bernard, August 1888
Copies by Vincent van Gogh
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Vincent van Gogh, Breton Women and Children, November 1888, Civica Galleria d'Arte Moderna, Milan, Italy (F1422)
Copies by Vincent van Gogh
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The Man is at Sea (after Demont-Breton), 1889, Private collection (F644)
40.
Olive Trees (Van Gogh series)
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Vincent van Gogh painted at least 18 paintings of olive trees, mostly in Saint-Rémy-de-Provence in 1889. One painting, Olive Trees in a Mountainous Landscape, was a complement to The Starry Night, the olive tree paintings had special significance for van Gogh. A group in May 1889 represented life, the divine and the cycle of life while those from November 1889 arose out of his attempt to symbolize his feelings about Christ in Gethsemane. His paintings of olive pickers demonstrate the relationship between man and nature by depicting one of the cycles of life, harvesting or death and it is also an example of how individuals, through interaction with nature, can connect with the divine. Van Gogh found respite and relief in interaction with nature, when the series of olive tree paintings was made in 1889 he was subject to illness and emotional turmoil, yet the paintings are among his finest works. In May 1889, Van Gogh voluntarily entered the asylum of St. Paul near Saint-Rémy in Provence, there he had access to an adjacent cell he used as his studio. He was initially confined to the asylum grounds and painted the world he saw from his room, such as ivy covered trees, lilacs. As he ventured outside of the walls, he painted the wheat fields, olive groves, and cypress trees in the surrounding countryside. Over the course of the year, he painted about 150 canvases, the imposed regimen of asylum life gave van Gogh a hard-won stability, I feel happier here with my work than I could be outside. By staying here a long time, I shall have learned regular habits. While his time at Saint-Rémy forced him to manage his vices, such as coffee, alcohol, poor eating habits and periodic attempts to consume turpentine and paint and he needed to obtain permission to leave the asylum grounds. The food was poor, he ate only bread and soup. His only apparent form of treatment were two-hour baths twice a week, during his year there, van Gogh had periodic attacks, possibly due to a form of epilepsy. By early 1890, when the attacks worsened, he concluded that his stay at the asylum was not helping him to recover, painting the countryside, the surrounding fields, cypress trees and olive trees restored van Goghs connection to nature through art. For myself I look for the effects in the foliage. At times, when the tree bares its pale blossoms and big blue flies, emerald fruit beetles and cicadas in great numbers fly about, everything is immersed in pure blue. Sometimes, too, after a shower Ive seen the whole sky pink and orange, and among all this were women, also pink, who were gathering the fruit. He found olive trees, representative of Provence, both demanding and compelling and he wrote to his brother Theo that he was struggling to catch
Olive Trees (Van Gogh series)
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The Olive Trees
Olive Trees (Van Gogh series)
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View of the Asylum and Chapel at Saint Remy, 1889 Collection of Elizabeth Taylor (F803)
Olive Trees (Van Gogh series)
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Olive Trees in Provence, France
Olive Trees (Van Gogh series)
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Paul Gauguin, Christ in the Garden of Olives, 1889, Norton Museum of Art, West Palm Beach, Florida. Note the red hair of the Christ / Gauguin self-portrait, the color of which has been described as "supernaturally red", and directly evokes Van Gogh.
41.
Vincent van Gogh's display at Les XX, 1890
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Vincent van Goghs display at Les XX,1890, in Brussels is an important testament to the recognition he received amongst avant-garde peers during his own lifetime. Participation in the exhibition of Les XX was for members. Evidently this notion remained neglected, and even more, it was washed away by the scandal his works provoked, in November 1889, Van Gogh selected six of his paintings, all size 30 canvases, to be displayed at Les XX, in 1890. On the back of the letter of invitation from Octave Maus, dated November 15,1889, there is a sketch that gives some hints for the display Van Gogh proposed. His reply to Maus, dated November 20,1889, supplied the later printed in the catalogue. Verger en fleurs - Flowering Orchard 5, champ de blé, soleil levant - Wheat Field, Sunrise 6. Van Gogh indicated his two Sunflowers were to be displayed either side of Ivy, to the left and right of this upright triptych, he wanted to place the Flowering Orchard and the Wheat Field at Sunrise. Finally, he indicated Red Vineyard was to be hung underneath this arrangement, in between the seasons were embedded the heraldic flowers of Provence — sunflowers, dear to the artistic and literary circles of the Félibres, the néo-provencal movement around Frédéric Mistral. These seasonal links are set not only in subject matter, but —, each of the six paintings is dominated by one of the six primary colours. He uses yellow and orange in the two Sunflowers-versions, red in the vineyard, green in the ivy, blue in the orchard, thus, the full colour spectrum is manifested in this selection, which can consequently be read as a single entity, a whole. Earlier this year, Van Gogh had already expressed his wish before returning to the North to summarise his impressions of Provence, the exhibition of Les XX opened January 18, running till February 23. Two days before the opening, Henry de Groux announced that his works would not be seen side by side with the abominable Pot of Sunflowers by Monsieur Vincent or any other agent provocateur. At the opening dinner, De Groux once again attacked Van Goghs paintings and called him an ignoramus, at the other end of the table Lautrec suddenly bounced up, with his arms in the air, and shouted that it was an outrage to criticize so great an artist. Signac announced coldly that if Lautrec were killed he would assume the quarrel himself and that same evening, Les XX expelled De Groux from their association, the next day he apologised and was allowed to resign. Thus the duel was averted, and Paul Signac was soon one of two members elected to Les XX. One work of Van Goghs exhibit was sold, The Red Vineyard, the buyer was Anna Boch, a painter and member of Les XX since its foundation and sister of Eugène Boch, who was also a painter and a friend of Vincent van Gogh. - Mountain landscape in Provence 834, - Mulberry tree in autumn 838
Vincent van Gogh's display at Les XX, 1890
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Flowering Orchard (Arles, Spring 1889). Neue Pinakothek, Munich, Germany.
Vincent van Gogh's display at Les XX, 1890
42.
Double-square painting
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Double-square paintings is a painting made on uncommonly large canvases which have one dimension that is twice the size of the other. Vincent van Gogh used 50 cm ×100 cm double-squares almost exclusively during the weeks of his life in Auvers, in June. Prior to Van Gogh, artists such as Charles-François Daubigny and Puvis de Chavannes had used canvases of similar proportions, in a double-square painting, one dimension of the canvas is twice the size of the other, so that the canvas is the shape of two adjoining squares. The overall effect of this is stability, and the challenge is to avoid monotony. Prior to Van Gogh, artists such as Charles-François Daubigny and Puvis de Chavannes had used canvases of similar proportions, vincent van Gogh used double-squares almost exclusively during the final weeks of his life in Auvers, in June and July 1890. To arrive at this size, Van Gogh combined the legs of two sizes, the 50 cm leg from a size 12 and the 100 cm leg of a size 40 stretcher. The result was a double-square of 50 cm ×100 cm, ivon Hitchens worked primarily in double-squares at certain periods in his career
Double-square painting
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Mademoiselle Gachet at the Piano, 1890, Kunstmuseum Basel
Double-square painting
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Tree Roots, July, 1890, Van Gogh Museum, Amsterdam (F816, JH2113)
Double-square painting
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Sheaves of Wheat, 1890, Dallas Museum of Art (F771)
Double-square painting
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Field with Stacks of Grain, July 1890, Beyeler Foundation, Riehen, Switzerland (F809)
43.
Japonaiserie (Van Gogh)
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Japonaiserie was the term the Dutch post-impressionist painter Vincent van Gogh used to express the influence of Japanese art. Before 1854 trade with Japan was confined to a Dutch monopoly and Japanese goods imported into Europe were for the most part confined to porcelain, the Convention of Kanagawa put an end to the 200-year-old Japanese foreign policy of Seclusion and opened up trade between Japan and the West. Artists including Manet, Degas and Monet, followed by Van Gogh, for a while Vincent and his brother Theo dealt in these prints, and they eventually amassed hundreds of them, now housed in the Van Gogh Museum, Amsterdam. So I believe that the future of the new art still lies in the south after all, a month later he wrote, All my work is based to some extent on Japanese art. Van Goghs interest in Japanese ukiyo-e prints dates from his time in Antwerp when he was interesting himself in Delacroixs theory of colour. One of De Goncourts sayings was Japonaiserie for ever, well, these docks are one huge Japonaiserie, fantastic, singular, strange. I mean, the figures there are always in motion, one sees them in the most peculiar settings, everything fantastic, at that time he made three copies of ukiyo-e prints, The Courtesan and the two studies after Hiroshige. Van Gogh developed a conception of the Japanese artist which led him to the Yellow House at Arles. His enthusiasm for Japanese art was taken up by the Impressionists. In a letter of July 1888 he refers to the Impressionists as the French Japanese and he still strongly admired the techniques of Japanese artists, however, writing to Theo in September 1888, I envy the Japanese the extreme clarity that everything in their work has. Its never dull, and never appears to be done too hastily and their work is as simple as breathing, and they do a figure with a few confident strokes with the same ease as if it was as simple as buttoning your waistcoat. Van Goghs dealing in ukiyo-e prints brought him contact with Siegfried Bing. One or more of these features can be found in numbers of Vincents paintings from his Antwerp period onwards, the cover carried a reverse image of a colour woodblock by Keisai Eisen depicting a Japanese courtesan or Oiran. Vincent traced this and enlarged it to produce his painting, Van Gogh made copies of two Hiroshige prints. He altered their colours and added borders filled with characters he borrowed from other prints. Eisen, The Feast of Seven Herbs, Eisen and others,22 Japanese woodcuts, Connecticut College, Connecticut Eisen, Opening Night in the Theater District for Two Theaters of Edo. Hokusai, Abe No Nakamaro, Fitzwilliam Museum, Cambridge Hokusai, The Shishi-Mai Dance, Royal Academy of Arts, London Sharaku, The Actors Nakamura Wadaemon and Nakamura Konoz. Utamaro, Girl at her Toilet with two female attendants and male admirer, Birmingham Museums and Art Gallery, Birmingham Utamaro, Women sewing, Utamaro, Picture Book of Crawling Creatures s, Fitzwilliam Museum, Cambridge Houses seen from the Back
Japonaiserie (Van Gogh)
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The Courtesan (after Eisen)
Japonaiserie (Van Gogh)
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Title page of Paris Illustré "Le Japon' vol. 4, May 1886, no. 45-46
Japonaiserie (Van Gogh)
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Vincent's tracing of the courtesan figure
Japonaiserie (Van Gogh)
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Plum Park in Kameido (1857) by Hiroshige
44.
Meadows near Rijswijk and the Schenkweg
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Meadows near Rijswijk and the Schenkweg is a watercolor by the Dutch painter Vincent van Gogh that he made in January 1882, shortly after taking up residence in The Hague. It shows the view from his window on the outer reaches of The Hague at the Schenkweg. The view is across the Schenkweg ditch towards the newly constructed Rijnspoor railway station, built for the Utrecht-Gouda-The Hague railway, Rijswijk was then a small rural community to the south, bordering Delft but stretching all the way to The Hague. The land on which the Rijnspoor was built was ceded to The Hague by Rijswijk and it is now a suburb of The Hague. The painting is amongst the very first paintings by van Gogh, Mauve encouraged him and suggested that he now start painting. At the end of the following November, van Gogh returned to the Hague for a month to take painting lessons from Mauve, during which time he saw him almost daily. This, in turn, was a consequence of his bitterness over his love for his widowed cousin Kee Vos Stricker that had led to so much family tension that year. He left home that same Christmas Day and returned to The Hague, the Schenkweg lay a little less than a mile to the east of the centre of The Hague. At that time it was open countryside, a polder reclaimed in medieval times and these new developments were cheaply constructed, and they attracted a less affluent class of people. Van Gogh was familiar with the meadows at Rijswijk, on one such occasion he walked into Rijswijk with his brother Theo, probably to attend the 80th birthday party of his great-uncle Johannes Andricus Stricker. The walk seems to have cemented his relationship with his brother as he often subsequently referred to it in his letters. Evidently they discussed the possibility of becoming painters together, Van Gogh rented his studio at 136 Schenkweg, about 10 minutes walk from Mauves studio at Uilebomen 198. The studio was actually on a street, called the Schenkstraat. The Rijnspoor station lay about a mile to the north-west. Today there are railway tracks coming up from the south into the station from Amsterdam, in van Goghs time the only tracks came into the station from the east from Utrecht, and he would have had an uninterrupted walk to Mauve. Van Gogh wrote that the studio faced more or less south, the studio cost 7 guilders a month to rent, and Mauve lent van Gogh 100 guilders to furnish it, insisting he had to have a bed. He declared himself happy and content with the result, nevertheless, the accommodation was of the simplest kind. Arnold Pomerans remarked that it was the beginning of a series of plainly furnished rooms
Meadows near Rijswijk and the Schenkweg
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Meadows near Rijswijk and the Schenkweg
Meadows near Rijswijk and the Schenkweg
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80th birthday celebration of van Gogh's great-uncle Johannes Andricus Stricker, c. August 1872.
Meadows near Rijswijk and the Schenkweg
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Johan Hendrik Weissenbruch - The Shipping Canal at Rijswijk, oil on panel, 1868. Weissenbruch was a contemporary and early champion of van Gogh.
Meadows near Rijswijk and the Schenkweg
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Woman Knitting Near a Window, watercolor, January 1882, location unknown (F910a, JH90). Note the view from the window and the pots of flowers on the window sill. The painting belonged to Tersteeg, whose support for van Gogh at this time was so equivocal and eventually outrightly hostile.
45.
Houses at Auvers
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In his final two months at Saint-Rémy van Gogh painted from memory a number of canvases he called reminisces of the North, harking back to his Dutch roots. The influence of this return to the North continued at Auvers and he did not, however, repeat his studies of peasant life of the sort he had made in his Nuenen period. His paintings of dwellings at Auvers encompassed a range of social domains, Vincent van Gogh spent the early 1881–1885 years of his brief ten-year career as an artist painting in the Netherlands at Etten, The Hague, Drenthe, and Nuenen. His move from Antwerp was motivated by worries about his health, nevertheless, there are abundant sources to show that Vincent participated fully in the artistic life of the city, although he never aligned himself with the Impressionist movement. In particular he came into contact with Paul Gauguin, whom he idolized, Gauguin joined Vincent at The Yellow House in October 1888. However, Vincents erratic behavior and drunkenness alarmed Gauguin, and by Christmas he had resolved to leave, Vincent suffered a severe nervous collapse as a result and was hospitalized. Despite making a recovery, Vincent voluntarily entered an asylum at Saint-Rémy-de-Provence on 9 May 1889. Perhaps his most loved and best known painting, F612 The Starry Night and it exemplifies the vigorous and agitated brush work he had developed. Vincent suffered his most severe relapse towards the end of February 1890, the following two months he was unable to paint, scarcely able even to write. He declared himself totally stupified in his letter of this period to Theo on 17 March. Hulsker called it the saddest period of Vincents life, nevertheless, Vincent was able to draw and paint a little as he recovered. He described painting a few canvases from memory, which he had experimented with in F496 Memory of the Garden at Etten while painting with Gauguin, in a letter to Theo dated 29 April and he called these paintings souvenirs du nord, reminisces of the North. He mentions he might redo F83 The Cottage and F84 The Old Church Tower at Nuenen and this painting is identified by the Van Gogh Museum as either F673, F674, or F675. Hulsker also singles out F695 Two Peasant Women Digging in the Snow and identifies a series of sketches depicting peasants, of which F1594r is an example and he says these works, almost alone in Vincents entire oeuvre, show unmistakable signs of mental collapse. Finally he notes that F702, Worn Out - At Eternitys Gate, the original was a drawing Vincent had made in The Hague. Vincent ascribed this latest relapse to the boredom and monotony of life at the asylum, for months he had been writing Theo saying he wanted to leave the asylum. He felt sure if he moved back to Paris he would get well quickly. At the same time Vincent had become something of a celebrity in the art following a very favorable review of his work by the critic Albert Aurier
Houses at Auvers
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Houses at Auvers
Houses at Auvers
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F83: The Cottage, Van Gogh Museum
Houses at Auvers
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F612: The Starry Night, Museum of Modern Art
Houses at Auvers
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F675: Winter Landscape - Reminiscence of the North, Van Gogh Museum
46.
Bulb Fields
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Bulb Fields also known as Flower Beds in Holland is an oil painting created in 1883 by Vincent van Gogh. Bulb Fields was Van Gogh’s first garden painting, rectangular plots of blue, yellow, pink and red hyacinths allow Van Gogh to explore his interest in perspective. The low vantage point creates a panoramic view of the field of colorful spring flowers and it was made in Van Goghs second year in The Hague. Flower Beds in Holland, National Gallery of Art, Washington, DC
Bulb Fields
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Bulb Fields
47.
Congregation Leaving the Reformed Church in Nuenen
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Congregation Leaving the Reformed Church at Nuenen is an early painting by Vincent van Gogh, made in early 1884 and modified in late 1885. The work was painted in Nuenen, a village in the North Brabant district of the Netherlands. Van Goghs father became the pastor of the Dutch Reformed Church in Nuenen in 1882, during this time, he made a number of paintings of the local peasants, including The Potato Eaters, and also paintings of the church. The oil on canvas painting measures 41.5 by 32 centimetres and it was made in January or February 1884, showing Van Goghs fathers small church, with hedge and bare trees. Van Gogh made the painting for his mother, while she was confined to her house with a broken leg. It held by the Van Gogh Museum in Amsterdam but it was stolen on 7 December 2002 and it remained missing for over 13 years, until it was recovered by the Italian Guardia di Finanza at Castellammare di Stabia near Naples in January 2016, without its original frame
Congregation Leaving the Reformed Church in Nuenen
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Memory of the Garden at Etten
Congregation Leaving the Reformed Church in Nuenen
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Vincent van Gogh, Portrait of Vincent van Gogh, the artist's grandfather, 1881, Van Gogh Museum, Amsterdam
Congregation Leaving the Reformed Church in Nuenen
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Still Life with Bible, 1885, Van Gogh Museum, Amsterdam (F117)
Congregation Leaving the Reformed Church in Nuenen
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Portrait of Artist's Mother, October 1888, The Norton Simon Museum of Art, Pasadena, California (F477)
48.
Vase with Red Poppies
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Vase with Red Poppies was a painting made by Vincent van Gogh in Paris in 1886. Flowers were the subject of many of van Goghs paintings in Paris, as he said to his brother, You will see that by making a habit of looking at Japanese pictures you will come to love to make up bouquets and do things with flowers all the more. To his sister, Wil, van Gogh advised her to cultivate her own garden, like Voltaires Candide, to find joy, after he left Paris and settled in Arles, van Gogh painted his second group of Sunflowers in 1888 and 1889. His paintings of sunflowers in vases are among his most well known paintings, in Paris friends and acquaintances sent bouquets of flowers weekly for his still life paintings. He also purchased bouquets inexpensively, choosing flowers in a variety of colors for his paintings and that was an exaggeration, during his time in Paris he painted 230 paintings, about 30 of which were flowers. Yet, the comment demonstrates his interest in painting flowers as a subject and to develop his appreciation
Vase with Red Poppies
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Vase with Red Poppies (F279)
49.
View of Paris from Vincent's Room in the Rue Lepic
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View of Paris from Vincents Room in the Rue Lepic is a painting by Dutch post-impressionist artist Vincent van Gogh. Van Gogh lived with his brother in Montmartre, located above the city of Paris it afforded him a view of the Paris skyline. Two of the paintings were made in 1887, the second painting View from Vincents window was made from a similar vantage point to the titled painting View of Paris from Vincents Room in the Rue Lepic of this article. An earlier painting was made of the view from his window titled Roofs of Paris or View of Roofs, Van Gogh had become aware of Impressionism soon after arriving in Paris, but it took a while before he assimilated the knowledge into his work. This early view of his window reflects the colors he had been accustomed to using, subdued browns and grays for the roofs. In it Van Gogh appears to primarily in the color graduations of the houses and rooflines
View of Paris from Vincent's Room in the Rue Lepic
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View of Paris from Vincent's Room in the Rue Lepic (F341)
View of Paris from Vincent's Room in the Rue Lepic
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View from Vincent's Window 1887 Private collection (F341a)
View of Paris from Vincent's Room in the Rue Lepic
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View of Roofs and Backs of Houses 1886 Van Gogh Museum, Amsterdam (F231)
50.
Landscape with Snow
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Landscape with Snow is a painting made by Vincent van Gogh in 1888, believed to be one of the first paintings that he made in Arles. It is one of at least ten oil and watercolor paintings that Van Gogh made of a landscape from 1882 to 1889. The painting reflects the La Crau plains set against Montmajour and hills along the horizon, at the time that Van Gogh painted Landscape with Snow he was 35 years old. Living in Arles, in southern France, he rose to the height of his career, producing some of his best work, such as fields, farmhouses and people of the Arles, Nîmes, the area was quite different than what hed known in the Netherlands and Paris. People had dark hair and skin and spoke a language that sounded more Spanish than French, the terrain varied from plains to mountains. When Van Gogh arrived in Arles in February 1888 the ground was covered with snow due to cold temperatures. At the time of painting the snow had begun to melt. Its thought that painting is one of his first paintings made in Arles. In a letter to his brother Theo about February 24,1888, the painting is made of the La Crau plain and Montmajour in the background. The audience is drawn in by the road starts at the lower left hand corner of the frame right towards the trees, hills. Horizontal brushstrokes emphasize the plain that fills most of the painting, Van Gogh uses color to depict the components of the landscape. White and violet are used for snow, brown, green and blue is used to suggest puddles and slush left by melting snow. Tufts of grass are painted in yellow along the side of the road, the view is accented by the red roofs along the horizon, brown dog, and the brown jacket and black hat of the man walking in the field. Van Gogh, a collector of Japanese art woodcut prints. If so, he had not left behind the standards used in Dutch landscape paintings which use dark greens and browns within the foreground and blues in the sky. A few days later, following a new storm, Van Gogh painted another similar but less detailed landscape. Other landscape paintings that Van Gogh made with snow include
Landscape with Snow
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Landscape with Snow (F290)
Landscape with Snow
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Miners in the Snow, watercolor 1882 Van Gogh Museum, Amsterdam (F1202)
Landscape with Snow
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Wood Gatherers in the Snow 1884 Private collection (F43)
Landscape with Snow
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The Parsonage Garden at Nuenen in the Snow 1885 Hammer Museum, Los Angeles (F67)
51.
Portrait of the Artist's Mother (Van Gogh)
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Portrait of Artists Mother is an 1888 painting by Vincent van Gogh of his mother, Anna Carbentus van Gogh, drawn from a black-and-white photograph. Van Goghs introduction to art was through his mother, herself an amateur artist, after years of strained relations with family members, Van Gogh excitedly shared some of his works he thought his mother would appreciate most, of flowers and natural settings. In this painting, Van Gogh captures his mothers dignified and proud nature, Anna Carbentus van Gogh was an amateur artist who enjoyed making drawings of plants and flowers and was a keen watercolorist. From a large family, one of eight children, Anna raised six children, Vincent, Anna, Elizabeth, Theo, Wilhelmien, Anna enjoyed sharing her love of art with her children. Among Vincents earliest drawings are copies of his mothers sketches of a bouquet of flowers, annas husband, Theodorus van Gogh, was a pastor, a long-standing family profession. Theodorus, known for his looks and long sermons, came from a family of eleven children. Anna and Theodorus devotedly served the communities in which they were stationed. Both mother and father believed that God was omnipotent, continually watching over them and they taught their children to look for Gods presence in nature, such as the shape of the clouds or in the many colors in the sunsets. Or — be quiet, my toy, be silent, to fall silent is very meaningful here — And might be called reverence. At the age of eleven Van Gogh was sent to boarding schools for training, Van Gogh felt even more removed from the family after failing as an art dealer and in the ministry. When he decided to become an artist, his members suggested possible alternate. Van Goghs manner of dress, behavior and unusual love life was unsettling and embarrassing to the family, by 1881 Vincent had developed his personal view of the world and realized it was quite different than his parents. To his brother, Theo he wrote I cant settle into Fathers and Mothers system, it is too stifling and he continues, I find Father and Mothers sermons and ideas about God, people, morality and virtue a lot of stuff and nonsense. When Vincent was hospitalized in Arles in 1888-1889, his mother wrote to Theo, I believe he was ill and his suffering. Poor brother of Vincent, sweetest dearest Theo, you to have been worried and troubled because of him. She then said, I would ask, Take him, Lord, as Vincent rose to the height of his career, he enjoyed passing on prized paintings to his family. Great bouquets of flowers, violet-colored irises, great bouquets of roses, another example, the most resolved and stylized of the three paintings of women picking olives was made for his sister and mother. Van Gogh set out to complete a series of portraits of his family and this portrait was based upon a black-and-white photograph of his mother
Portrait of the Artist's Mother (Van Gogh)
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Portrait of Artist's Mother
Portrait of the Artist's Mother (Van Gogh)
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Theodorus and Anna van Gogh's family, including Vincent, Anna, Theo, Elizabeth, Wilhelmien and Cornelius
Portrait of the Artist's Mother (Van Gogh)
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Memory of the Garden at Etten (Ladies of Arles), 1888. The Hermitage, St. Petersburg, Russia (F496)
52.
Bedroom in Arles
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Bedroom in Arles is the title given to each of three similar paintings by 19th-century Dutch Post-Impressionist painter Vincent van Gogh. Van Goghs own title for this composition was simply The Bedroom, there are three authentic versions described in his letters, easily discernible from one another by the pictures on the wall to the right. The painting depicts van Goghs bedroom at 2, Place Lamartine in Arles, Bouches-du-Rhône, France and this room was not rectangular but trapezoid with an obtuse angle in the left hand corner of the front wall and an acute angle at the right. Well, I have thought that on watching the composition we stop thinking and imagining, I have painted the walls pale violet. The wooden bed and the chairs, yellow like fresh butter, the sheet, the washbasin, orangey, the tank, blue. There is not anything else in this room with closed shutters, the square pieces of furniture must express unswerving rest, also the portraits on the wall, the mirror, the bottle, and some costumes. The white colour has not been applied to the picture, so its frame will be white, I have depicted no type of shade or shadow, I have only applied simple plain colours, like those in crêpes. Van Gogh included sketches of the composition in this letter as well as in a letter to Gauguin, in the letter, van Gogh explained that the painting had come out of a sickness that left him bedridden for days. This version has on the wall to the miniatures of van Goghs portraits of his friends Eugène Boch. The portrait of Eugène Boch is called The Poet and the portrait of Paul Eugène Milliet is called The Lover. In April 1889, van Gogh sent the initial version to his brother regretting that it had been damaged by the flood of the Rhône while he was interned at the Old Hospital in Arles. Theo proposed to have it relined and sent back to him in order to copy it and this repetition in original scale was executed in September 1889. Both paintings were sent back to Theo. In summer,1889, Van Gogh finally decided to redo some of his best compositions in smaller size for his mother and sister Wil and these réductions, finished late in September 1889, are not exact copies. In The Bedroom the miniature portrait to the left recalls van Goghs Peasant of Zundert self-portrait, the one to the right cannot be linked convincingly to any existing painting by van Gogh. The first version never left the artists estate, since 1962, it is in the possession of the Vincent van Gogh Foundation, established by Vincent Willem van Gogh, the artists nephew, and on permanent loan to the Van Gogh Museum, Amsterdam. The second version has, since 1926, been the possession of the Art Institute of Chicago as part of the Helen Birch Bartlett Memorial Collection. All three versions of the Bedroom were brought together for the very first time in North America, at the Art Institute of Chicago in 2016.432011
Bedroom in Arles
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Bedroom in Arles (first version)
Bedroom in Arles
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Sketch from a letter to Gauguin
Bedroom in Arles
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Sketch from a letter to Theo
Bedroom in Arles
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Second version, September 1889. Oil on canvas, 72 x 90 cm, Art Institute of Chicago
53.
The Red Vineyard
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The Red Vineyards near Arles is an oil painting by the Dutch painter Vincent van Gogh, executed on a privately primed Toile de 30 piece of burlap in early November 1888. It supposedly is the piece sold by the artist while he was alive. Van Gogh in Arles, Abrams, New York 1984, media related to The Red Vineyard at Wikimedia Commons
The Red Vineyard
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Red Vineyards near Arles
54.
A Lane near Arles
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A Lane Near Arles was painted by Vincent van Gogh in 1888, while he was living in Arles. It depicts a lane surrounded by running between the fields outside of Arles, France. A yellow house stands at the side of the lane, the use of color in the painting is typical of Van Gogh in this period. The colors are bright and alive, lighting up the canvas, the idyllic nature of the moment is thus conveyed in the use of colors. A Lane Near Arles is currently in the collection of the Pommersches Landesmuseum, Greifswald, in Germany
A Lane near Arles
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A Lane near Arles
55.
Two Crabs
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Two Crabs is an 1889 oil painting by Vincent van Gogh. It is a life of two crabs, one on its back and one upright, with a green background. The work is oil on canvas of 47 cm high and 61 cm wide, Van Gogh is thought to have painted this work after his hospital release in January 1889. It was possibly inspired by a Japanese print of a crab by Hokusai that he had seen in the magazine Le Japon Artistique, the painting is on display in room 43 of the National Gallery in London, on loan from a private collector. Crab on its Back, a life of a single crab lying on its back, is a related painting by Van Gogh. It is in the collection of the Van Gogh Museum in Amsterdam
Two Crabs
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Two Crabs
Two Crabs
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Crab on its Back (1888)
56.
Irises (painting)
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Van Gogh started painting Irises within a week of entering the asylum, in May 1889, working from nature in the hospital garden. There is a lack of the tension which is seen in his later works. He called painting the lightning conductor for my illness because he felt that he could keep himself from going insane by continuing to paint, the painting was probably influenced by Japanese ukiyo-e woodblock prints like many of his works and those by other artists of the time. The similarities occur with strong outlines, unusual angles, including close-up views and he wrote to Vincent of the exhibition, strikes the eye from afar. The Irises are a study full of air and life. The first owner was Julien Père Tanguy, a paint grinder, in 1892 Tanguy sold Irises to art critic and anarchist Octave Mirbeau who was also one of Van Goghs first supporters. Mirbeau paid 300 francs for it, in 1987, it became the most expensive painting ever sold, setting a record which stood for two and a half years. Then it was sold for US$53.9 million to Alan Bond, Irises was later re-sold in 1990 to the J. Paul Getty Museum in Los Angeles. Irises is currently tenth on the inflation-adjusted list of most expensive ever sold. Van Gogh, paintings and drawings, a loan exhibition, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries
Irises (painting)
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Irises
57.
The Starry Night
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The Starry Night is an oil on canvas by the Dutch post-impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the window of his asylum room at Saint-Rémy-de-Provence, just before sunrise. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941 and it is regarded as among Van Goghs finest works, and is one of the most recognized paintings in the history of Western culture. During the year Van Gogh stayed at the asylum, the output of paintings he had begun in Arles continued. The Starry Night was painted mid-June by around 18 June, the date he wrote his brother Theo to say he had a new study of a starry sky. Although The Starry Night was painted during the day in Van Goghs ground-floor studio, the view has been identified as the one from his bedroom window, facing east, a view which Van Gogh painted variations of no fewer than twenty-one times, including The Starry Night. Through the iron-barred window, he wrote to his brother, Theo, around 23 May 1889, above which, in the morning, I watch the sun rise in all its glory. Van Gogh depicted the view at different times of day and under various conditions, including sunrise, moonrise, sunshine-filled days, overcast days, windy days. The hospital staff did not allow Van Gogh to paint in his bedroom, but he was able to make sketches in ink or charcoal on paper, and eventually he would base newer variations on previous versions. The pictorial element uniting all of these paintings is the line coming in from the right depicting the low rolling hills of the Alpilles mountains. In fifteen of the versions, cypress trees are visible beyond the far wall enclosing the wheat field. Van Gogh telescoped the view in six of these paintings, most notably in F717 Wheat Field with Cypresses and The Starry Night, one of the first paintings of the view was F611 Mountainous Landscape Behind Saint-Rémy, now in Copenhagen. Van Gogh made a number of sketches for the painting, of which F1547 The Enclosed Wheatfield After a Storm is typical and it is unclear whether the painting was made in his studio or outside. In his June 9 letter describing it, he mentions he had been working outside for a few days, Van Gogh described the second of the two landscapes he mentions he was working on in a letter to his sister Wil on 16 June 1889. This is F719 Green Field, now in Prague, and the first painting at the asylum he painted outside en plein air. F1548 Wheat field, Saint-Rémy de Provence, now in New York, is a study for it, two days later, Vincent wrote Theo that he had painted a starry sky. The Starry Night is the only nocturne in the series of views from his bedroom window, so the brightest star in the painting, just to the viewers right of the cypress tree, is actually Venus. The moon is stylized, as records indicate that the moon was waning gibbous at the time Van Gogh painted the picture
The Starry Night
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The Starry Night
The Starry Night
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The Monastery of Saint-Paul de Mausole
The Starry Night
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F1548 Wheatfield, Saint-Rémy de Provence, Morgan Library & Museum
The Starry Night
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F719 Green Field, National Gallery in Prague
58.
Van Gogh self-portrait (1889)
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Self portrait is an 1889 oil on canvas painting by the post-impressionist artist Vincent van Gogh. The picture, which may have been van Goghs last self-portrait, was painted in September that year and he took the painting with him to Auvers-sur-Oise, near Paris, where he showed it to Dr Paul Gachet, who thought it was absolutely fanatical. Art historians are divided as to whether this painting or Self-portrait without beard is van Goghs final self-portrait, van Gogh sent the picture to his younger brother, the art dealer Theo, an accompanying letter read, You will need to study for a time. I hope you will notice that my facial expressions have become much calmer, although my eyes have the same look as before. Art historians Walther and Metzger consider that the picture is not a pretty pose nor a realistic record, one that has seen too much jeopardy, too much turmoil, to be able to keep its agitation and trembling under control
Van Gogh self-portrait (1889)
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Self portrait
59.
Self-portrait without beard
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Self-portrait without beard is an 1889 oil on canvas painting by the post-impressionist artist Vincent van Gogh. The picture, which may have been Van Goghs last self-portrait, was painted in September that year, the self-portrait is one of the most expensive paintings of all time, selling for $71.5 million in 1998 in New York City. At the time, it was the third most expensive painting ever sold, art historians are divided as to whether this painting or Self-portrait is Van Goghs final self-portrait. Ronald Pickvance consider this to be the last, while Ingo F Walther and it was given by van Gogh to his mother as a birthday gift
Self-portrait without beard
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Self-portrait without beard
60.
Self-Portrait with Bandaged Ear
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Self-Portrait with Bandaged Ear is a 1889 self-portrait by Dutch, Post-Impressionist artist Vincent van Gogh. In this self-portrait, Van Gogh is shown wearing a cap with black fur. He is in a traditional view, and his forward gaze falls slightly to the right. Behind him is a window, assumedly letting in a winter breeze. This woodblock print has been identified as a Geishas in a Landscape published by Sato Tokyo and this shows an important influence of Japonism and wood block print on Van Gogh’s work, which also appear in the background of other portraits he had created. The painting is composed of impasto strokes, mostly in a vertical pattern and this creates a texture, which comes up off the canvas and adds dimension to the flat surface. The skin tone is muted with green and yellowish tones, the bandage covering Van Gogh’s ear in this painting alludes to his most famous conflict. Van Gogh used a mirror for his self-portraits which is why some mistakenly think that he lost part of his right ear instead of his left, Van Gogh moved from Paris to Arles in hopes of creating a community for artists to exist in mutual supportiveness and encouragement. He invited Paul Gauguin, an artist whom he had befriended in Paris and they proved to be a disagreeable pair and quarreled often, sometimes violently. The evening of December 23,1888 during one of their arguments, Van Gogh had a seizure during which he threatened Gauguin with a razor, but then injured himself, severing part of his left ear. In a state of excitement, he brought the dismembered lobe to the Maison de Tolérance bordello where he presented it to a prostitute named Rachel. When Gauguin returned the morning he discovered that the police had arrived at the house. Van Gogh had severed an artery in his neck, and was in health after losing so much blood. He was removed to the hospital, and he confessed to having no recollection of what happened during this fit, throughout his life, Van Gogh continued to suffer from similar fits, sometimes characterized by acute paranoia. At the time of Van Gogh’s death, this painting was in the possession of Père Tanguy, Tanguy had posed twice for Van Gogh in 1887. It was exhibited in Paris 1901 and 1905 in a major Van Gogh retrospective, in 1928 Samuel Courtauld purchased it. It is currently located in The Courtauld Gallery in London, UK, some critics dismiss this painting as a fake or crude pastiche. By January 17,1889 Vincent had written to his brother Theo mentioning he had completed “another new self portrait. ”Confusion has arisen over whether this was in reference to Self Portrait with Bandaged Ear, or Self Portrait with Bandaged Ear and Pipe
Self-Portrait with Bandaged Ear
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Self-Portrait with Bandaged Ear
61.
Enclosed Field with Peasant
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Enclosed Field with Peasant is an oil painting by Dutch artist Vincent van Gogh, painted in October 1889. It is currently part of the permanent collection at the Indianapolis Museum of Art, the paintings hurried lines accentuate a vibrant, moving field. The whole painting seems to pulsate with life, even only one human is shown. It is the most topographically accurate of four views of a field at the base of the Alpilles. Van Gogh intended this piece to be a pendant with the painting The Reaper, Van Goghs iconic style and layering embrace the canvas, making the viewers eye travel all around the painting. Enclosed Field with Peasant is an example of Van Goghs late work. Enclosed Field with Peasant was created during one of the most tumultuous parts of Van Goghs life and he was recuperating from a nervous breakdown he suffered on Christmas Eve in 1888, during a visit with fellow postimpressionist Paul Gauguin. Enclosed Field with Peasant was inherited by van Goghs brother, Theo van Gogh after his brothers death and he gave the painting to his wife, Johanna van Gogh-Bonger as a gift. In May 1905, it was sold to Paul Cassirer, and it was inherited by his wife, Giulietta von Mendelssohn, upon his death, and upon her death, was passed to her children, Elenora and Francesco von Mendelssohn. It was given on consignment to J. K, thannhauser in New York, from where it was sold to Mrs. Caroline Mermon Fesler. Mrs. Fesler gave the painting to the John Herron Art Institute, now known as the Indianapolis Museum of Art, in 1944
Enclosed Field with Peasant
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Enclosed Field with Peasant
62.
Farmhouse in Provence
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Farmhouse in Provence also known as Entrance Gate to a Farm with Haystacks was made in 1888 by Vincent van Gogh in Arles in Provence at the height of his career. Partially due to having been inspired by painter Adolphe Monticelli, Van Gogh sought the Provence region of France to further expand his painting skill, Van Gogh used several pairs of complementary colors in the Farmhouse in Provence, the color contrast bringing an intensity to his work. The painting is owned by the National Gallery of Art of Washington, at the time that Van Gogh painted Farmhouse in Provence he was 35 years old. Living in Arles, in southern France, he was at the height of his career, producing some of his best work, such as fields, farmhouses and people of the Arles, Nîmes, the area was quite different than what hed known in the Netherlands and Paris. The climate was hot and dry, people had dark hair and skin and spoke a different language than Parisian French. The terrain varied from plains to mountains, a prolific time, in less than 444 days Vincent made about 100 drawings and produced more than 200 paintings. Yet, he wrote more than 200 letters. In a letter to his brother, Theo, he wrote, Painting as it is now, promises to become more subtle - more like music and less like sculpture - and above all, it promises color. Van Gogh used three pairs of complementary, or contrasting, colors which when sat together intensified the brilliance, one pair is orange and blue. Theres the red and green of the plants, last, pink clouds against the turquoise sky. Van Gogh used complementary, contrasting colors to bring an intensity to his work, two complementary colors of the same degree of vividness and brightness placed next to one another produce an intense reaction, called the law of simultaneous contrast. Van Gogh mentioned the liveliness and interplay of a wedding of two colors, their mingling and opposition, the mysterious vibrations of two kindred souls. While in Nuenen Van Gogh became familiar with Michel Eugène Chevreuls laws in weaving to maximize the intensity of colors through their contrast to adjacent colors, in Paris he was exposed through his brother Theo to Adolphe Monticellis still life work with flowers, which he admired. First, he saw Monticellis use of color as an expansion of Delacroixs theories of color, secondly he admired the effect Monticelli created by heavy application of paint. It was partially Monticelli, from Marseilles, who inspired Van Goghs southerly move to Provence. He felt such kinship for the man, and desire to emulate his style, five paintings that were sold by Johanna became part of the National Gallery of Art collection. Willy Gretor gifted the painting to Maria Slavona, a German painter, of Paris and it was one of many gifts of Van Gogh paintings by Willie to Maria, with whom he had a daughter, Lilly. Maria then married Otto Ackermann, an art dealer of Paris, from 1919 to at least 1933 Gaston Bernheim de Villers of Paris owned the painting
Farmhouse in Provence
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Farmhouse in Provence
63.
At Eternity's Gate
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Sorrowing Old Man is an oil painting by Vincent van Gogh that he made in 1890 in Saint-Rémy de Provence based on an early lithograph. The painting was completed in early May at a time when he was convalescing from a relapse in his health. In the 1970 catalogue raisonné, it is given the title Worn Out, Van Gogh wrote of his drawing, Today and yesterday I drew two figures of an old man with his elbows on his knees and his head in his hands. I did it of Schuitemaker once and always kept the drawing, perhaps I’ll also do a lithograph of it. What a fine sight an old working man makes, in his patched bombazine suit with his bald head, Van Goghs first attempt at the lithograph followed just two days later. He wrote, It seems to me that a painter has a duty to try to put an idea into his work, at the same time something precious, something noble, that can’t be meant for the worms. This is far from all theology — simply the fact that the poorest woodcutter, heath farmer or miner can have moments of emotion, executed at The Hague in 1882, it depicts an old man seated by a fire, his head buried in his hands. Near the end of his life van Gogh recreated this image in oil, bent over with his fists clenched against a face hidden in utter frustration, the subjects appears engulfed in grief. Certainly, the work would convey an image of total despair had it not been for the English title van Gogh gave it, At Eternitys Gate. It demonstrates that even in his deepest moments of sorrow and pain, van Gogh clung to a faith in God and eternity, seven impressions of the lithograph are known, of which one is annotated At Eternitys Gate. The same theme is taken up again in two later 1883 studies of a seated woman, Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. Dr. Félix Rey, an intern at the hospital. There is no agreement today over a diagnosis of van Goghs illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive drinking, heavy smoking. On February 22,1890, van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was able to write his brother Theo once, in March 1890. While I was ill I nevertheless still did a few canvases from memory which you’ll see later. It is in these drawings and paintings that Hulsker sees unmistakable signs of his collapse, otherwise rare in his work
At Eternity's Gate
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Sorrowing Old Man ('At Eternity's Gate')
At Eternity's Gate
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Portrait of Doctor Félix Rey (F500, JH1659), oil on canvas 1889, Pushkin Museum. Rey disliked his portrait and gave it away.
At Eternity's Gate
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Hubert von Herkomer - Sunday at the Chelsea Hospital (1871)
At Eternity's Gate
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Prayer Before the Meal, pencil, black chalk, ink, heightened with white, December 1882, Private collection, Switzerland (F 1002, JH 281).
64.
White House at Night
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White House at Night is an oil on canvas painting created on 16 June 1890 in the small town of Auvers-sur-Oise by Vincent van Gogh, a mere six weeks before his death. It is displayed at the Hermitage Museum, St. Petersburg and it is thought that van Gogh painted White House at Night around 8,00 PM due to the position of the star in the painting. Astronomers Donald Olson and Russell Doescher from the Texas State University-San Marcos calculated that the star in the painting must be Venus which was bright in the sky in June 1890. The house is the one depicted in Blossoming Chestnut Tree. The painting has a turbulent history, three other van Goghs from Krebs collection were also shown, Landscape with House and Ploughman, Morning, Going out to Work, and the Portrait of Madame Trabuc. Media related to White House at Night at Wikimedia Commons Art theft and looting during World War II
White House at Night
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White House at Night (F766)
65.
Still Life: Vase with Pink Roses
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Still Life, Vase with Pink Roses was made in 1890 by Vincent van Gogh in Saint-Rémy. At the time the work was painted Van Gogh was readying himself to leave the Saint-Rémy asylum for the town of Auvers-sur-Oise outside of Paris. The painting reflects the optimism Van Gogh felt at that time about his future, the painting is owned by the National Gallery of Art of Washington, D. C. Van Gogh painted Still Life, Vase with Pink Roses shortly before his release from the Saint-Rémy asylum, as the end of his stay in Saint-Rémy and the days ahead in Auvers-sur-Oise neared, Van Gogh conveyed his optimism and enthusiasm by painting flowers. About the time that Van Gogh painted this work, he wrote to his mother, But for ones health, as you say, it is necessary to work in the garden. To his sister Wil he wrote, The last days in Saint-Rémy I worked like a madman, great bouquets of flowers, violet-colored irises, great bouquets of roses. That sense is underscored here by the green of the background. NGA further describes the painting, The undulating ribbons of paint, applied in diagonal strokes, animate the canvas and play off the furled forms of flowers, originally, the roses were pink—the color has faded—and would have created a contrast of complementary colors with the green. The painting is one of several Van Gogh examples of overabundance in still life, filling the plane with the vase. Other examples are Still Life with Carnations and Still Life with Anemones, the exuberant bouquet of roses is said to be one of Van Goghs largest, most beautiful still life paintings. Van Gogh made another painting of roses in Saint-Rémy, which is on display at the Metropolitan Museum of Art in New York, when Van Gogh left Saint-Rémy on May 16 both rose paintings with very thick paint were left behind to dry. Van Gogh anticipated that it would take one month for the paintings to dry, flowers were the subject of many of Van Goghs paintings in Paris, due in great part to his regard for flowers. As said to his brother, You will see that by making a habit of looking at Japanese pictures you will come to love to make up bouquets and do things with flowers all the more. To his sister, Wil, Van Gogh advised her to cultivate her own garden, like Voltaires Candide, to find joy, after he left Paris and settled in Arles Van Gogh painted his second group of Sunflowers in 1888 and 1889. His paintings of sunflowers in vases are among his most well known paintings, in Paris friends and acquaintances sent bouquets of flowers weekly for his still life paintings. He also purchased bouquets inexpensively, choosing a variety of flowers and colors for his paintings and that was an exaggeration, as during his time in Paris he painted 230 paintings, about 30 of which were flowers. Yet, the comment demonstrates his interest in painting flowers as a subject and to develop his appreciation. The choice of colors, and the manner in which they are painted, is also meaningful, Van Gogh used complementary, contrasting colors to bring an intensity to his paintings, which evolved over the periods of his work
Still Life: Vase with Pink Roses
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Vase with Pink Roses
Still Life: Vase with Pink Roses
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Vincent van Gogh 's Flowers in a Blue Vase, about 1889-1890
Still Life: Vase with Pink Roses
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Vincent van Gogh, Crown Imperial Fritillaries in a Copper Vase, 1886
66.
87 Hackford Road (Van Gogh)
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87 Hackford Road is an early drawing by Vincent van Gogh of the house at that address, where he lived while working in London. It was only recognised as his work in 1973, Van Gogh lodged at the home of Ursula Loyer and her daughter Eugenie, at 87 Hackford Road, Brixton, London, England, from August 1873, while working at the art dealership Goupil & Co. He sketched the 1824-built, three-storey Georgian terrace including the house, opposite Durand School and he lettered the wall Hackford Road and the gate Maison Loyer. In 1973, while researching an article on van Gogh, the journalist Ken Wilkie visited Eugenies granddaughter, Kathleen Maynard, at her home in Devon, England. While she was showing him photographs of the Loyers and their house, he noticed a dusty, Maynard recalled that her father said it had been drawn by one of my Grandmothers lodgers and its been up in the attic as long as I can remember. Wilkie recognised it as depicting the house in Hackford Road, with Maynards blessing, he took it to Amsterdam, where Dr Hans Jaffe, an authority on the artist working at the University of Amsterdam, authenticated it. The final paragraph of Joffes report read, On the grounds of topographical evidence, the origin of the drawing, I do not hesitate to accept the drawing shown to me as a work of Vincent van Gogh from his London period 1873–1874. Maynard died in 2000, and in 2005 her daughter Anne Shaw requested its return, and so it remains in the possession of the original family
87 Hackford Road (Van Gogh)
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87 Hackford Road
67.
Lust for Life (film)
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Lust for Life is a MGM biographical film about the life of the Dutch painter Vincent van Gogh, based on the 1934 novel of the same name by Irving Stone and adapted by Norman Corwin. It was directed by Vincente Minnelli and produced by John Houseman, Vincent van Goghs obsessive devotion to his art engulfs, consumes and finally destroys him. The apostate religious leaders do not like his zeal for God and they frown on his social activism and his brother, Theo van Gogh, provides financial and moral support, while Vincent lives off and on with the critical Paul Gauguin. Vincent begins experiencing hallucinations and seizures and voluntarily commits himself to a mental institution and he signs himself out, and with Theos help, returns to a rural area to paint, where he ultimately shoots himself in despair of never being able to put what he sees on canvas. The film was based on the 1934 novel by Irving Stone, Vincent Minnelli directed the film, while John Houseman produced it. They worked with Douglas on the 1952 melodrama The Bad and the Beautiful, principal photography started in August and ended in December 1955 and it was shot on location in France, Belgium and the Netherlands. George Cukor took Minnellis place as director for the take of a scene, two hundred enlarged colour photos were used representing Vincent’s completed canvases, these were in addition to copies that were executed by an American art teacher, Robert Parker. To prepare for his role as the painter, Douglas practiced painting crows so that he could reasonably imitate van Gogh at work. According to his wife Anne, Douglas was so into character that he returned to home in character, when asked if he would do such a thing again, Douglas responded that he wouldnt. Variety said, This is a slow-moving picture whose only action is in the dialog itself. According to MGM records, the film earned $1,595,000 in the US and Canada and $1,100,000 elsewhere resulting in a loss of $2,072,000. Wins Actor in a Supporting Role, Anthony Quinn Nominations Best Actor, Kirk Douglas Best Art Direction, Art Direction, Cedric Gibbons, Hans Peters, Preston Ames, Set Decoration, Edwin B. Willis, F. Keogh Gleason Best Writing, Norman Corwin The Best Actor prize went to Yul Brynner, the musical also won the Oscar for Best Art Direction. Minnelli felt that Douglas should have won the award, MGM produced a short film Van Gogh, Darkness Into Light, narrated by Dore Schary and showing the European locations used for the filming, to promote Lust for Life. In the film, a 75-year-old woman from Auvers-sur-Oise, who claims to have known Van Gogh when she was a girl, meets star Kirk Douglas. This short promotional film is shown on Turner Classic Movies occasionally, at the start and ending of the film, the creators list and thank a number of galleries, collectors and historians who allowed the works of Van Gogh to be photographed for the film
Lust for Life (film)
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Vincent van Gogh, Self-Portrait, Summer 1887, Paris Van Gogh Museum, Amsterdam (F77v)
Lust for Life (film)
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Lust for Life DVD cover
68.
Van Gogh (1991 film)
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Van Gogh is a 1991 French film written and directed by Maurice Pialat. It stars Jacques Dutronc in the role of Dutch painter Vincent van Gogh, the film was entered into the 1991 Cannes Film Festival. The film was selected as the French entry for the Best Foreign Language Film at the 64th Academy Awards, for this reason it is often contrasted with Vincente Minnellis Van Gogh film Lust for Life. Very little time is devoted to Van Goghs art and work, with the bulk of the 158-minute running time occupied by the often difficult personal relationships. The film omits most references to many of the most famous incidents in Van Goghs life in favor of concentrating on the dynamics of the late 19th century. Writing in The Washington Post, critic Desson Howe explains, In the movie, you dont see Van Gogh complete the final stroke of a masterpiece. You do see a thin, stringy man, suffering headaches, enjoying whores. Van Gogh denies you familiar highlights, keeps you from his working elbow, but it shows you the quotidian stuff in between. This is the story of an artist being human, carrying out or lugging them back in – their famous images intentionally out of sight
Van Gogh (1991 film)
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Poster
69.
Vincent in Brixton
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Vincent in Brixton is a 2003 play by Nicholas Wright. The play premiered at Londons National Theatre with Jochum ten Haaf in the title role and it transferred to the Playhouse Theatre and later to Broadway. It focuses on artist Vincent van Goghs time in Brixton, London in 1873, in the play, which is largely fictional, he falls in love with an English widow. It was revived by The Original Theatre Company in 2009, ursula Eugenie Anna Vincent Sam Awards 2003 Laurence Olivier Award for Best New Play Nominations 2003 Tony Award for Best Play Spencer, Charles. Portrait of the artist as a young man. Vincent in Brixton at the Internet Broadway Database Vincent in Brixton at the Internet Broadway Database Vincent in Brixton at the Internet Movie Database
Vincent in Brixton
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Vincent in Brixton
