Category:Vincent van Gogh paintings of Arles
Pages in category "Vincent van Gogh paintings of Arles"
The following 36 pages are in this category, out of 36 total. This list may not reflect recent changes (learn more).
The following 36 pages are in this category, out of 36 total. This list may not reflect recent changes (learn more).
1. Almond Blossoms – 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
2. Les Alyscamps – Les Alyscamps is a pair of paintings by Dutch painter Vincent van Gogh. Painted in 1888 in Arles, France, it depicts scenes in the Alyscamps. Van Gogh also made another pair of paintings, Falling Autumn Leaves, one of the paintings was last auctioned in November 2003, selling for $11,767,500 at an auction in New York despite predictions that it might fetch between $12 and $18 million. Another of the paintings sold on May 5,2015 for the sum of $66.3 million, following months of correspondence, Paul Gauguin joined Van Gogh in Arles in October 1888. Both were intent on depicting a non-naturalist landscape, the paintings are of the first works that Van Gogh and Gauguin painted following Gauguins arrival. Van Gogh and Gauguin visited an ancient Roman necropolis, Les Alyscamps, over time the grounds were overtaken by factories and the railroad, leaving the Allee des Tombeaux, a lane of shady poplar trees that led to a Romanesque chapel. This lane was known throughout France as a lovers lane, the couples depicted in the painting are taking a romantic stroll in the evening and it was this aspect of the scene that especially attracted the artists attention. The two artists painted some subjects to compare their work with each other and chose the site of the Alyscamps to paint. They produced several works, including painting, Van Goghs Falling Autumn Leaves. The pair of paintings were made by Van Gogh and Gauguin soon after Gauguin arrived in Arles, the painting portrays an ancient Roman cemetery, Les Alyscamps or Elysian Fields which were located south east of the Roman city walls. Through careful analysis it appears that the two men worked together at Les Alyscamps between October 28 and 31, just before an onslaught of heavy rains that forced them indoors, Van Gogh painted four views, this Les Alyscamps pair and the pair of Falling Autumn Leaves paintings. Van Gogh made another pair of paintings at Les Alyscamps called Falling Autumn Leaves, for his painting of Les Alyscamps, painted on the same day as Van Goghs, Gauguin chose a different vantage point from Van Gogh, and excluded any reference to ancient sarcophagi
3. Arles: View from the Wheat Fields – Arles, View from the Wheat Fields was painted by Vincent van Gogh in June,1888, among a number of paintings he made of wheat fields that summer. It is currently displayed at the Musee Rodin in Paris, France, Van Gogh was about 35 years of age when he moved to Arles in southern France. There he was at the height of his career, producing some of his best work and his paintings represented different aspects of ordinary life, such as Harvest at La Crau. The sunflower paintings, some of the most recognizable of Van Goghs paintings, were created in this time and he worked continuously to keep up with his ideas for paintings. This was also one of Van Goghs happier periods of life. He was confident, clear-minded and seemingly content and his work during this period represents a culmination of influences, such as Impressionism, Neo-Impressionism and Japanese art from his period in Paris the prior two years. His style evolved into one with vivid colors and energetic, impasto brush strokes, the close association of peasants and the cycles of nature particularly interested Van Gogh, such as the sowing of seeds, harvest and sheaves of wheat in the fields. The dark hours conducive to germination and regeneration are depicted in The Sower and wheat fields at sunset. In 1889 Van Gogh wrote of the way in which wheat was symbolic to him, What can a person do when he thinks of all the things he cannot understand and we, who live by bread, are we not ourselves very much like wheat. To be reaped when we are ripe, during the last half of June he worked on a group of ten Harvest paintings, which allowed him to experiment with color and technique. I have now spent a working hard in the wheatfields, under the blazing sun. Arles, View from the Wheat Fields represents the harvest, in the foreground are sheaves of harvested wheat leaning against one another. The center of the painting depicts the process, a couple at work in a sea of yellow. Across the horizon is the town of Arles, Van Gogh used landscape-format for all of his Wheat Fields paintings, the one exception was this painting which was made in portrait-format
4. Bedroom in Arles – 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
5. Butterflies (Van Gogh series) – Butterflies is a series paintings made by Vincent van Gogh in 1889 and 1890. Van Gogh made at least four paintings of butterflies and one of a moth, the metamorphosis of the caterpillar into a butterfly was symbolic to Van Gogh of men and womens capability for transformation. Butterflies and moths, in the insect order Lepidoptera, are distinguished generally in several ways, Butterflies are brighter in color, butterfly wings are not linked and fold together when they are in a resting position. On the other hand, moths are generally duller in color, there are some exceptions, though, such as a few types of colored moths. Butterflies are found in art and literature, often as symbols of freedom, transformation, Van Gogh used butterflies in his works as a symbol of hope. One of his favorite metaphors was about transformative possibilities, in a letter to his sister Wil, Van Gogh says that like a grub eats salad roots, unknowing of the transformation that will take it to a beetle, we are not aware of our potential for metamorphosis. Similarly, he as a painter ought to paint pictures, possibly something else will come after that. Of prostitutes, such as those he met at brothels, Van Gogh wondered of any woman who fell into a life of degradation, might she be transformed one day like a grub into a butterfly. That hope may have been on Van Goghs mind when he took in pregnant Sien Hoornik, a prostitute, when in need of solace, nature is where Van Gogh went to find peace. In a letter to his sister Wilhelmina he writes that he finds to calm down its best to look at a blade of grass, the branch of a fir tree, an ear of wheat. So if you want to do, as the artists do, go look at the red and white poppies with their bluish leaves, Van Gogh came to Arles in southern France when he was about 35 years of age. There he began producing some of his best work, the sunflower paintings, some of the most recognizable of Van Goghs paintings, were created in this time. This is likely one of Van Goghs happier periods of life and he is confident, clear-minded and seemingly content. 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. As a means of explanation, Van Gogh explains that being like music means being comforting, Grass and Butterflies, made in Arles, is part of a private collection. Fascinated by butterflies at an age, Vincent Dethier became an entomologist. In tribute to him on his birthday, Miriam Rothschild expressed her appreciation metaphorically through Van Goghs painting, Two white butterflies twirling in freedom. For me they are the symbol of daydreaming — the poetry that Vince Dethier insinuates so cunningly into our factual information and knowledge