1.
Vincent van Gogh
–
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
2.
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
3.
Theo van Gogh (art dealer)
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Theodorus Theo van Gogh was a Dutch art dealer. He was the brother of Vincent van Gogh, and Theos unfailing financial and emotional support allowed his brother to devote himself entirely to painting. Theo died at the age of 33, six months after his brother died at the age of 37, Theodorus Theo van Gogh was born on 1 May 1857 in the village Groot-Zundert in the province of North Brabant, Netherlands. He was the son of Theodorus van Gogh and Anna Cornelia Carbentus and his elder brother was Vincent van Gogh, who later became a famous painter. Theo worked for years at the Dutch office of the Parisian art dealers Goupil & Cie in The Hague. Theo joined the Brussels office on 1 January 1873 as their youngest employee, after Theo was transferred to the London office, he moved to the office in The Hague, where he developed into a successful art dealer. By 1884, he was transferred to the Paris main office, starting in the winter of 1880–1881, he sent painting materials as well as monthly financial support to his brother and painter Vincent van Gogh, who was living back in the Netherlands. In Paris, Theo met Andries Bonger and his sister Johanna and he married Johanna in Amsterdam on 17 April 1889 and they moved to Paris. Their son Vincent Willem was born in Paris on 31 January 1890, on 8 June, the family visited Vincent, who was living near Paris in Auvers-sur-Oise. Vincent died in July 1890 at age 37, Theo suffered from dementia paralytica, an infection of the brain, and his health declined rapidly after Vincents death. Weak and unable to come to terms with Vincents absence, he died six months later at age 33 in Den Dolder, Theo admired his elder brother Vincent for his whole life. But communicating with him proved to be difficult, even before Vincent opted to follow his artistic vocation, the communication between both brothers suffered from diverging definitions of standards, and it was evidently Theo who kept on writing letters. Therefore, mostly Vincents answers survived and few of Theos, Theo was often concerned about Vincents mental condition and he was amongst the few who understood his brother. It is known that Theo helped Vincent to maintain his artist lifestyle by giving him money and he also helped Vincent pursue his life as an artist through his unwavering emotional support and love. The majority of Theo’s letters and communications with Vincent are filled with praise, Vincent would send Theo sketches and ideas for paintings, along with accounts of his day to day experiences, to the delight and eager attention of Theo. Theo was instrumental in the popularity of Impressionist artists such as Claude Monet and Edgar Degas by persuading his employers, Goupil & Cie, to exhibit and buy their works. In 1886, Theo invited Vincent to come and live with him in Paris, the two brothers maintained an intensive correspondence, with Theo often encouraging his depressed brother. Theo was one of the few people who Vincent could talk to, over three-quarters of the more than 800 letters Vincent wrote during his life were to Theo, including his first and his last letters
Theo van Gogh (art dealer)
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Theo van Gogh in 1878
Theo van Gogh (art dealer)
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Theo van Gogh in 1888
Theo van Gogh (art dealer)
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This 1887 portrait by
Vincent van Gogh, long thought to be a self-portrait, was reassessed in 2011 to be one of his brother Theo van Gogh.
Theo van Gogh (art dealer)
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Vincent and Theo van Gogh's graves at the cemetery of
Auvers-sur-Oise
4.
Auvers-sur-Oise
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Auvers-sur-Oise is a commune in the northwestern suburbs of Paris, France. It is located 27.2 km from the centre of Paris and it is associated with several famous artists, the most prominent being Vincent van Gogh. Daubignys house is now a museum where one can see paintings by the artist, his family, if you walk along the river from Auvers toward Pontoise you can see a number of views which figured in the paintings of Pissarro. During the 20th century artists continued to frequent Auvers, including Henri Rousseau, Otto Freundlich, the COBRA artist Corneille spent his last years in the village and is buried a few meters from Vincent van Gogh. On 1 August 1948, 17% of the territory of Auvers-sur-Oise was detached, Dr. Paul Gachet lived in Auvers-sur-Oise. He was acquainted with the artists of the time. Through this connection, Vincent van Gogh moved to Auvers to be treated by him, Gachet befriended Van Gogh and was the subject of two portraits, one of which, Portrait of Dr. Gachet, was sold at auction for over $80m in 1990. Van Gogh died by a gunshot to the chest, the room on the upper floor of the Auberge Ravoux where he died has been preserved, although no furniture remains. Auvers-sur-Oise is the resting place of both Vincent and his brother Theo van Gogh, who died six months later. Auvers-sur-Oise in art Auvers-sur-Oise is served by two stations on the Transilien Paris – Nord suburban rail line, Chaponval and Auvers-sur-Oise. Communes of the Val-dOise department Auvers during the time of Vincent van Gogh INSEE Association of Mayors of the Val d’Oise Official website The Complete Works of Vincent van Gogh
Auvers-sur-Oise
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The Château de Leyrit, built in the 17th and 18th centuries
Auvers-sur-Oise
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L’Auberge Ravoux, where Vincent van Gogh spent his final months and where he died. It is now a restaurant.
Auvers-sur-Oise
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View from the staircase leading up to Van Gogh's room in L'Auberge Ravoux
Auvers-sur-Oise
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Vincent and Theo van Gogh's graves in Auvers-sur-Oise.
5.
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
–
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
–
Henri de Toulouse-Lautrec, Portrait of
Émile Bernard, 1886,
Tate Gallery London
6.
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
7.
Arles
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Arles is a city and commune in the south of France, in the Bouches-du-Rhône department, of which it is a subprefecture, in the former province of Provence. A large part of the Camargue is located on the territory of the commune, the city has a long history, and was of considerable importance in the Roman province of Gallia Narbonensis. The Roman and Romanesque Monuments of Arles were listed as UNESCO World Heritage Sites in 1981, the Dutch post-Impressionist painter Vincent van Gogh lived in Arles from 1888 to 1889 and produced over 300 paintings and drawings during his time there. An international photography festival has held in the city since 1970. The river Rhône forks into two branches just upstream of Arles, forming the Camargue delta and its area is 758.93 km2, which is more than seven times the area of Paris. Arles has a Mediterranean climate with an annual temperature of 14.6 °C. The summers are warm and moderately dry, with averages between 22 °C and 24 °C, and mild winters with a mean temperature of about 7 °C. The city is constantly, but especially in the months, subject to the influence of the mistral. Rainfall is fairly evenly distributed from September to May, with the summer drought being less marked than in other Mediterranean areas, the Ligurians were in this area from about 800 BC. Later, Celtic influences have been discovered, the city became an important Phoenician trading port, before being taken by the Romans. The Romans took the town in 123 BC and expanded it into an important city, however, it struggled to escape the shadow of Massalia further along the coast. Its chance came when it sided with Julius Caesar against Pompey, Massalia backed Pompey, when Caesar emerged victorious, Massalia was stripped of its possessions, which were transferred to Arelate as a reward. The town was established as a colony for veterans of the Roman legion Legio VI Ferrata. Its full title as a colony was Colonia Iulia Paterna Arelatensium Sextanorum, Arelate was a city of considerable importance in the province of Gallia Narbonensis. It covered an area of some 99 acres and possessed a number of monuments, including an amphitheatre, triumphal arch, Roman circus, theatre, ancient Arles was closer to the sea than it is now and served as a major port. It also had the southernmost bridge on the Rhône, very unusually, the Roman bridge was not fixed but consisted of a pontoon-style bridge of boats, with towers and drawbridges at each end. The boats were secured in place by anchors and were tethered to twin towers built just upstream of the bridge and this unusual design was a way of coping with the rivers frequent violent floods, which would have made short work of a conventional bridge. Nothing remains of the Roman bridge, which has replaced by a more modern bridge near the same spot
Arles
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Left bank of the Rhône in Arles
Arles
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Arles Amphitheatre, a Roman arena.
Arles
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Passageway in Roman arena
Arles
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Church of St. Trophime and its cloister.
8.
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
9.
Paul Gauguin
–
Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life
Paul Gauguin
–
Aline Marie Chazal Tristán, La mère de l'artiste ("The Artist's Mother"), 1889,
Staatsgalerie Stuttgart.
Paul Gauguin
–
Gauguin, c. 1891
Paul Gauguin
–
Woman Sewing, 1880,
Ny Carlsberg Glyptotek
10.
Pont-Aven
–
Pont-Aven is a commune in the Finistère department of Brittany in northwestern France. Inhabitants of Pont-Aven are called in French Pontavenistes, Pont-Aven is mentioned among the towns which took part in the Breton anti-tax Rebellion of the Red Bonnets against Louis XIV of France in 1675. Pont-Aven is mainly known because of the group of artists who flocked round Émile Bernard and Paul Gauguin, and they were collectively known as Pont-Aven School. Pont Aven School of Contemporary Art is a fine arts program located in the historic artists colony of Pont-Aven. The student body is made up of university or art college honors students or post-baccalaureate art majors seeking further study. The Musée des Beaux Arts de Pont-Aven houses a reconstruction of Pont-Aven at the end of the 19th century as well as a permanent collection dedicated to the Pont-Aven School. Pont Aven still attracts artists and art lovers with many galleries in addition to the towns public gallery. The Aven River runs through Pont-Aven, the river has relatively favourable water quality, with pH levels slightly alkaline at about 8.5 and electrical conductivity of 19 micro Siemens per centimeter. The town is at the interface of the estuary and the freshwater river. Before Pont-Aven attracted Gauguin and other artists it was a centre for milling with the river Aven being divided above the town to provide a mill race which powers a series of water mills. Whilst several of these retain their wheels only the last, the Moulin Poulguin, is capable of operating. The mill is now a restaurant and you can see the machinery inside, just outside the town are the beech woods of the Bois dAmour, a source of inspiration for many artists. The town is close to Domaine de Kerlann Holiday Park on the road to the commune of Nevez. To the northwest of the town, in the community of Nizon. The Brittany Ferries flagship is named after the town, les Galettes de Pont-Aven is a 1975 drama on the life of a middle-aged aspirant painter who settles in the town
Pont-Aven
–
Watermill in Pont-Aven, by
Paul Gauguin, 1894
Pont-Aven
–
Waterway at Pont-Aven
11.
En plein air
–
En plein air, or plein air painting, is a phrase borrowed from the French equivalent meaning open air. It is particularly used to describe the act of painting outdoors, also called French, peinture sur le motif and this method contrasts with studio painting or academic rules, those might create a predetermined look. En plein air can also be used to other activities where a person partakes in an outdoor environment. Artists have long painted outdoors, but in the century, working in natural light became particularly important to the Barbizon school, Hudson River School. The Newlyn School in England is considered another major proponent of the technique in the latter 19th century, the popularity of painting en plein air increased in the 1840s with the introduction of paints in tubes. Previously, painters made their own paints by grinding and mixing dry pigment powders with linseed oil, the act of outdoor painting from observation has been continually popular well into the 21st century. It was during the century that the box easel, typically known as the French box easel or field easel, was invented. It is uncertain who developed it, but these highly portable easels with telescopic legs and built-in paint box and palette made it easier to go into the forest and up the hillsides. Still made today, they remain a popular choice since they fold up to the size of a brief case and thus are easy to store. The Pochade Box is a box that allows the artist to keep all of their supplies. Some designs allow for a canvas which can be held by clamps built into the lid. There are designs which can hold a few wet painting canvases or panels within the lid. These boxes have a rising popularity as while they are used for plein air painting, can also be used in the studio, home. Since pochade boxes are used for painting on location, the canvas or work surface may be small. Challenges include the type of paint used to paint outdoors, animals, bugs, onlookers, acrylic paint may harden and dry quickly in warm, sunny weather and it cannot be reused. On the opposite side of the spectrum is the challenge of painting in moist or damp conditions with precipitation, the advent of plein air painting predated the invention of acrylics. The traditional and well-established method of painting en plein air incorporates the use of oil paint, but enthusiasts of plein air painting were not limited to the Old World. American impressionists too, such as those of the Old Lyme school, were avid painters en plein air, american impressionist painters noted for this style during this era included Guy Rose, Robert William Wood, Mary DeNeale Morgan, John Gamble, and Arthur Hill Gilbert
En plein air
–
Painters gathered at
Slide Rock State Park,
Arizona, in 2006.
En plein air
–
Artist working en plein air, at
Pigeon Point Lighthouse in
California.
En plein air
–
En plein air painters painting in
Ringwood, New Jersey.
En plein air
–
Claude Monet Painting by the Edge of a Wood (1885) by
John Singer Sargent. Oil on canvas. 54.0 × 64.8 cm.
Tate Gallery, London.
12.
Starry Night
–
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
Starry Night
–
The Starry Night
Starry Night
–
The Monastery of Saint-Paul de Mausole
Starry Night
–
F1548 Wheatfield, Saint-Rémy de Provence,
Morgan Library & Museum
Starry Night
–
F719 Green Field,
National Gallery in Prague
13.
Wil van Gogh
–
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
–
Willemina Jacoba van Gogh
14.
Van Gogh self-portrait (1889)
–
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)
–
Self portrait
15.
Houses at Auvers
–
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
–
F83: The Cottage,
Van Gogh Museum
Houses at Auvers
–
F612: The Starry Night,
Museum of Modern Art
Houses at Auvers
–
F675: Winter Landscape - Reminiscence of the North,
Van Gogh Museum
16.
Paul Gachet
–
Paul-Ferdinand Gachet was a French physician most famous for treating the painter Vincent van Gogh during his last weeks in Auvers-sur-Oise. Gachet was a supporter of artists and the Impressionist movement. He was a painter, signing his works Paul van Ryssel, referring to his birthplace. Born and raised in Lille, his family moved to Mechelen and he qualified for a B. A. at the University of Paris and then worked at the mental hospitals of Bicêtre and Salpêtrière. In 1858 he received a degree for his thesis Étude sur la Mélancolie. He returned to Paris and set up a private practice and he knew Gustave Courbet, Champfleury, Victor Hugo and later Paul Cézanne. He was a friend of the chemist Henri Nestlé and prescribed Nestlés new powdered milk supplement to some of his child patients and he spent much time with Charles Méryon after the etchers committal to Charenton. He oversaw Auguste Renoirs recovery from pneumonia in 1882 and he advised Édouard Manet against the amputation of his leg. However, Manet did not follow this advice, Gachets tomb is situated in section 52 of Père Lachaise Cemetery in Paris. Vincents brother, Theo van Gogh, thought that Gachets background, very soon after he began seeing Gachet, however, Vincent began to doubt the doctors usefulness. Vincent described Gachet as, sicker than I am, I think, Gachet has come in for much criticism over the years regarding Van Goghs suicide after ten weeks of consultation. However Van Gogh was either unable or unwilling to follow his doctors advice to cut back on alcohol, according to Arnold, there was not much else available to any physician of the day which could have reversed the course of Vincents illness. Gachet was friends with and treated Pissarro, Renoir, Manet, Cézanne and Goeneutte and he had amassed one of the largest impressionist art collections in Europe before he died in 1909. Paul Gachet at Find a Grave
Paul Gachet
–
Paul Gachet
Paul Gachet
–
Portrait of Dr. Gachet, painting by Vincent van Gogh (1890)
Paul Gachet
–
Dr. Gachet, etching by Vincent van Gogh (1890)
Paul Gachet
–
Paul Gachet by Charles Leandre (c. 1887)
17.
Gendarme (historical)
–
A gendarme was a heavy cavalryman of noble birth, primarily serving in the French army from the Late Medieval to the Early Modern periods of European history. The word gendarme derives originally from the French homme darmes, plural of which is gens darmes, the plural sense was later shortened to gendarmes and a singular made of this, gendarme. Like most fifteenth century sovereigns, the Kings of France sought to possess standing armies of professionals to fight their incessant wars and these methods, though improvements on the old annual 40-day service owed by knights, were also subject to strain over long campaigns. Men in these units signed a contract which kept them in the service of the unit for periods of one year or longer, eventually more ordinances would set the general guidelines for the organization of companies of gendarmes, the troops in which were accordingly called the gendarmes dordonnance. These later archers had armour less heavy than the gendarmes, and a light lance and this organization was provisional, however, and one of the mounted archers was commonly replaced by another non-combatant, a servant. In 1434, the pay for the members of the company was set as 120 livres for gendarmes,60 for coutilliers,48 for archers, gendarme unit organization evolved over time. By the 1550s, advances in firearm technology dictated that a body of 50 light cavalry armed with an arquebus be attached to each gendarme company, the heavy cavalrymen in these companies were almost invariably men of gentle birth, who would have served as knights in earlier feudal forces. In many ways they still closely resembled knights—wearing a complete suit of armour, they fought on horseback. A gendarme company was formed by the crown, the king appointing a magnate to raise the company and be its captain, in this way, the bonds between the crown and the magnates were maintained, as the kings patronage essentially bought the loyalty of the nobility. Likewise, appointment of individual gentlemen to a company was mostly accomplished by patronage and recommendation. Recruits preferred positions in companies stationed in their province. The total number of gendarmes in the companies varied over the decades and this was generally increased by another 1,000 lances in wartime. When conflict ended, the reduction came either in the number of companies, the gendarme companies were permanently stationed in towns in the provinces throughout France, subject to be summoned during wartime and concentrated in the Royal armies. Some became closely associated with the towns where they were stationed, if these garrison towns did not have sufficient resources to support the gendarmes present, as was often the case, individuals often found lodging in nearby areas. Men who were away for these reasons were to be back to the company by the captains when ordered to do so by the provincial governor. Long-term absence was a problem in the companies. The French ordinances established regular infantry forces as well, but these were less successful. These created twelve ordonnance companies, for a total of 1,200 gendarmes, there was a twenty-fifth lance in the escadre, that of the squadron commander
Gendarme (historical)
–
Early sixteenth century French gendarmes. Note the very complete plate armour for man and horse, the extremely heavy lance, and the military skirts, called
"bases", worn almost universally in the early 16th century.
Gendarme (historical)
–
French gendarmes.
18.
Lucien Pissarro
–
Lucien Pissarro was a landscape painter, printmaker, wood engraver and designer and printer of fine books. His landscape paintings employ techniques of Impressionism and Neo-Impressionism, but he exhibited with Les XX. Apart from his landscapes he painted a few still lifes and family portraits, until 1890 he worked in France, but thereafter was based in Britain. Pissarro was born on 20 February 1863 in Paris and he was the oldest of seven children of the Impressionist painter Camille Pissarro and his wife Julie. He studied with his father, and was influenced by Georges Seurat, in 1886 he exhibited at the last of the Impressionist exhibitions. From 1886 to 1894 he exhibited with the Salon des Independents and he first visited Britain in 1870-1 during the Franco-Prussian War. He returned in 1883-4, and in 1890 settled permanently in London, on 10 August 1892 he married Esther Levi Bensusan in Richmond. On 8 October 1893 she gave birth to their child, a daughter, Orovida Camille Pissarro. He met Charles Ricketts and Charles Shannon, and contributed woodcuts to their Dial, in 1894 he founded the Eragny Press and with his wife printed illustrated books until 1914. In 1897 he moved to 62 Bath Road in Chiswick, in 1903 he designed the typeface Brook Type. Pissarro associated with Walter Sickert in Fitzroy Street, and in 1906 became a member of the New English Art Club, from 1913 to 1919 he painted landscapes of Dorset, Westmorland, Devon, Essex, Surrey and Sussex. In 1916 Pissarro became a British citizen, while in Britain he was one of the founders of the Camden Town Group of artists. The group ceased three years later, from 1922 to 1937 he painted regularly in the south of France, interspersed with painting expeditions to Derbyshire, south Wales and Essex. From 1934 to 1944 he exhibited at the Royal Academy in London and he died on 10 July 1944, in Hewood, Dorset. Arts Council, Lucien Pissarro 1863-1944 a centenary exhibition Bensusan-Butt, J. Recollections of Lucien Pissarro in his seventies Bidwell, J. MacGregor, Camille Pissarro, Lettres à son fils Lucien, ed. J. Rewald Pissarro, C. Correspondance de Camille Pissarro, ed. J. Bailly-Herzberg ISBN 2-13-036694-5 - ISBN 2-905684-05-4 - ISBN 2-905684-09-7 - ISBN 2-905684-17-8 - ISBN 2-905684-35-6 Pissarro, L. The letters of Lucien to Camille Pissarro 1883-1903, ed. A. Thorold ISBN 0-521-39034-6 Reed, N. Pissarro in West London ISBN190116702 X Reed, N. Pissarro in Essex ISBN0951525840 Thorold, A. A Catalogue of the oil paintings of Lucien Pissarro Urbanelli, L, the wood engravings of Lucien Pissarro
Lucien Pissarro
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Lucien Pissarro Reading, by
J.B. Manson c.1913
Lucien Pissarro
–
Lucien Pissarro's house, Stamford Brook, London, with GLC blue plaque "Lucien Pissarro 1863-1944 Painter, Printer, Wood Engraver lived here"
19.
Sinful
–
In a religious context, sin is the act of violating Gods will by transgressing his commandments. Sin can also be viewed as any thought or action that endangers the ideal relationship between an individual and God, or as any diversion from the ideal order for human living. To sin has been defined as to miss the mark, the word derives from Old English syn, for original *sunjō. The stem may be related to that of Latin sons, sont-is guilty, in Old English there are examples of the original general sense, ‘offence, wrong-doing, misdeed. e. In the Baháí Faith, humans are considered good, fundamentally spiritual beings. Human beings were created because of Gods immeasurable love, however, the Baháí teachings compare the human heart to a mirror, which, if turned away from the light of the sun, is incapable of receiving Gods love. Buddhism believes in the principle of karma, whereby suffering is the consequence of greed, anger. While there is no direct Buddhist equivalent of the Abrahamic concept of sin, the concept of Buddhist ethics is consequentialist in nature and is not based upon duty towards any deity. Karma means action, and in Buddhist context, motivation is the most important aspect of an action, whether karma done with mind, body and/or speech is called good or bad, depends on whether it would bring pleasant or unpleasant results to the person who does the action. One needs to purify negative karma Four Satipatthanas to free oneself from obstacles to liberation from the circle of rebirth. The purification reduces suffering and in the end one reaches Nirvana, an enlightened being is free of all the suffering and karmas, and will not be automatically born again. In the Old Testament, some sins were punishable by death in different forms, christians consider the Old Covenant to be fulfilled by the Gospel. In the New Testament however, the forgiveness of sin is effected through repentance which involves confessing the sin, Sin is forgiven, when the sinner acknowledges, confesses, and repents for their sin. The unregenerate man is expected to confess his sins to God through repentance in order to be restored to relationship with God. The unregenerate man has never before been in a relationship with God. When, as a part of his salvation, he is forgiven, he enters into a union with God which abides forever. In the Epistle to the Romans 6,23, it is mentioned that the wages of sin is death, in Jewish Christianity, sin is believed to alienate the sinner from God even though He has extreme love for mankind. It has damaged and completely severed the relationship of humanity to God and that relationship can only be restored through acceptance of Jesus Christ and his death on the cross as a satisfactory sacrifice for the sins of humanity
Sinful
–
A
Sistine Chapel fresco depicts the expulsion of
Adam and Eve from the garden of Eden for their sin of eating from the fruit of the
Tree of the knowledge of good and evil.
Sinful
–
Persons who categorized and described the Sins
20.
John Rewald
–
John Rewald was an American academic, author and art historian. He was known as a scholar of Impressionism, Post-Impressionism, Cézanne, Renoir, Pissarro, Seurat and he was recognized as a foremost authority on late 19th-century art. His History of Impressionism is a standard work and he was born Gustav Rewald at Berlin, of a middle-class, professional family. Rewald came from a Jewish background and he completed his Abitur in Hamburg, and studied thereafter at several German universities, going to the Sorbonne in Paris in 1932. At the Sorbonne he wrote his dissertation on the friendship of Zola and Cézanne, when France declared war on Germany in 1939, he was interned as an enemy alien. He emigrated to the United States in 1941 and Alfred Barr, from 1943 on, he consulted for the Museum of Modern Art, organizing exhibitions for it and other museums and researching his magnum opus, a history of Impressionism. The History of Impressionism was published in 1946 to universal acclaim, Rewald was a visiting professor at Princeton University between 1961 and 1964. He joined the faculty of the University of Chicago in 1964, in that year he received an appointment as distinguished professor of art history at the City University of New York. 1977 saw him organizing the major Cézanne, The Late Work exhibition at MoMA with William Rubin and he spent the year 1979 as the A. W. Mellon Lecturer at the National Gallery of Art in Washington and retired from CUNY in 1984. John Rewald, the devoted Cézanne scholar, was instrumental in creating a foundation to save Cézannes studio and it is now a permanent museum in Aix-en-Provence, Latelier Cézanne, and can be viewed as it was at the painters death. The citizens of Aix, in gratitude to Rewald, named a plaza after him, John Rewald died of congestive heart failure at age 81. He is buried close to Cézanne, at Aix-en-Provence cemetery, what he set out to do, he did more thoroughly and scrupulously than anybody else, and he did it first. Complementing his career as an academic, he served as one of the members of the Board of Directors of the International Foundation for Art Research. In a statistical overview derived from writings by and about John Rewald, OCLC/WorldCat encompasses roughly 600+ works in 1, 400+ publications in 24 languages and 33, 000+ library holdings
John Rewald
–
Portrait of John Rewald, circa 1973
21.
60 Minutes
–
60 Minutes is an American newsmagazine television program broadcast on the CBS television network. Debuting in 1968, the program was created by Don Hewitt, in 2002,60 Minutes was ranked #6 on TV Guides 50 Greatest TV Shows of All Time and in 2013, it was ranked #24 on TV Guides 60 Best Series of All Time. The New York Times has called it one of the most esteemed news magazines on American television, the program employed a magazine format, similar to that of the Canadian program W5, which had premiered two years earlier. Similar programs sprang up in Australia and Canada during the 1970s, Wallace said that the show aimed to reflect reality. The first magazine-cover chroma key was a photo of two helmeted policemen, Wallace and Reasoner sat in chairs on opposite sides of the set, which had a cream-colored backdrop, the more famous black backdrop did not appear until the following year. The logo was in Helvetica type with the word Minutes spelled in all lower-case letters, the trademark stopwatch, however, did not appear on the inaugural broadcast, it would not debut until several episodes later. Alpo dog food was the sponsor of the first program. Don Hewitt, who had been a producer of the CBS Evening News with Walter Cronkite, however, the initial season was troubled by lack of network confidence, as the program did not garner ratings much higher than that of other CBS News documentaries. 60 Minutes struggled under that stigma during its first three years, changes to 60 Minutes came fairly early in the programs history. When Reasoner left CBS to co-anchor ABCs evening newscast, Morley Safer joined the team in 1970, and he took over Reasoners duties of reporting less aggressive stories. After a six-month hiatus in late 1971, CBS found a place for 60 Minutes in a portion of that displaced time,6,00 to 7,00 p. m. (Eastern,5,00 to 6,00 Central Time on Sundays. This took place because football telecasts were protected contractually from interruptions in the wake of the infamous Heidi Bowl incident on NBC in November 1968. When a family-oriented drama, Three for the Road, ended after a 12-week run in the fall, the newsmagazine took its place at 7,00 p. m. Eastern Time on December 7. S. This move, and the addition of then-White House correspondent Dan Rather to the team, made the program into a strong ratings hit and, eventually. This was no less than a stunning reversal of the poor ratings performances of documentary programs on network television. By 1976,60 Minutes became the program on Sunday nights in the U. S. By 1979, it had achieved the #1 spot among all programs in the Nielsen ratings. This success translated into great profits for CBS, advertising rates went from $17,000 per 30-second spot in 1975 to $175,000 in 1982
60 Minutes
–
Opening sequence (2006–present)
60 Minutes
–
Since 1968, the opening of 60 Minutes features a stopwatch. The Aristo (Heuer) design first appeared in 1978. On October 29, 2006, the background changed to red, the title text color changed to white, and the stopwatch was shifted to the upright position. This version was used from 1992 to 2006 (the
Eurostile font text was changed in 1998).
60 Minutes
–
Air Force Chief of Staff Gen.
Norton A. Schwartz in an interview with
Lara Logan, April 15, 2009.
22.
Joe Nickell
–
Joe Nickell is an American prominent skeptic and investigator of the paranormal. He has helped expose such famous forgeries as the diary of Jack the Ripper. Nickell is Senior Research Fellow for the Committee for Skeptical Inquiry and writes regularly for their journal and he is also an associate dean of the Center for Inquiry Institute. He is the author or editor of over 30 books, Joe Nickell is the son of J. Wendell and Ella Nickell, and grew up in West Liberty, Kentucky. His parents indulged his interest in magic and investigation, allowing him to set aside a room in their house as a crime lab. In 1968, he avoided the draft by moving to Canada where he began his careers as a magician, a dealer. When President Jimmy Carter granted unconditional pardons to draft dodgers in 1977, in late 2003, Nickell reconnected with his college girlfriend, Diana G. Harris, and learned he had a daughter, Cherette, and two grandsons, Tyner and Chase. Harris and Nickell married in Springfield, Illinois on April 1,2006, Harris has assisted Nickell in his investigative work. Cherette had always told that her biological father was her mothers first husband. On her wedding day, one of the guests mentioned that her parents werent married when she was conceived, later Cherette asked her mother about her father and sensed an equivocation in the answer. More conversations with her mother and a DNA test proved that Nickell was her father, Nickell used his daughters claim that her search was the result of an intuition as the basis for an article on the unconscious collection and processing of data. Nickell concluded, Cautions notwithstanding, I must admit to a new appreciation of intuition and its enough to warm an old skeptics heart. Nickell holds B. A. M. A. and Ph. D. degrees from the University of Kentucky and his Ph. D. is in English for graduate work focusing on literary investigation and folklore. Since the early 1980s, he has researched, written, co-authored and edited books in many genres, in the 2007 horror film The Reaping, actress Hilary Swank plays an investigator of the paranormal. Nickell was selected as a consultant and invited to the movie set to meet with Swank. Nickell said, I liked the first 10 or 15 minutes, but then it changed into the world of the supernatural, which, for good or evil, has never happened to me, Ive never had frogs rain down upon upon me. Nickell is frequently consulted by news and television producers for his skeptical perspective and he was profiled by The New Yorker writer Burkhard Bilger who met Nickell during the summer of 2002 at Lily Dale, New York, where he had disguised himself to investigate Spiritualist psychics. Nickell is a recurring guest on the Point of Inquiry podcast, Nickell explained his philosophy to Blake Smith of the Skeptic podcast MonsterTalk, I dont like debunkers and I dont like dismissers, people who are just trying to say, Oh, humbug
Joe Nickell
–
Joe Nickell (right) during
TAM9 in 2011, with
Richard Wiseman and
Phil Plait
Joe Nickell
–
Nickell at the 2010 European Skeptics Congress in
Budapest
Joe Nickell
–
Joe Nickell in his office Amherst, New York, 2013
Joe Nickell
–
Joe Nickell at QED Con 2012 with spirit photos
23.
Wheat Fields (Van Gogh series)
–
Failing to find a vocation in ministry, Van Gogh turned to art as a means to express and communicate his deepest sense of the meaning of life. Van Gogh came to painting as a calling, I feel a certain indebtedness. Out of gratitude, want to leave some souvenir in the shape of drawings or pictures -- not made to please a certain taste in art, but to express a sincere feeling. When Van Gogh left Paris for Arles, he sought an antidote to the ills of city life and work among laborers in the giving his art. In the series of paintings about wheat fields, Van Gogh expresses through symbolism and use of color his deeply felt spiritual beliefs, appreciation of manual laborers, as a young man Van Gogh pursued what he saw as a religious calling, wanting to minister to working people. In 1876 he was assigned a post in Isleworth, England to teach Bible classes, when he returned to the Netherlands he studied for the ministry and also for lay ministry or missionary work without finishing either field of study. With support from his father, Van Gogh went to Borinage in southern Belgium where he nursed and ministered to coal miners, there he obtained a six-month trial position for a small salary where he preached in an old dance hall and established and taught Bible school. His self-imposed zeal and asceticism cost him the position, after a nine-month period of withdrawal from society and family, he rejected the church establishment, yet found his personal vision of spirituality, The best way to know God is to love many things. Love a friend, a wife, something - whatever you like - you will be on the way to knowing more about Him, but one must love with a lofty and serious intimate sympathy, with strength, with intelligence. 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. Drawn to Biblical parables, Van Gogh found wheat fields metaphors for humanitys cycles of life, the image of the sower came to Van Gogh in Biblical teachings from his childhood, such as, A sower went out to sow. As he sowed, some seed fell along the path, other seed fell among thorns and the thorns grew up and choked it, and it yielded no grain. And other seeds fell into good soil and brought forth grain, growing up and increasing and yielding thirty fold, and sixty fold, Van Gogh used the digger and ploughman as symbols of struggle to reach the kingdom of God. He was particularly enamored with the good God sun and called anyone who didnt believe in the sun infidels. The painting of the sun was a characteristic style seen in many of his paintings, representing the divine. Van Gogh found storms important for their nature, symbolizing the better times of pure air. Van Gogh also found storms to reveal the divine, the peasant genre that greatly influenced Van Gogh began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. In 1885 Van Gogh described the painting of peasants as the most essential contribution to modern art and he described the works of Millet and Breton of religious significance, something on high, and described them as the voices of the wheat
Wheat Fields (Van Gogh series)
–
Landscape with Wheat Sheaves and Rising Moon
Wheat Fields (Van Gogh series)
–
Ploughed fields ('The furrows') -depicts the fields before the wheat grows. Van Gogh appreciated manual laborers and their connection to nature
Wheat Fields (Van Gogh series)
–
The Sower, June 1888,
Kröller-Müller Museum, Otterlo. Inspired by
Jean-François Millet Van Gogh made several paintings after The Sower by Millet
Wheat Fields (Van Gogh series)
–
Vincent van Gogh - Peasant woman binding sheaves (after Millet)
24.
Skeptical Inquirer
–
Skeptical Inquirer is a bimonthly American magazine published by the Committee for Skeptical Inquiry with the subtitle, The Magazine for Science and Reason. In 2016 it celebrated its fortieth anniversary, for most of its existence, the Skeptical Inquirer was published by the Committee for the Scientific Investigation of Claims of the Paranormal, widely known by its acronym CSICOP. In 2006 the CSICOP Executive Council shortened CSICOP’s name to the Committee for Skeptical Inquiry, the formal mission statement, approved in 2006 and still current, states that. The Committee for Skeptical Inquiry promotes science and scientific inquiry, critical thinking, science education, a shorter version of the mission statement appears in every issue, “. Promotes scientific inquiry, critical investigation, and the use of reason in examining controversial, a history of the first two decades is available in The Encyclopedia of the Paranormal published in 1998 by S. I. editor Kendrick Frazier. The magazine was originally titled The Zetetic and was edited by Marcello Truzzi. The first issue was dated Fall/Winter 1976, soon after its inception a schism developed between the editor Truzzi and the rest of CSICOP. One side was more opposed to nonsense, more willing to go on the offensive and to attack supernatural claims. Truzzi left to start The Zetetic Scholar and CSICOP changed the name to Skeptical Inquirer. In 1977 Kendrick Frazier was appointed editor and he had previously been editor of Science News for six years. Kurtz noted that there had been “tremendous public fascination with the paranormal” and it was promoted and sensationalized by an irresponsible media. ”He stressed that “Our interest was not simply in the paranormal curiosity shop but to increase an understanding of how science works. ”Historian Daniel Loxton speculates on the answer to the question that if CSICOP was not the first skeptical publication. Loxton writes that it was because CSICOP organized this scholarship collectively comprised a field of study. The organization was the first to establish best practices, periodicals and professional writers and researchers. In the 1978 Spring and Summer edition, it was announced that the next issue publication would move from semi-annual to quarterly. From 1976 to 1995 the magazine had a digest-sized format, the U. K. magazine The Skeptic was first published in close association with SI. In 2014 the British version was handed back to the U. K. Skeptics, according to Kurtz, in the first twenty years, the magazine attempted to focus on the paranormal. Solving mysteries that were outside the range of normal, frogs dropping from the sky, UFO abductions, cattle mutilations, readers expected the magazine to have explanations. Kurtz states that these were exciting years, especially working with magicians who would often replicate the paranormal claim, the magazine often received criticism from the paranormal community, that they were being made fun of
Skeptical Inquirer
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Skeptical Inquirer logo
25.
Committee for Skeptical Inquiry
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Its philosophical position is one of scientific skepticism. CSIs fellows have included notable scientists, Nobel laureates, philosophers, psychologists and it is headquartered in Amherst, New York. In the early 1970s, there was an upsurge of interest in the paranormal in the United States and this generated concern in some quarters, where it was seen as part of a growing tide of irrationalism. According to Kurtz, the statement was sent to every newspaper in the United States, Kurtz, Randi, Gardner and Hyman took seats on the executive board. CSICOP was officially launched at a specially convened conference of the AHA on April 30, CSICOP would be funded with donations and sales of their magazine, Skeptical Inquirer. The formal mission statement, approved in 2006 and still current, the Committee for Skeptical Inquiry promotes science and scientific inquiry, critical thinking, science education, and the use of reason in examining important issues. A shorter version of the statement appears in every issue. Promotes scientific inquiry, critical investigation, and the use of reason in examining controversial, a history of the first two decades is available in The Encyclopedia of the Paranormal published in 1998 by S. I. editor Kendrick Frazier. Paul Kurtz was inspired by the 1949 Belgian organization Comité Para, the initial acronym, CSICP was difficult to pronounce and so was changed to CSICOP. According to James Alcock, it was never intended to be Psi Cop, in November 2006, CSICOP further shortened its name to Committee for Skeptical Inquiry, pronounced C-S-I. An axiom often repeated among CSI members is the quote from Carl Sagan. Based on a quote by Marcello Truzzi An extraordinary claim requires extraordinary proof. Cecil Adams of The Straight Dope calls Skeptical Inquirer one of the nations leading antifruitcake journals, in addition, it publishes Skeptical Briefs, a quarterly newsletter published for associate members. CSI conducts and publishes investigations into Bigfoot and UFO sightings, psychics, astrologers, alternative medicine, religious cults, CSICOP has held dozens of conferences between 1983 and 2005, two of them in Europe, and all six World Skeptics Congresses so far were sponsored by it. Since 2011, the conference is known as CSICon, two conventions have been held in conjunction with its sister and parent organizations, CSH and CFI, in 2013 and 2015. CSI has also supported local efforts, such as SkeptiCamp community-organized conferences. Many CSI activities are oriented towards the media, the strategy was twofold, First, to strengthen the hand of skeptics in the media by providing information that debunked paranormal wonders. Second, to serve as a group which would direct public
Committee for Skeptical Inquiry
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The Banquet at the 1983 CSICOP Conference in
Buffalo, NY
Committee for Skeptical Inquiry
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Committee for Skeptical Inquiry
Committee for Skeptical Inquiry
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Uri Geller filed a number of unsuccessful lawsuits against CSICOP
26.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
27.
Posthumous fame of Vincent van Gogh
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His friendship with his younger brother Theo was documented in numerous letters they exchanged from August 1872 onwards. The letters were published in three volumes in 1914 by Johanna van Gogh-Bonger, Theos widow, who generously supported most of the early Van Gogh exhibitions with loans from the artists estate. His fame reached its first peak in Austria and Germany before World War I, due to the economic crisis in Germany and France after 1918, pioneer collections of Impressionist and Post-Impressionist art which included works by Van Gogh were dissolved. Thus, British and American collectors had the opportunity to acquire first rate works relatively late, during his lifetime, Van Gogh contributed works of his own only on a few and minor occasions which mainly passed unnoted by critics and public. Van Gogh considered the first one a disaster, while he was prepared to take the one as a success, Bernard and Anquetin sold paintings. The hall was decorated with his canvases, in 1888, Van Gogh joined the Société des Artistes Indépendants, so this year three of his paintings were on show in their annual exhibition in Paris, and two in the year following. In 1890 and 1891, their annual exhibitions comprised ten paintings by Vincent, part of them had shown before by the society Les XX in Brussels. According to letters from his brother Theo, Vincents contributions to these few exhibitions established his renown amongst French vanguard painters like Claude Monet, probably it is little more than for curiosity that one of the first mentions of Van Gogh in newspapers was printed in Arles. September 30,1888, LHomme de Bronze told its readers Mr. Vincent, impressionist painter, works in the night, as we are assured, earlier this year, Van Goghs contribution to the exhibition of the Artists Indépendants has been reviewed. Vincent felt more troubled than honoured, and asked Isaacson to stop writing about him, another voice was that of Octave Mirbeau whose review article Vincent van Gogh in LEcho de Paris on 1 March 1891. Later that year Van Goghs friend Émile Bernard contributed short pieces on Van Gogh for La Plume, in the English-speaking world, the Bloomsbury art critics Roger Fry and Clive Bell were his first champions. His works gave an expression in paint for the violence of his spiritual hunger. That set the agenda for many subsequent Van Gogh studies, which are predominantly biographical to this day, Van Gogh fits modern cultures attempt to find secular substitutes for a religion it no longer believed in, as M. H. Abrams describes in Natural Supernaturalism. There were retrospectives in Brussels and Paris in 1891, during the 1890s, Van Gogh exhibitions were staged in several Dutch and Belgian towns. In 1893, Julien Leclercq brought together a first exhibition featuring Van Gogh, Gauguin and other modernists touring Denmark, Norway, Sweden, Finland and Berlin. In 1895 and in 1896 Ambroise Vollard mounted Van Gogh retrospectives in his galleries Rue Lafitte, in 1901, Leclercq arranged a Van Gogh Exhibition at the Galeries Bernheim Jeune in Paris. A little later in the year 1901, the Berlin Secessionists entered the scene, accompanied by the art dealers Bruno Cassirer and especially his cousin Paul, who set the pace for the years to come. In the last days of December, running through January 1902, Paul Cassirer organized the first van Gogh exhibition in Berlin, minor exhibitions of some recently found early works were held in Rotterdam and Amsterdam in 1903 and 1904
Posthumous fame of Vincent van Gogh
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Paul Gauguin,
The Painter of Sunflowers (Le Peintre de Tournesols): Portrait of Vincent van Gogh, painted in Arles, December 1888
Posthumous fame of Vincent van Gogh
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Hiroshige's wood-cut "
Flowering Plumtrees at Kameido " (1857) and Vincent van Gogh's oil version (1887)
Posthumous fame of Vincent van Gogh
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The Red Vineyard, 1888, oil on canvas, 75 × 93 cm,
Pushkin Museum, Moscow
28.
Cultural depictions of Vincent van Gogh
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This is a list that shows references made to the life and work of artist Vincent van Gogh in culture. Letters to Theo, a selection of Vincents letters to his brother Theo in various sized volumes, became available in several languages during the 1950s, the artists life forms the basis for Irving Stones biographical novel Lust for Life. Starry Night, a written by Tupac Shakur, is a dedication to Van Gogh. Antonin Artaud wrote a study Van Gogh le suicidé de la société in 1947, Paul Celan mentions Van Goghs ear in his poem Mächte, Gewalten. Woody Allen wrote a parody of Vincents letters to his brother Theo, the short story If the Impressionists Had Been Dentists is included in Allens book Without Feathers. Paul Gauguin writes about van Gogh in his book Avant et après, theun de Vries wrote a novel Vincent in Den Haag which takes place between 1881 and 1883. Ivan Diviš wrote a poem Goghova milá, published in his book Rozpleť si vlasy and this was based on several events in Van Goghs life, he later used some of the same themes in his 6th symphony, Vincentiana. Einojuhani Rautavaara, Vincentiana, symphony N°6 - movements, I Tähtiyö II Varikset III Saint-Rémy IV Apotheosis Henri Dutilleux, Correspondances for soprano and orchestra - movements, gong II V. De Vincent à Théo. Henri Dutilleux, Timbres, espace, mouvement is a work for orchestra composed,1978, in 2006, Hong Kong singer-songwriter Ivana Wong composed a song called Paintings Meaning in memory of van Gogh. In 2007, Folk rock songwriter Freddy Blohm had a different take on Van Gogh in the song Cheerful, Bob Dylan in the 1960s wrote an unreleased, but widely bootlegged, song called Vincent Van Gogh. Bob Neuwirth, a friend of Bob Dylans, wrote a song in the 1960s called Where did Vincent van Gogh. The title track for Joni Mitchells album Turbulent Indigo references Van Goghs madness, the album cover is a take on Van Goghs Self-Portrait with Bandaged Ear. A Spanish Group is named La Oreja de Van Gogh, the Vigilantes of Love released a song titled Skin which is about Van Gogh. Smooth jazz composer/singer Michael Franks released the song Vincents Ear in 1990 on his Blue Pacific album produced on the Reprise label, lyrics include No-one understands all the love inside he tried to give/No-one understands his life was hard to live. Lust for Life, a 1934 novel by Irving Stone, was adapted into a film of the same name and it was directed by Vincente Minnelli and George Cukor and produced by John Houseman. The 1956 film starred Kirk Douglas as Vincent van Gogh and Anthony Quinn as Paul Gauguin, the film was nominated for four Academy Awards, including best actor and best supporting actor, for which Anthony Quinn won. In 1948, Alain Resnais made the documentary Van Gogh, resnais’ black-and-white film featured only Van Gogh’s canvases. According to art and film historian John Walker, the personal crisis was inscribed in the images on screen by means of accelerated montage
Cultural depictions of Vincent van Gogh
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Self-portrait with Bandaged Ear, Easel and Japanese Print, January 1889 Oil on canvas, 60 × 49 cm
Courtauld Institute Galleries, London (F527)
Cultural depictions of Vincent van Gogh
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Vincent van Gogh,
The Starry Night, 1889,
Museum of Modern Art, New York, (F612)
Cultural depictions of Vincent van Gogh
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Wheatfield with Crows, 1890,
Van Gogh Museum, Amsterdam
Cultural depictions of Vincent van Gogh
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Vincent van Gogh, Self-Portrait, Summer 1887, Paris
Van Gogh Museum,
Amsterdam (F77v)
29.
List of works by Vincent van Gogh
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List of works by Vincent van Gogh is an incomplete list of paintings and other works by the Dutch artist Vincent van Gogh. Little appreciated during his lifetime, his fame grew in the years after his death, according to the legend van Gogh sold only one painting, The Red Vineyard, bought for 400 Francs by the painter and art collector Anna Boch. Today, he is regarded as one of historys greatest painters. Van Gogh did not begin painting until his twenties. He produced more than 2,000 artworks, consisting of around 900 paintings and 1,100 drawings, in 2013 Sunset at Montmajour became the first full-sized Van Gogh painting to be newly confirmed since 1928. Today, many of his pieces—including his numerous portraits, landscapes, portraits and sunflowers—are among the worlds most recognizable. The Van Gogh Museum in Amsterdam is dedicated to Van Goghs work, the Kröller-Müller Museum in Otterlo, has another considerable collection of his paintings. The listing is ordered by year and then by catalogue number, all works listed here are oil on canvas unless otherwise indicated. † Denotes paintings which are recent recordholders for the highest price paid for a painting at an auction and it includes paintings of the interior, the enclosed wheat field he painted from his cell and a number of paintings of the garden grounds, trees and flowers. Seine, Paris, paintings along the Seine in Paris, Clichy, section showing samples of Holland work and background info about Haussmann renovations throughout the article
List of works by Vincent van Gogh
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Self-portrait dedicated to Paul Gauguin, September 1888, (F476), Oil on canvas, 62 cm × 52 cm.
Harvard Art Museums,
Cambridge, MA.
List of works by Vincent van Gogh
List of works by Vincent van Gogh
List of works by Vincent van Gogh
30.
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
31.
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
–
Vincent van Gogh, self-portrait in 1887
32.
Theo van Gogh (film director)
–
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
33.
Anton Mauve
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Anthonij Rudolf Mauve was a Dutch realist painter who was a leading member of the Hague School. Mauve or with a monogrammed A. M, a master colorist, he was a very significant early influence on his cousin-in-law Vincent van Gogh. Most of Mauves work depicts people and animals in outdoor settings, in his Morning Ride in the Rijksmuseum, for example, fashionable equestrians at the seacoast are seen riding away from the viewer. An unconventional detail, horse droppings in the foreground, attests his commitment to realism and his best known paintings depict peasants working in the fields. His paintings of flocks of sheep were especially popular with American patrons, Anton Mauve was born on 18 September 1838 in Zaandam, a town in the Dutch province of North Holland. A year after his birth, his father Willem Carel Mauve, a Mennonite chaplain, was sent to Haarlem and he was apprenticed to the painter Pieter Frederik van Os followed by Wouter Verschuur. In his further development he worked with Paul Gabriël, painting from nature, and they stayed and worked together at Oosterbeek. He was a friend of Jozef Israëls and Willem Maris, in the last two years of his life Mauve settled in the village of Laren in the region surrounding Hilversum called het Gooi. Mauve will have influenced other painters one of whom was the Scottish painter. Mauve died suddenly in Arnhem on 5 February 1888, Mauve was married to van Goghs cousin Ariëtte Sophia Jeannette Carbentus, and he was a major influence on van Gogh, who revered him. He is mentioned, directly or indirectly, in 152 of van Goghs surviving letters, a comparative table of number of letters mentioning his most significant influences is shown in the table. Mauve continued to him and lent him money to rent and furnish a studio. Van Gogh continued his letter by expressing his sorrow, and then launches defiantly into a defence of his relationship with Clasina Maria Hoornik. Vincent is keeping something back that may not be divulged, the reality was that they were lovers. The presumption must be that Mauve had heard of the relationship, however, their relationship had already become strained by late January. Nevertheless, van Gogh continued to hold Mauve in very high esteem, now here, for instance, at this moment, I have 6 paintings of blossoming fruit trees. You may well see it, since I’ve decided to send one to Jet Mauve. I’ve written on it Souvenir de Mauve Vincent & Theo, van Gogh und die Haager Schule, Skira, Milan 1996 ISBN 88-8118-072-3 Engel, E. P. Anton Mauve
Anton Mauve
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Anton Mauve
Anton Mauve
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Morning Ride on the Beach (1876), oil on canvas,
Rijksmuseum
Anton Mauve
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Ariëtte (Jet) Carbentus, the Artist's Wife,in the Dunes. She was a cousin of van Gogh on his mother's side.
Anton Mauve
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Vincent van Gogh, Souvenir de Mauve (circa 30 March 1888), oil on canvas,
Kröller-Müller Museum
34.
Johannes Stricker
–
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
–
A photo of Kee Vos Stricker with her son taken around 1879/1880 by Albert Greiner.
35.
Anna Boch
–
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
–
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
36.
Fernand Cormon
–
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
–
Fernand Cormon.
Fernand Cormon
–
Murder in the
Seraglio, (1874)
Fernand Cormon
–
Cain flying before Jehovah's Curse (1880)
Fernand Cormon
–
A
Forge (1894)
37.
John Peter Russell
–
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
–
John Peter Russell, c. 1888
John Peter Russell
–
John Peter Russell:
Vincent van Gogh, 1886,
Van Gogh Museum,
Amsterdam
38.
Agostina Segatori
–
She is also known for running the Café du Tambourin in Paris. Agostina Segatori was born in the Italian city of Ancona, in 1860 she posed for Manet and in 1873 for Jean-Baptiste Corot. Little is known of her life until she met the Parisian painter Edward Dantan in 1873, Agostina Segatori had a child by Dantan, Jean-Pierre Segatori. In 1874, she was depicted by Edward Dantan in the first work that he exhibited at the Salon, during the summers of 1874,1875 and 1877, Agostina Segatori posed many times for Dantan. In 1884, Edward Dantan described his former mistress by the name of Madame Segatori-Morière and his son Jean-Pierre is also called Morière, so he may have been recognized or adopted by her husband. Agostina Segatori is not only known for being the mistress of Edward Dantan, she was the proprietress of the Café Tambourin, Agostina Segatori became famous for her relationship in the spring of 1887 with Vincent van Gogh, who lived in Paris from 1886 until 1888. We have little information on this relationship as Vincent van Gogh lived at the time with his brother, however Agostina Segatori was cited in two letters by the painter. It seems that Vincent van Gogh and Agostina Segatori were very fond of other, and she inspired the painter. Agostina Segatori gave Vincent van Goghs first exhibition at her Café Tambourin and their relationship quickly became stormy and they decided by mutual agreement to separate in July 1887. After this separation, Agostina Segatori improperly retained works by Van Gogh in her Café, Agostina Segatori died in Paris in 1910 after experiencing a number of setbacks including the loss of her Café. Segatoris Café du Tambourin was originally located at 27 rue de Richelieu in Paris, before reopening at 62 Boulevard de Clichy, the decor included works offered to her by Edward Dantan, but also featured those by Vincent van Gogh. In 1887, Henri de Toulouse-Lautrec created a portrait of Vincent van Gogh at the Café, in 1860, she posed for Manet, who painted her portrait known as The Italian. This work, now held in a collection in New York, was sold by the merchant Alphonse Portier to Alexander Cassatt. She then posed twice for the painter Jean-Baptiste Corot, the first work is called The Picture of Agostina and the second the Bacchante with tambourines. She was also painted by Jean-Léon Gérôme, Vincent van Gogh created two portraits of Agostina Segatori, one named The woman with the tambourine and the other the Italian
Agostina Segatori
–
Vincent van Gogh,
Agostina Segatori Sitting in the Café du Tambourin (1887–88;
Van Gogh Museum).
Agostina Segatori
–
Henri Toulouse-Lautrec (1864–1901), Portrait of Vincent van Gogh, 1887
Agostina Segatori
–
Jean-Baptiste-Camille Corot, Agostina, the Italian, 1866
Agostina Segatori
–
Vincent van Gogh, Portrait of an Italian woman, 1887
39.
Anthon van Rappard
–
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
–
G. A. Ridder van Rappard, (1858-1892) portrait by unknown photographer
Anthon van Rappard
–
Workers at a brickworks
40.
Portraits of Vincent van Gogh
–
This article refers to self portraits and portraits of Vincent van Gogh. It includes self-portraits, portraits of him by artists, and photographs. Van Goghs dozens of self-portraits were an important part of his oeuvre as a painter. Most probably, van Goghs self-portraits are depicting the face as it appeared in the mirror he used to reproduce his face, the first self-portrait by van Gogh that survived, is dated 1886. All the self-portraits executed in Saint-Rémy show the head from the left. No self-portraits were executed by van Gogh in Auvers-sur-Oise, during the weeks of his life. F208a, Self-Portrait with Dark Felt Hat is amongst the earliest of Vincents self-portraits and it was discovered late in the family collection and was not exhibited before 1945. Opinions differ about the date and place of its execution, de la Faille thought it painted in Antwerp before 1886, while Hulsker thought it painted in Paris in spring 1886. Hendriks and Tilborgh opt for autumn 1886, based on its resemblance to Vincents work that winter when he began to embrace Neo-impressionism, x-ray analysis reveals a nude figure study below. Since students did not work from the model at Antwerp. There is no work in Vincents oeuvre which complements this portrait. However Hendriks and Tilborgh are satisfied that the painting is consistent with others executed at the beginning, marc Edo Tralbaut, Vincents principal biographer, especially valorised the portrait, selecting it for the dust-jacket of his biography and stating that Vincent had laid himself bare for the portrait. Tralbaut notes that Vincent painted a number of self-portraits at this time and he was in poor health and his teeth were falling out, prompting him to grow a moustache to conceal them. At this time he was wearing city-clothes in an effort to stress his middle-class background as he strove to establish a career for himself as an artist. F627, This painting may have been van Goghs last self-portrait, f525, This painting may have been van Goghs last self-portrait, which he gave to his mother as a birthday gift. Van Gogh painted Self-Portrait without beard just after he had shaved himself, the painting can be seen in the third version of Bedroom in Arles at the Musée dOrsay. The self-portrait is one of the most expensive paintings of all time, at the time, it was the third most expensive painting ever sold. F476, Vincent van Gogh, Arles, gift, to Paul Gauguin, sold
Portraits of Vincent van Gogh
–
Vincent van Gogh, Self-portrait without beard, end September 1889, (F 525), Oil on canvas, 40 × 31 cm., Private collection. This may have been Van Gogh's last self-portrait. Given as a birthday gift to his mother. (See Remarks below)
Portraits of Vincent van Gogh
–
Two Self-Portraits and Several Details, Drawing, Paris, 1886
Van Gogh Museum, Amsterdam (F1378r)
Portraits of Vincent van Gogh
–
Self-Portrait with Dark Felt Hat at the Easel, 1886
Van Gogh Museum, Amsterdam (F181)
Portraits of Vincent van Gogh
–
Self-Portrait with Pipe, 1886
Van Gogh Museum, Amsterdam (F208)
41.
Portraits by Vincent van Gogh
–
Vincent van Gogh lived during the Impressionist era. With the development of photography, painters and artists turned to conveying the feeling and ideas behind people, places, Impressionist artists did this by emphasizing certain hues, using vigorous brushstrokes, and paying attention to highlighting. Vincent van Gogh implemented this ideology to pursue his goal of depicting his own feelings toward, Van Gogh’s portraiture focuses on color and brushstrokes to demonstrate their inner qualities and van Gogh’s own relationship with them. Vincent van Gogh painted portraits throughout his career from 1881 through 1890, Van Gogh was fascinated with making portraits early in his artistic career. Even so, he considered it a matter to focus on their character. Van Gogh wrote to his brother Theo in November 1882 that he had drawn a portrait of Jozef Blok, unlike the character studies, the work was detailed in pencil with watercolor and chalk. At this time it was rare for Van Gogh to use color, in November 1882 Van Gogh began drawings of individuals to depict a range of character types from the working class. The peasant genre that greatly influenced Van Gogh began in the 1840s with the works of Jean-François Millet, Jules Breton, in 1885 Van Gogh described the painting of peasants as the most essential contribution to modern art. If one hasnt a horse, one is ones own horse, to depicting the essence of the life of the peasant and their spirit, Van Gogh lived as they lived, he was in the fields as they were, enduring the weather or long hours as they were. To do so was not something taught in schools, he noted, Van Gogh described his sitter for this painting a wonderful old man. It was made in Antwerp where Van Gogh hoped to bring in money to himself by painting portraits. Van Gogh made a series of paintings of Sien Hoornik, a prostitute whom he met, included in the series are works of Siens daughter, Maria, her newborn son and her mother. Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the Italian Woman also called Le Italienne is without doubt Agostina Segatori, per the Musée dOrsay. Van Gogh introduced elements of Japanese woodcut prints in this portrait, surrounding her image is an asymmetrical border with a monochromatic background. He also brings, though, his own style and energy to the work as compared to the lines of the Asian prints. Van Gogh creates his own style of brushstroke from Impressionism and Pointillism and he uses red and green in her face which he later described as a technique to be able to express the terrible passions of humanity by means of red and green. The Portrait of Etienne-Lucien Martin was made of the owner of a restaurant in Paris and he allowed artists to exhibit their work. In November 1887 Van Gogh and his friends showed their works, Van Gogh made the painting of Martin with care and precision
Portraits by Vincent van Gogh
–
John Peter Russell 1886
Van Gogh Museum,
Amsterdam
Portraits by Vincent van Gogh
Portraits by Vincent van Gogh
–
Photo by Victor Morin, c. 1886, Brussels, discovered in the early 1990s. Experts disagree whether or not it is Vincent van Gogh.
Portraits by Vincent van Gogh
–
Henri de Toulouse-Lautrec 1887, pastel on cardboard
Van Gogh Museum,
Amsterdam
42.
Early works of Vincent van Gogh
–
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
–
Rooftops, View from the Atelier
The Hague (1882), watercolor, Private collection.
Early works of Vincent van Gogh
–
Van Gogh's drawing of
87 Hackford Road
Early works of Vincent van Gogh
–
Man Stooping with Stick or Spade 1882 Kuboso Memorial Museum of Arts,
Izumi,
Japan (F12)
43.
Lost works by Vincent van Gogh
–
A part of the work that remained with his family when he left the Netherlands must be considered lost, and the remaining early works of Vincent van Gogh tell an incomplete story. Van Gogh himself wrote that he had stored some 70 painted studies in the attic of his studio when he left The Hague, but only some 25 of these are now known. Some of those involved in the trade have been interviewed by journalists and art researchers. The father of Vincent van Gogh, the Nuenen pastor Theo van Gogh, Vincent moved to Antwerp on November 27. In the following months his mother, Anna-Cornelia van Gogh-Carbentus, decided to move to a home for her and her daughter Wil. They found a part of a house on the corner of the Nieuwe Ginnekenstraat and Wapenplein in Breda. Vincents mother had a part of the furniture, including Vincents possessions and it ended up in a warehouse owned by a carpenter, Adrianus Schrauwen, living in the Ginnekenstraat. When the furniture and boxes were later retrieved, Vincents sister Wil discovered traces of woodworm in the crates and he wondered if he had to help with arrangements in Nuenen. Vincent went to Paris at the end of February 1886 and he did not help his family with packing. When the family moved, the things that Vincent had left behind when he went to Antwerp, including wood engravings, the carpenters name was Adrianus Schrauwen. In a letter from Arles to his sister Wil from June 1888 Vincent writes and it is perhaps worth saving what is good among the rubbish which, as Theo says, is still in an attic somewhere in Breda. I dare not ask, however, and perhaps it is lost, in a postscript of a letter in early August 1888, Vincent asks Wil to bring him some wood engravings and prints that had remained in Breda. This could mean that Vincent considered his work in the attic at Schrauwen lost, in any case, in 1888 Theo and Wil knew of belongings that had been left behind in Breda. In a letter from Vincent to Wil he says that Wil, the population register in Breda mentions that the move took place on November 2,1889. On this basis, it is assumed that in the beginning of November 1889 his mother and Wil reclaimed their possessions from Schrauwen, but left Vincents boxes because of the alleged woodworm. Seventeen years later, in 1903, Schrauwen invited a market merchant Mr. J. C. Couvreur to sell some belongings, such as a small can, a pot and other kitchen equipment. Couvreur offered 2.50 guilders and Schrauwen accepted on condition that he take the rubbish which he had stored in his attic for so long. She said to me, That I do not want to have in my house, I said, you can never know what those things may turn out to be worth, but my wife said, those things go out the door or I go out the door
Lost works by Vincent van Gogh
–
Still Life with Bible, 1885, Nuenen.
Lost works by Vincent van Gogh
–
Planting Potatoes, April 1885, Nuenen.
Lost works by Vincent van Gogh
–
Still Life with Potatoes, September 1885, Nuenen.
44.
Sien (Van Gogh series)
–
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)
–
Sorrow, drawing in chalk, the
Garman Ryan Collection, at
The New Art Gallery Walsall (F929a)
Sien (Van Gogh series)
–
Kee Vos Stricker with her son Jan c. 1879/1880.
Sien (Van Gogh series)
–
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)
–
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.
45.
Peasant Character Studies (Van Gogh series)
–
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)
–
Woman Sewing
Peasant Character Studies (Van Gogh series)
–
Jean-François Millet, La Charité, 1859
Peasant Character Studies (Van Gogh series)
–
Two Hands, 1885, Private collection (F66)
Peasant Character Studies (Van Gogh series)
–
Head of a Woman, 1885,
Van Gogh Museum, Amsterdam (F160)
46.
Cottages (Van Gogh series)
–
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)
–
Cottages, 1883,
Van Gogh Museum,
Amsterdam (F17)
Cottages (Van Gogh series)
–
Farmhouse Among Trees, 1883,
Museum Kolekcji Jana Pawla II,
Warsaw, Poland (F18)
Cottages (Van Gogh series)
–
Cottage, 1885,
Van Gogh Museum, Amsterdam (F83)
Cottages (Van Gogh series)
–
Cottage with Peasant Woman Digging, 1885, Private collection (F89)
47.
Montmartre (Van Gogh series)
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The Montmartre paintings are a group of works that Vincent van Gogh made in 1886 and 1887 of the Paris district of Montmartre while living there with his brother Theo. Rather than capture urban settings in Paris, van Gogh preferred pastoral scenes, such as Montmartre, of the two years in Paris, the work from 1886 often has the dark, somber tones of his early works from the Netherlands and Brussels. By the spring of 1887 van Gogh embraced use of color and light, the works in the series provide examples of his work during that period of time and the progression he made as an artist. In 1886, van Gogh left the Netherlands for Paris and the guidance of his brother Theo van Gogh who was an art dealer. While he had influenced not only by the great Dutch masters but also to a considerable extent by his cousin-in-law Anton Mauve a Dutch realist painter. Coming to Paris meant that he would also have the opportunity to be influenced by Impressionists, Symbolists, Pointillists and his circle of friends included Camille Pissarro, Henri de Toulouse-Lautrec, Paul Gauguin and Émile Bernard. 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. When Van Gogh painted he intended not just to capture the subject and it was through his paintings of nature that he was most successful at accomplishing his goal. It also created a challenge, how to portray the subject. The Boulevard de Clichy, a street in Montmartre, played an important role in van Goghs life in Paris, the Café du Tambourin was located there, a restaurant just around the corner from the apartment where he lived with his brother Theo. There van Gogh met with artists and displayed some of his works. He had a relationship with the owner of the establishment, Agostina Segatori, the painting of the Boulevard is Impressionistic in terms of subject and technique. Van Gogh used short brush strokes to depict the figures of the people, light is reflected off the road. Capturing a moment in a scene was a common theme for Impressionists. The vantage point for the painting was looking northwest from Place Blanche, Rue Lepics entrance is on the right side of the painting. Van Gogh also made a drawing of this site from a greater distance, Van Gogh created a number of paintings titled Le Moulin de la Galette, which was also called Moulin Bloute-Fin. 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. The landscape and windmills around Montmartre were the source of inspiration for a number of van Goghs paintings, the Moulin de la Galette, still standing, is located near the apartment he shared with his brother
Montmartre (Van Gogh series)
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Street Scene in Montmartre: Le Moulin à Poivre
Montmartre (Van Gogh series)
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Sloping Path in Montmartre 1886
Van Gogh Museum, Amsterdam (F232)
Montmartre (Van Gogh series)
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Terrace of a Cafe on Montmartre (La Guinguette) 1886
Musée d'Orsay, Paris (F238)
Montmartre (Van Gogh series)
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Shelter on Montmartre 1886
Fine Arts Museums of San Francisco, San Francisco (F264a)
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Outskirts of Paris (Van Gogh)
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Outskirts of Paris are paintings that Vincent van Gogh made in 1887, while he was living in Paris with his brother Theo. Van Gogh liked to explore the outskirts of Paris, searching for pastoral settings in parks and his goal was to find scenes that would allow him to explore techniques he learned in Paris. Like many Impressionsits, Van Gogh was concerned about the way in which the landscape and way of life was affected by technical progress and industrialization. Speaking for myself, in certain spots I do not look without a little sadness on a new red-tiled tavern, since then there have come beet-sugar factories, railways, agricultural developments of the heath, etc. which is infinitely less picturesque. One of the versions of Outskirts of Paris illustrates the encroachment of urban expansion to the pastoral life, to Van Gogh, industrialization meant loss of a revered lifestyle, the simple life of the peasant
Outskirts of Paris (Van Gogh)
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Outskirts of Paris: Road with Peasant Shouldering a Spade
Outskirts of Paris (Van Gogh)
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On the Outskirts of Paris 1887 Private Collection (F351)
Outskirts of Paris (Van Gogh)
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Outskirts of Paris near Montmartre, watercolor, 1887, Stedelijk Museum, Amsterdam (F1410)
49.
Still life paintings by Vincent van Gogh (Paris)
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Still life paintings by Vincent van Gogh is the subject of many drawings, sketches and paintings by Vincent van Gogh in 1886 and 1887 after he moved to Paris from the Netherlands. While in Paris, Van Gogh transformed the subjects, color and he saw the work and met the founders and key artists of Impressionism, Pointillism and other movements and began incorporating what he learned into his work. Japanese art, Ukiyo-e, and woodblock prints also influenced his approach to composition, There was a gradual change from the somber mood of his work in the Netherlands to a far more varied and expressive approach as he began introducing brighter color into his work. He painted many still life paintings of flowers, experimenting with color, light, by 1887 his work incorporated several elements of modern art as he began to approach his mature oeuvre. Another example are the Blue Vases paintings made in 1887 that incorporate both color and technique improvements that result in uplifting, colorful paintings of flowers, with the spring of 1887 Van Gogh left the city proper for a visit to Asnières with his friend Émile Bernard. While there his work was further transformed stylistically and through the use of bright, contrasting color, see his works from Asnières and Seine. From 1880 to 1885 Van Gogh began working as an artist in earnest and he was influenced not only by the great Dutch masters but also to a considerable extent by his cousin-in-law Anton Mauve a Dutch realist painter and a leading member of the Hague School. Van Goghs palette consisted mainly of earth tones, particularly dark brown. His brother Theo, an art dealer, commented that his work was too somber to be marketable and encouraged him to modern art, particularly Impressionism for its bright. In 1886, Van Gogh left the Netherlands and traveled to Paris to explore emerging artistic movements under the guidance and continued support of his brother Theo van Gogh, an art dealer. For four months, Van Gogh studied with Fernand Cormon, painting plaster casts, live nude models, There me met Henri de Toulouse-Lautrec, Émile Bernard, and Louis Anquetin. Through Theo and artistic social circles he also met Edgar Degas, Camille Pissarro, Paul Signac, Georges Seurat, through the fellowship with these men, he was introduced to Impressionists, Symbolists, Pointillists, and Japanese art, Ukiyo-e, and woodcut prints. In spite of his manner, disheveled clothes and often time frightening manner. So much so that when Toulouse-Lautrec heard disparaging remarks against Van Gogh, seeing and trading artwork with the Parisian avant-garde artists, Van Gogh understood what Theo had been trying to tell him for years about modern art. He was able to experiment with each of the movements to develop his own style, romanticism was an art and literature movement formed by people looking to escape the drab world. Its characteristics are paintings of exotic lands with grandiose feeling and intense color, Adolphe Joseph Thomas Monticelli developed a highly individual Romantic style of painting with richly colored, dappled, and textured painting and glazed surfaces. Vincent van Gogh, greatly admired his work after seeing it in Paris when he arrived there in 1886, Van Gogh was influenced by the richness that he perceived in Monticellis work. In 1890, Van Gogh and his brother Theo were instrumental in publishing the first book about Monticelli, the Impressionism movement was a change from traditional artistic techniques
Still life paintings by Vincent van Gogh (Paris)
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Vase with Red Gladioli, 1886, Private collection (F247) This painting represents some of Van Gogh's early Paris still life, where he introduced brighter, contrasting color.
Still life paintings by Vincent van Gogh (Paris)
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Fritillaries in a Copper Vase, 1887,
Musée d'Orsay, Paris (F213) This is an example of Van Gogh's integration of brighter, contrasting colors and
Impressionist brushstroke techniques.
Still life paintings by Vincent van Gogh (Paris)
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A Girl in the Street, Two Coaches in the Background, 1882, Private collection (F13)
Still life paintings by Vincent van Gogh (Paris)
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Still Life with Earthenware, Bottle and Clogs, 1885,
Kröller-Müller Museum, Otterlo, Netherlands (F63)
50.
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)
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