Van Gogh Letters To Theo
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October 2009 by Van Gogh Museum, Amsterdam, Netherlands. 7 This image, released on Wednesday, shows a letter from Dutch artist Vincent van Gogh. On, another sower,” the artist wrote in a letter to his brother Theo on November 21, 1888. “A huge lemon-yellow disk for the sun. Green-yellow sky with pink clouds. Field violet, sower and tree Prussian blue.” Van Gogh notes that he painted on canvas size 30, 91 cm x 72 cm (approx. 36 x 28 in.). It states that it was working. This sketch is also featured as a masterpiece titled “The Sower.” (AP Photo/Van Gogh Museum, HO)
Van Gogh Letters To Theo
Vincent van Gogh is as famous for his paintings as he is for his turbulent mind, and a new exhibition at the Van Gogh Museum tries to remind us that there was more method to his style than madness.
A Complete Archive Of Vincent Van Gogh’s Letters: Beautifully Illustrated And Fully Annotated
In honor of the publication of a new anthology of the artist’s known correspondence, the museum is exhibiting more than 100 personal letters in which he discusses his craft alongside the actual paintings.
Museum director Axel Ruger said the exhibition, which opens on Friday, has been organized so that a visitor feels “like Van Gogh is taking you through the collection, giving a commentary on his own work”.
Seeing the letters next to the paintings emphasizes Van Gogh’s professionalism, which is sometimes overlooked amid spectacular biographical details such as his mental illness, cutting off part of his own left ear after an argument, and his suicide in 1890 at the age of 37.
In the letters – known from recent books and films – Van Gogh writes about both the philosophy and technical details of painting.
Vincent Van Gogh
“I am working again on the peasants around a plate of potatoes,” he wrote to his brother Theo on April 9, 1885, referring to one of his earliest masterpieces, “The Potato Eaters.” The note also has an outline of the drawing.
Van Gogh, influenced by the Impressionists, felt that the piece had “life” in it, as he began during the day and worked by lamplight on a large canvas.
“The beautiful effects of nature’s light require working very fast,” he said, adding that he did not yet feel he could compare with 17th-century Dutch masters such as Rembrandt.
“However, where I am now, I see an opportunity to give an impression of what I see … (but) never exactly – for one sees nature through nature.”
Dear Theo: The Autobiography Of Vincent Van Gogh: Stone, Irving, Stone, Jean: 8601406464599: Books
Tracing his youth and late beginnings as a painter through his spectacular flowering in the late 1880s, the anthology includes all 820 of Van Gogh’s known letters.
“The number of letters is not really unusual, but the literary quality of the letters is special,” said curator Leo Jansen, one of three experts who spent 15 years on the project.
“You won’t find it in any other artist: he was a painter and a writer at the same time.”
Van Gogh’s letters were translated into English in 1958. The new anthology includes 20 new letters as well as full versions of some articles published only in the previous section.
Letter From Vincent Van Gogh To Theo Van Gogh Fleece Blanket By Vincent Van Gogh
More importantly, it offers more accurate translations and includes reproductions of more than 2,000 paintings referenced by Van Gogh, Jansen said. Overall, it presents an unusually complete picture of the mental world of one of the world’s greatest artists.
For Van Gogh fans not interested in purchasing the 6-volume set, the entire compilation is available online as a free, searchable database in the three languages in which the artist wrote—French, Dutch, and English.
The database includes images of text embedded in diagrams, which are often interesting in their own right.
“Here’s a sketch of the latest canvas I’m working on, another sower,” Van Gogh said in a letter to his brother Theo on November 21, 1888.
Dear Theo: The Autobiography Of Vincent Van Gogh By Irving Stone (editor)
“A huge lemon-yellow disc for the sun,” he wrote. “Green-yellow sky with pink clouds. Field violet, sower and tree Prussian blue. “
Van Gogh states that he intended it to be placed on a size 30 canvas, 91 x 72 cm (about 36 x 28 in.) This painting is easily recognizable as one of several versions of “The Sower” in the exhibition. In the museum.
Jansen said the letter was not at all unusual – Van Gogh often gave indications of the colors he planned to use and sometimes described the effect he was after by using certain color combinations.
Although Van Gogh sold only one work in his lifetime and was a social and financial failure, “he was not a crazy, irrational man: he was very methodical,” Jansen said.
Amazon.com: Vincent Van Gogh: The Letters: The Complete Illustrated And Annotated Edition: 9780500238653: Bakker, Nienke, Jansen, Leo, Luijten, Hans: Books
The book and website were published on October 6. Museum Exhibition Oct 2009 Opens on the 9th and runs through January 3, 2010. “Something serious, something fresh – something with a soul”, art “must reveal what is in one’s heart. – Vincent van Gogh, letter to his brother Theo, “I read letters – not only with my head – I put my whole soul into them. I was,” she wrote to Veth. “I read and reread them until the whole picture of Vincent became clear before me.” – Jo van Gogh-Bonger, letter to art critic Jan Veth
All 902 letters written and received by Vincent van Gogh (March 30, 1853 – July 29, 1890) are housed in the Van Gogh Museum in Amsterdam. Many feature the artist’s paintings. Before we get to them, a word about Jo van Gogh-Bonger (4 October 1862 – 2 September 1925), the painter’s sister-in-law married to his younger bother, the Parisian art dealer Theo van Gogh (1 May 1857 – 25 January 1891), He was instrumental in opening the eyes of the world to his genius. Russell Shortow has written a wonderful essay about the gog-bonger’s key part in unearthing Vincent van Gogh from someone who sold only a handful of paintings to a world-renowned artist in his lifetime. Jo and Theo’s Paris apartment was filled with Vincent’s works, which were shipped to Theo in the hope that he would find buyers for them. Joe recognized that his letters were part of art.
One day a canvas arrived that showed a change in style. Vincent was fascinated by the night sky in Arles. He tried to put it into words for Theo: “The stars of the deep blue glitter, green, yellow, white, pink, brighter, more emerald, lapis lazuli, ruby, sapphire.” He was determined to paint such a sky.
He read the work of Walt Whitman, particularly popular in France, and interpreted the poet as equating “the great starry sky” with “God and eternity.”
Reading Van Gogh
Joe met Vincent in Paris when he visited the married couple. Unsettled by his brother’s state of mind, Theo sought medical advice, placing him under the care of Dr. Paul Gachi in the village of Auvers-sur-Oise, north of Paris. A few weeks later, Vincent shot himself to death. Less than three months later, Theo died of syphilis contracted in the Paris brothels. Jo was left with more than 400 Vincent Van Gogh paintings, which she covered the walls of her home and his letters. Three years after her husband’s death, Jo wrote in her diary: “Like the child, he gave me another work – Vincent’s work – to see and appreciate as much as possible.”
Hans Luijten heard that the Van Gogh Museum was working on a new edition of Vincent’s correspondence. In 1994 he was hired as a researcher and spent the next 15 years on the job: “He worked them very carefully. If you read the published articles, he might say, ‘Deep gray skies… But if you look at the handwritten article, you’ll see he added ‘gray’ and then ‘deep’. Like he added brush strokes. You can see in both his art and writing that he looked at the world as if everything was alive and aware. He treated a tree like a human being… You can see the emotions in Van Gogh’s handwriting: doubt, anger. I could tell when he was drinking because he started with big letters, and they got smaller and smaller as he went down the page.
The resulting book, Vincent van Gogh: The Letters (2009), is a lengthy six-volume study of the artist’s writing and reading. The same year that book was published, Louiston began writing a biography of Joe. In 2019, he gave us Alles voor Vincent (“All for Vincent”).
By the end of her first year she was on her own—living with Vincent’s paintings and his words, reading deeply, drowning in time.