Jacob Baart de la Faille
Jacob-Baart de la Faille compiled the first catalogue raisonné of the work of Vincent van Gogh, published in 1928. The catalogue was revised and republished by a committee in 1970. His catalogue numbers are preceded by an F, thus F612 refers to Starry Night, shortly after the publication of the original catalogue, de la Faille became involved in a major fraud affair concerning the Berlin art dealer Otto Wacker. De la Faille had certified the authenticity of 30 paintings which were determined to be fakes. Jacob-Baart de la Faille was born to a Dutch father, Cornelis Baart de la Faille, at the University of Utrecht he majored in law, not in art. J. -B. de La Faille, LEpoque française de Van Gogh, les Éditions G. van Oest, Paris & Bruxelles,1930 Media related to Works by Van Gogh by Faille number at Wikimedia Commons
Death of Vincent van Gogh
Van Gogh was shot in the stomach, either by himself or by others, and died two days later. In 1889, Vincent van Gogh experienced a deterioration in his mental health, as a result of incidents in Arles leading to a public petition, he was committed to a hospital. His condition improved and he was ready to be discharged by March 1889, at Salles suggestion van Gogh chose an asylum in nearby Saint-Rémy. Theo originally resisted this choice, even suggesting that Vincent rejoin Paul Gauguin in Pont Aven, Vincent entered the asylum in early May 1889. His mental condition remained stable for a while and he was able to work en plein air, producing many of his most iconic paintings, such as Starry Night, at this time. However at the end of July, following a trip to Arles and he made a good recovery, only to suffer another relapse in late December 1889, and early the following January an acute relapse while delivering a portrait of Madame Ginoux to her in Arles. This last relapse, described by Jan Hulsker as his longest and saddest, lasted until March 1890.
In May 1890 Vincent was discharged from the asylum, and after spending a few days with Theo and Jo in Paris, Vincent went to live in Auvers-sur-Oise, a commune north of Paris popular with artists. Shortly before leaving Saint-Rémy, Van Gogh told how he was suffering from his stay in the hospital, I need some air, I feel overwhelmed by boredom and grief. On arriving at Auvers, van Goghs health was not very good. Writing on 21 May to Theo he comments, I can do nothing about my illness, I am suffering a little just now — the thing is that after that long seclusion the days seem like weeks to me. But by 25 May, the artist was able to report to his parents that his health had improved and his letters to his sister Wilhelmina on 5 June and to Theo and his wife Jo on about 10 June indicate a continued improvement, his nightmares almost having disappeared. The other patients society had a bad influence on me, furthermore, an unsent letter to Paul Gauguin which van Gogh wrote around 17 June is quite positive about his plans for the future.
After describing his recent colourful wheat studies, he explains, I would like to paint some portraits against a very vivid yet tranquil background. On 2 July, writing to his brother, van Gogh comments, I myself am trying to do as well as I can, and if my disease returns, you would forgive me. I still love art and life very much, the first sign of new problems was revealed in a letter van Gogh wrote to Theo on 10 July. He first states, I am very well, I am working hard, have painted four studies, first of all, he is sicker than I am, I think, or shall we say just as much, so thats that. Certainly my last attack, which was terrible, was in a large measure due to the influence of the other patients, in the letter he adds, For myself, I can only say at the moment that I think we all need rest — I feel exhausted
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, gift, to Paul Gauguin, sold
Johanna van Gogh-Bonger
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 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 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 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 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 throughout Europe
Taschen is an art book publisher founded in 1980 by Benedikt Taschen in Cologne, Germany. The company began as Taschen Comics, publishing Benedikt’s extensive comic collection, Taschen has been a noteworthy force in making lesser-seen art available to mainstream bookstores, including some fetishistic imagery, queer art, historical erotica and adult magazines. The company has produced calendars, address books, and postcards of popular subjects, the company’s stated mission has been to publish innovative, beautifully designed art books at popular prices. The Icons series, for example, has several new volumes published a year, in 1985, Taschen introduced the highly successful Basic Art series with an inaugural title on Salvador Dalí. Further series followed, alongside an expansion into new themes like architecture, film, as an example, Taschen publishes a Basic Architecture series in the same style as Basic Art that covers some of the most prominent architects in history, such as Frank Lloyd Wright.
In the spring of 2014 Taschen’s Basic Art Series was criticised in Swedish public media for its focus on male artists, the series consisted of 95 books, only 5 of which were about female artists. Malmö Konsthall in Sweden was the first institution to report the disparity highlighted by the artists Ditte Ejlerskov, in 1999, TASCHEN expanded to the luxury market with the international publishing sensation, the Helmut Newton SUMO. In 2014, Taschen opened their first art gallery in Los Angeles, the publishing house employs more than 250 staff members worldwide and many longtime freelance editors. Taschen Basic Art Taschen Basic Architecture Bernhard, sex & Beauty, Art & Kitsch, The Exquisite Mayhem of Benedikt Taschen. Price Cutting and Oversupply Imperil Art Book Houses
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 recalled, Vincent walked bent, holding his stomach, crossed the hall, took the staircase and climbed to his bedroom
Tree Roots is an oil painting by Vincent van Gogh that he painted in July 1890 when he lived in Auvers-sur-Oise, France. The painting is an example of the canvases that he employed in his last landscapes. Van Gogh spent the last few months of his life in Auvers-sur-Oise, the painting is considered by some to be his last painting before his death late July 1890. Jan Hulsker considers it the most original of his double-square canvases, the viewer thinks he can identify tree roots and trunks, but is hard put to identify the subject as a whole. As far back as 1882, while at The Hague, van Gogh had made a study of tree roots, Study of a Tree, in a letter to his brother Theo, van Gogh said that he wanted to express something of lifes struggle in these drawings. It is not known whether he had returned to the same thoughts with his 1890 Tree Roots, the letters give no hint and the colours are perhaps too bright for such sombre thoughts. The Works of Vincent van Gogh, His Paintings and Drawings, ISBN 0-7148-2028-8 Naifeh, Smith, Gregory White.
ISBN 978-1-84668-010-6 van der Veen, Knapp, van Gogh in Auvers, His Last Days
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, 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
Jules Michelet was a French historian. He was born in Paris to a family with Huguenot traditions, historian François Furet wrote that his History of the French Revolution remains the cornerstone of all revolutionary historiography and is a literary monument. His aphoristic style emphasized his anti-clerical republicanism and his father was a master printer, not very prosperous, and Jules assisted him in the actual work of the press. A place was offered him in the printing office, but his father was able to send him to the famous Collège or Lycée Charlemagne. He passed the university examination in 1821, and was appointed to a professorship of history in the Collège Rollin. Soon after this, in 1824, he married and this was one of the most favourable periods ever for scholars and men of letters in France, and Michelet had powerful patrons in Abel-François Villemain and Victor Cousin, among others. Although he was an ardent politician, he was all a man of letters. His earliest works were school textbooks, between 1825 and 1827 he produced diverse sketches, chronological tables etc. of modern history.
His précis of the subject, published in 1827, is a sound and careful book, far better than anything that had appeared before it, in the same year he was appointed maître de conférences at the École normale supérieure. The events of 1830 had placed him in a position for study by obtaining him a place in the Record Office. Soon afterwards he began his chief and monumental work, the Histoire de France that would take 30 years to complete,1838 was a year of great importance in Michelets life. He published, in 1839, his Histoire romaine, but this was in his graver and earlier manner, the results of his lectures appeared in the volumes Du prêtre, de la femme et de la famille and Le peuple. However, when the revolution broke out, unlike other men of letters, did not attempt to enter active political life. The coup détat lost Michelet his place in the Record Office, since he refused to take the oaths to the empire, the new régime kindled afresh his republican zeal, and his second marriage with Mlle.
Athénaïs Michelet, a lady of some capacity and of republican sympathies. While his great work of history was still his main pursuit, sometimes they were expanded versions of its episodes, sometimes what may be called commentaries or companion volumes. In some of the best of them natural science, a new subject with Michelet, to which his wife is believed to have introduced him, supplies the text. The first of these was Les Femmes de la Révolution, in which Michelets natural and inimitable faculty of dithyrambic too often gives way to tedious and not very conclusive argument, in the next, LOiseau, a new and most successful vein was struck
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 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
Joan Mitchell was an American second generation abstract expressionist painter and printmaker. She was a member of the American abstract expressionist movement, even much of her career took place in France. Along with Lee Krasner, Grace Hartigan, Helen Frankenthaler, Shirley Jaffe and Sonia Gechtoff, she was one of her eras few female painters to gain critical and her paintings and editioned prints can be seen in major museums and collections across the United States and Europe. Mitchell was born in Chicago, the daughter of dermatologist James Herbert Mitchell and she lived on Chestnut Street in the Streeterville neighborhood and attended high school at Francis W. Parker School in the Lincoln Park neighborhood. Mitchell studied at Smith College in Massachusetts and The Art Institute of Chicago, a $2,000 travel fellowship allowed her to study in Paris and Provence in 1948—49, and she traveled in Spain and Italy. Mitchell is recognized as a principal figure—and one of the few female artists—in the second generation of American Abstract Expressionists, by the early 1950s, she was regarded as a leading artist in the New York School.
Her paintings are expansive, often covering two separate panels, landscape was the primary influence on her subject matter. She painted on unprimed canvas or white ground with gestural, sometimes violent brushwork and she has described a painting as an organism that turns in space. An admirer of van Goghs work, Mitchell observed in one of his final paintings – Wheatfield with Crows – the symbology of death, hopelessness and darkness. With her sense that Wheatfield with Crows was a note, she painted a painting called No Birds as a response. After moving to Paris in 1959, Mitchell began painting in a studio on the rue Fremicourt in the 15th arrondissement of Paris. The marks on these works were said to be extraordinary, The paint flung and squeezed on to the canvases and spluttering across their surfaces and smeared on with the artists fingers. The artist herself referred to the work created in this period of the early 1960s as very violent and angry, but by 1964 she was trying to get out of a violent phase and into something else.
Mitchell said that she wanted her paintings to convey the feeling of the sunflower and some of them come out like young girls. In 1951, Mitchells work was exhibited in the landmark Ninth Street Show alongside that of Jackson Pollock, Willem de Kooning, in 1952, she had her first solo exhibition at the New Gallery. In October 1957, the first major feature on her work appeared in ARTnews. In 1972, Mitchell staged her first major exhibition, entitled “My Five Years in the Country, ” at the Everson Museum of Art in Syracuse. December 1988 saw Mitchells first retrospective exhibition, which she referred to as being art-historized live and it featured 54 paintings produced from 1951 to 1987