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Slika ''Seljanka'' iz njegovog ranog holandskog perioda ([[mart]] [[1885]]) nalazi se u [[Beograd|beogradskom]] [[Narodni muzej|Narodnom muzeju]].
 
== Van Gogov rad ==
 
Poreklom iz [[Holandija|Holandije]], bio je teolog i sveštenik u rudniku i slikao je rudare tamnim mrkozelenim bojama. Posle kratke [[Pariz|pariske]] [[impresionizam|impresionističke]] faze kada rasvetljava paletu i napušta socijalne teme, Van Gog odlazi u [[Arl]], na jugu [[Francuska|Francuske]], gde započinje njegov arlezijski period. Kopirao je Milea, [[Pol Gogen|Gogena]] i [[Anri de Tuluz-Lotrek|Lotreka]].
 
Intenzivno je koristio crvenu i zelenu boju i povodom svoje slike ''Kafana noću'' piše svom bratu [[Teo van Gog (trgovac umetninama)|Teu]] u Parizu:
 
{{cquote|''Soba je krvavocrvena i tamnožuta, u sredini je zeleni bilijar i četiri svetiljke limunove boje, koje bacaju narandžastozelenu svetlost. Svuda se bore najrazličitije zelene i crvene boje: u sitnim likovima protuva koje spavaju, u praznoj i žalosnoj sobi... Pokušao sam da crvenim i zelenim izrazim strašne strasti ljudske duše.''}}
== Životopis ==
 
Vjerojatno je jedna od posljednih njegovih slika što ih je naslikao ''Pšenična polja s vranama'' ili ''Žitno polje s gavranima''. U 37. godini, [[27. 7.|27. srpnja]], depresivan, uznemiren, u trenutku paničnog predosjećaja strave pred novim nastupom hvata [[revolver]]. U polju kraj puta naslanja se na deblo koje je slikao i odapinje oružje. Umire nakon dva dana u svom krevetu. Pokopan je u [[Auvers-sur-Oise]]u uz svog brata Théa koji je preminuo 6 mjeseci kasnije.
[[Datoteka:Grave of Vincent van Gogh.jpg|mini|Grob Vincenta i Thea van Gogha]]
 
== Van Gogov rad ==
 
Poreklom iz [[Holandija|Holandije]], bio je teolog i sveštenik u rudniku i slikao je rudare tamnim mrkozelenim bojama. Posle kratke [[Pariz|pariske]] [[impresionizam|impresionističke]] faze kada rasvetljava paletu i napušta socijalne teme, Van Gog odlazi u [[Arl]], na jugu [[Francuska|Francuske]], gde započinje njegov arlezijski period. Kopirao je Milea, [[Pol Gogen|Gogena]] i [[Anri de Tuluz-Lotrek|Lotreka]].
 
Intenzivno je koristio crvenu i zelenu boju i povodom svoje slike ''Kafana noću'' piše svom bratu [[Teo van Gog (trgovac umetninama)|Teu]] u Parizu:
 
{{cquote|''Soba je krvavocrvena i tamnožuta, u sredini je zeleni bilijar i četiri svetiljke limunove boje, koje bacaju narandžastozelenu svetlost. Svuda se bore najrazličitije zelene i crvene boje: u sitnim likovima protuva koje spavaju, u praznoj i žalosnoj sobi... Pokušao sam da crvenim i zelenim izrazim strašne strasti ljudske duše.''}}
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| image1 = Vincent van Gogh (1853-1890) - The Old Mill (1888).jpg
| width1 = 97
| caption1 = ''The Old Mill'', 1888, [[Albright-Knox Art Gallery]], Buffalo, NY.
| alt1 = Under a bright cloudless blue/green sky is a large collection of connected buildings on the right side of the canvas. The buildings are all part of a mill, up a slight embankment from a stream in the foreground. On the left side of the painting near the steps leading up the embankment to the old mill are two small figures. Off in the left distance is a farmland and farmhouses, while the far distance shows low purple hills
| image2 = Starry_Night_Over_the_Rhone.jpg
| alt2 = The top of the painting is a dark blue night sky with many bright stars shining brightly surrounded by white halos. Along the distant horizon are houses and buildings with lights that are shining so brightly that they are casting yellow reflections on the dark blue river below. The bottom half shows the Rhone river with reflected lights showing throughout the river. In the foreground we can see a shallow wave.
| width2 = 179
| caption2 = ''[[Starry Night Over the Rhone]]'', 1888, [[Musée d'Orsay]], Paris.
| image3 = Van_Gogh_The_Olive_Trees..jpg
| width3 = 150
| caption3 = ''[[Olive Trees (Van Gogh series)|Olive Trees with the Alpilles in the Background]]'', 1889, [[Museum of Modern Art]], New York.
| alt3 = A starless, moonless evening sky of middle blue with two large white clouds are above darker blue twisting hills in the distance. In the foreground is a grove of Olive trees, that extend horizontally across the whole painting, towards the bottom is a winding, twisting path that extends horizontally across the painting}}
 
Van Gogh drew and painted with [[watercolor painting|watercolors]] while at school—only a few of these paintings survive and authorship is challenged on some of those that do.<ref>Van Heugten (1996), pp. 246–51</ref> When he committed to art as an adult, he began at an elementary level, copying the ''Cours de dessin'', a drawing course edited by [[Charles Bargue]]. Within two years he had begun to seek commissions. In spring 1882, his uncle, Cornelis Marinus, owner of a well-known gallery of contemporary art in Amsterdam, asked him for drawings of the Hague. Van Gogh's work did not live up to his uncle's expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointed with the result. Nevertheless, Van Gogh persevered. He improved the lighting of his studio by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures – highly elaborated studies in "Black and White",<ref>Artists working in ''Black & White'', i.e., for illustrated papers like ''The Graphic'' or ''Illustrated London News'' were among Van Gogh's favorites. See Pickvance (1974/75)</ref> which at the time gained him only criticism. Today, they are recognized as his first masterpieces.<ref>See Dorn, Keyes & alt. (2000)</ref>
 
[[File:Whitehousenight.jpg|thumb|left|upright|''[[White House at Night]]'', 1890, [[Hermitage Museum]], St. Petersburg, painted six weeks before the artist's death|alt=A white two-story house at twilight, with 2 cypress trees on one end, and smaller green trees all around the house, with a yellow fence surrounding it. Two women are entering through the gate in the fence; while a woman in black walks on by going towards the left. In the sky, there is a bright star with a large intense yellow halo around it]]
Early in 1883, he began to work on multi-figure compositions, which he based on his drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, he destroyed them and turned to oil painting. By Autumn 1882, his brother had enabled him financially to turn out his first paintings, but all the money Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned [[Hague School]] artists like [[Johan Hendrik Weissenbruch|Weissenbruch]] and [[Bernard Blommers|Blommers]], and received technical support from them, as well as from painters like [[Théophile de Bock|De Bock]] and [[Herman Johannes van der Weele|Van der Weele]], both second generation Hague School artists.<ref name="DSS">See Dorn, Schröder & Sillevis, ed. (1996)</ref> When he moved to Nuenen after the intermezzo in Drenthe he began several large-sized paintings but destroyed most of them. ''[[The Potato Eaters]]'' and its companion pieces – ''The Old Tower'' on the Nuenen cemetery and ''The Cottage'' – are the only ones to have survived. Following a visit to the [[Rijksmuseum]], Van Gogh was aware that many of his faults were due to lack of technical experience.<ref name="DSS"/> So in November 1885 he traveled to [[Antwerp]] and later to Paris to learn and develop his skill.<ref>See Welsh-Ovcharov & Cachin (1988)<!-- page(s)?? --></ref>
 
After becoming familiar with Impressionist and Neo-Impressionist techniques and theories, Van Gogh went to Arles to develop on these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as working with [[serial imagery]] on related or contrasting subject matter, which would reflect on the purposes of art. As his work progressed, he painted many ''[[Self-portraits by Vincent van Gogh|Self-portraits]]''. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his ''[[Flowering Orchards (Van Gogh series)|Flowering Orchards]]'' into triptychs, began a series of figures that found its end in ''[[The Roulin Family (Van Gogh series)|The Roulin Family series]]'', and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on ''[[The Décoration for the Yellow House|The Décorations for the Yellow House]]'', which was by some accounts the most ambitious effort he ever undertook.<ref name="d1909">See Dorn (1990)</ref> Most of his later work is involved with elaborating on or revising its fundamental settings. In the spring of 1889, he painted another, smaller group of orchards. In an April letter to Theo, he said, "I have 6 studies of Spring, two of them large orchards. There is little time because these effects are so short-lived."<ref name="H385">Hulsker (1980), 385</ref>
 
Art historian [[Albert Boime]] believes that Van Gogh – even in seemingly fantastical compositions like ''Starry Night'' – based his work in reality.<ref>Boime (1989)</ref> The ''[[White House at Night]]'', shows a house at twilight with a prominent star surrounded by a yellow halo in the sky. Astronomers at [[Southwest Texas State University]] in San Marcos calculated that the star is Venus, which was bright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture.<ref>At around 8:00&nbsp;pm on 16 June 1890, as astronomers determined by [[Venus]]'s position in the painting. [http://news.bbc.co.uk/2/hi/europe/1209192.stm Star dates Van Gogh canvas], [[BBC News]], 8 March 2001.</ref>
 
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