presentation about van gogh

Vincent van Gogh

Vincent van Gogh was one of the world’s greatest artists, with paintings such as ‘Starry Night’ and ‘Sunflowers,’ though he was unknown until after his death.

(1853-1890)

Who Was Vincent van Gogh?

Vincent van Gogh was a post-Impressionist painter whose work — notable for its beauty, emotion and color — highly influenced 20th-century art. He struggled with mental illness and remained poor and virtually unknown throughout his life.

Early Life and Family

Van Gogh was born on March 30, 1853, in Groot-Zundert, Netherlands. Van Gogh’s father, Theodorus van Gogh, was an austere country minister, and his mother, Anna Cornelia Carbentus, was a moody artist whose love of nature, drawing and watercolors was transferred to her son.

Van Gogh was born exactly one year after his parents' first son, also named Vincent, was stillborn. At a young age — with his name and birthdate already etched on his dead brother's headstone — van Gogh was melancholy.

Theo van Gogh

The eldest of six living children, van Gogh had two younger brothers (Theo, who worked as an art dealer and supported his older brother’s art, and Cor) and three younger sisters (Anna, Elizabeth and Willemien).

Theo van Gogh would later play an important role in his older brother's life as a confidant, supporter and art dealer.

Early Life and Education

At age 15, van Gogh's family was struggling financially, and he was forced to leave school and go to work. He got a job at his Uncle Cornelis' art dealership, Goupil & Cie., a firm of art dealers in The Hague. By this time, van Gogh was fluent in French, German and English, as well as his native Dutch.

He also fell in love with his landlady's daughter, Eugenie Loyer. When she rejected his marriage proposal, van Gogh suffered a breakdown. He threw away all his books except for the Bible, and devoted his life to God. He became angry with people at work, telling customers not to buy the "worthless art," and was eventually fired.

Life as a Preacher

Van Gogh then taught in a Methodist boys' school, and also preached to the congregation. Although raised in a religious family, it wasn't until this time that he seriously began to consider devoting his life to the church

Hoping to become a minister, he prepared to take the entrance exam to the School of Theology in Amsterdam. After a year of studying diligently, he refused to take the Latin exams, calling Latin a "dead language" of poor people, and was subsequently denied entrance.

The same thing happened at the Church of Belgium: In the winter of 1878, van Gogh volunteered to move to an impoverished coal mine in the south of Belgium, a place where preachers were usually sent as punishment. He preached and ministered to the sick, and also drew pictures of the miners and their families, who called him "Christ of the Coal Mines."

The evangelical committees were not as pleased. They disagreed with van Gogh's lifestyle, which had begun to take on a tone of martyrdom. They refused to renew van Gogh's contract, and he was forced to find another occupation.

Finding Solace in Art

In the fall of 1880, van Gogh decided to move to Brussels and become an artist. Though he had no formal art training, his brother Theo offered to support van Gogh financially.

He began taking lessons on his own, studying books like Travaux des champs by Jean-François Millet and Cours de dessin by Charles Bargue.

Van Gogh's art helped him stay emotionally balanced. In 1885, he began work on what is considered to be his first masterpiece, "Potato Eaters." Theo, who by this time living in Paris, believed the painting would not be well-received in the French capital, where Impressionism had become the trend.

Nevertheless, van Gogh decided to move to Paris, and showed up at Theo's house uninvited. In March 1886, Theo welcomed his brother into his small apartment.

In Paris, van Gogh first saw Impressionist art, and he was inspired by the color and light. He began studying with Henri de Toulouse-Lautrec , Camille Pissarro and others.

To save money, he and his friends posed for each other instead of hiring models. Van Gogh was passionate, and he argued with other painters about their works, alienating those who became tired of his bickering.

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Van Gogh's love life was nothing short of disastrous: He was attracted to women in trouble, thinking he could help them. When he fell in love with his recently widowed cousin, Kate, she was repulsed and fled to her home in Amsterdam.

Van Gogh then moved to The Hague and fell in love with Clasina Maria Hoornik, an alcoholic prostitute. She became his companion, mistress and model.

When Hoornik went back to prostitution, van Gogh became utterly depressed. In 1882, his family threatened to cut off his money unless he left Hoornik and The Hague.

Van Gogh left in mid-September of that year to travel to Drenthe, a somewhat desolate district in the Netherlands. For the next six weeks, he lived a nomadic life, moving throughout the region while drawing and painting the landscape and its people.

Van Gogh became influenced by Japanese art and began studying Eastern philosophy to enhance his art and life. He dreamed of traveling there, but was told by Toulouse-Lautrec that the light in the village of Arles was just like the light in Japan.

In February 1888, van Gogh boarded a train to the south of France. He moved into a now-famous "yellow house" and spent his money on paint rather than food.

Vincent van Gogh completed more than 2,100 works, consisting of 860 oil paintings and more than 1,300 watercolors, drawings and sketches.

Several of his paintings now rank among the most expensive in the world; "Irises" sold for a record $53.9 million, and his "Portrait of Dr. Gachet" sold for $82.5 million. A few of van Gogh’s most well-known artworks include:

'Starry Night'

Van Gogh painted "The Starry Night" in the asylum where he was staying in Saint-Rémy, France, in 1889, the year before his death. “This morning I saw the countryside from my window a long time before sunrise, with nothing but the morning star, which looked very big,” he wrote to his brother Theo.

A combination of imagination, memory, emotion and observation, the oil painting on canvas depicts an expressive swirling night sky and a sleeping village, with a large flame-like cypress, thought to represent the bridge between life and death, looming in the foreground. The painting is currently housed at the Museum of Modern Art in New York, NY.

'Sunflowers'

Van Gogh painted two series of sunflowers in Arles, France: four between August and September 1888 and one in January 1889; the versions and replicas are debated among art historians.

The oil paintings on canvas, which depict wilting yellow sunflowers in a vase, are now displayed at museums in London, Amsterdam, Tokyo, Munich and Philadelphia.

In 1889, after entering an asylum in Saint-Rémy, France, van Gogh began painting Irises, working from the plants and flowers he found in the asylum's garden. Critics believe the painting was influenced by Japanese woodblock prints.

French critic Octave Mirbeau, the painting's first owner and an early supporter of Van Gogh, remarked, "How well he has understood the exquisite nature of flowers!"

'Self-Portrait'

Over the course of 10 years, van Gogh created more than 43 self-portraits as both paintings and drawings. "I am looking for a deeper likeness than that obtained by a photographer," he wrote to his sister.

"People say, and I am willing to believe it, that it is hard to know yourself. But it is not easy to paint yourself, either. The portraits painted by Rembrandt are more than a view of nature, they are more like a revelation,” he later wrote to his brother.

Van Gogh's self-portraits are now displayed in museums around the world, including in Washington, D.C., Paris, New York and Amsterdam.

Van Gogh's Ear

In December 1888, van Gogh was living on coffee, bread and absinthe in Arles, France, and he found himself feeling sick and strange.

Before long, it became apparent that in addition to suffering from physical illness, his psychological health was declining. Around this time, he is known to have sipped on turpentine and eaten paint.

His brother Theo was worried, and he offered Paul Gauguin money to go watch over Vincent in Arles. Within a month, van Gogh and Gauguin were arguing constantly, and one night, Gauguin walked out. Van Gogh followed him, and when Gauguin turned around, he saw van Gogh holding a razor in his hand.

Hours later, van Gogh went to the local brothel and paid for a prostitute named Rachel. With blood pouring from his hand, he offered her his ear, asking her to "keep this object carefully."

The police found van Gogh in his room the next morning, and admitted him to the Hôtel-Dieu hospital. Theo arrived on Christmas Day to see van Gogh, who was weak from blood loss and having violent seizures.

The doctors assured Theo that his brother would live and would be taken good care of, and on January 7, 1889, van Gogh was released from the hospital.

He remained, however, alone and depressed. For hope, he turned to painting and nature, but could not find peace and was hospitalized again. He would paint at the yellow house during the day and return to the hospital at night.

Van Gogh decided to move to the Saint-Paul-de-Mausole asylum in Saint-Rémy-de-Provence after the people of Arles signed a petition saying that he was dangerous.

On May 8, 1889, he began painting in the hospital gardens. In November 1889, he was invited to exhibit his paintings in Brussels. He sent six paintings, including "Irises" and "Starry Night."

On January 31, 1890, Theo and his wife, Johanna, gave birth to a boy and named him Vincent Willem van Gogh after Theo's brother. Around this time, Theo sold van Gogh's "The Red Vineyards" painting for 400 francs.

Also around this time, Dr. Paul Gachet, who lived in Auvers, about 20 miles north of Paris, agreed to take van Gogh as his patient. Van Gogh moved to Auvers and rented a room.

On July 27, 1890, Vincent van Gogh went out to paint in the morning carrying a loaded pistol and shot himself in the chest, but the bullet did not kill him. He was found bleeding in his room.

Van Gogh was distraught about his future because, in May of that year, his brother Theo had visited and spoke to him about needing to be stricter with his finances. Van Gogh took that to mean Theo was no longer interested in selling his art.

Van Gogh was taken to a nearby hospital and his doctors sent for Theo, who arrived to find his brother sitting up in bed and smoking a pipe. They spent the next couple of days talking together, and then van Gogh asked Theo to take him home.

On July 29, 1890, Vincent van Gogh died in the arms of his brother Theo. He was only 37 years old.

Theo, who was suffering from syphilis and weakened by his brother's death, died six months after his brother in a Dutch asylum. He was buried in Utrecht, but in 1914 Theo's wife, Johanna, who was a dedicated supporter of van Gogh's works, had Theo's body reburied in the Auvers cemetery next to Vincent.

Theo's wife Johanna then collected as many of van Gogh's paintings as she could, but discovered that many had been destroyed or lost, as van Gogh's own mother had thrown away crates full of his art.

On March 17, 1901, 71 of van Gogh's paintings were displayed at a show in Paris, and his fame grew enormously. His mother lived long enough to see her son hailed as an artistic genius. Today, Vincent van Gogh is considered one of the greatest artists in human history.

Van Gogh Museum

In 1973, the Van Gogh Museum opened its doors in Amsterdam to make the works of Vincent van Gogh accessible to the public. The museum houses more than 200 van Gogh paintings, 500 drawings and 750 written documents including letters to Vincent’s brother Theo. It features self-portraits, “The Potato Eaters,” “The Bedroom” and “Sunflowers.”

In September 2013, the museum discovered and unveiled a van Gogh painting of a landscape entitled "Sunset at Montmajour.” Before coming under the possession of the Van Gogh Museum, a Norwegian industrialist owned the painting and stored it away in his attic, having thought that it wasn't authentic.

The painting is believed to have been created by van Gogh in 1888 — around the same time that his artwork "Sunflowers" was made — just two years before his death.

Watch "Vincent Van Gogh: A Stroke of Genius" on HISTORY Vault

QUICK FACTS

• Name: Vincent van Gogh
• Birth Year: 1853
• Birth date: March 30, 1853
• Birth City: Zundert
• Birth Country: Netherlands
• Gender: Male
• Best Known For: Vincent van Gogh was one of the world’s greatest artists, with paintings such as ‘Starry Night’ and ‘Sunflowers,’ though he was unknown until after his death.
• Astrological Sign: Aries
• Brussels Academy
• Nacionalities
• Interesting Facts
• Some of van Gogh's most famous works include "Starry Night," "Irises," and "Sunflowers."
• In a moment of instability, Vincent Van Gogh cut off his ear and offered it to a prostitute.
• Van Gogh died in France at age 37 from a self-inflicted gunshot wound.
• Death Year: 1890
• Death date: July 29, 1890
• Death City: Auvers-sur-Oise
• Death Country: France

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CITATION INFORMATION

• Article Title: Vincent van Gogh Biography
• Author: Biography.com Editors
• Website Name: The Biography.com website
• Url: https://www.biography.com/artists/vincent-van-gogh
• Access Date:
• Publisher: A&E; Television Networks
• Last Updated: March 4, 2020
• Original Published Date: April 3, 2014
• As for me, I am rather often uneasy in my mind, because I think that my life has not been calm enough; all those bitter disappointments, adversities, changes keep me from developing fully and naturally in my artistic career.
• I am a fanatic! I feel a power within me…a fire that I may not quench, but must keep ablaze.
• I get very cross when people tell me that it is dangerous to put out to sea. There is safety in the very heart of danger.
• I want to paint what I feel, and feel what I paint.
• As my work is, so am I.
• The love of art is the undoing of true love.
• When one has fire within oneself, one cannot keep bottling [it] up—better to burn than to burst. What is in will out.
• For my part I know nothing with any certainty, but the sight of the stars makes me dream.
• I do not say that my work is good, but it's the least bad that I can do. All the rest, relations with people, is very secondary, because I have no talent for that. I can't help it.
• What is wrought in sorrow lives for all time.
• What I draw, I see clearly. In these [drawings] I can talk with enthusiasm. I have found a voice.
• Enjoy yourself too much rather than too little, and don't take art or love too seriously.
• But I always think that the best way to know God is to love many things.

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Biography of Vincent van Gogh

Van Gogh received a fragmentary education: one year at the village school in Zundert, two years at a boarding school in Zevenbergen, and eighteen months at a high school in Tilburg. At sixteen he began working at the Hague gallery of the French art dealers Goupil et Cie., in which his uncle Vincent was a partner. His brother Theo, who was born 1 May 1857, later worked for the same firm. In 1873 Goupil's transferred Vincent to London, and two years later they moved him to Paris, where he lost all ambition to become an art dealer. Instead, he immersed himself in religion, threw out his modern, worldly book, and became "daffy with piety", in the words of his sister Elisabeth. He took little interest in his work, and was dismissed from his job at the beginning of 1876.

Van Gogh then took a post as an assistant teacher in England, but, disappointed by the lack of prospects, returned to Holland at the end of the year. He now decided to follow in his father's footsteps and become a clergyman. Although disturbed by his fanaticism and odd behavior, his parents agreed to pay for the private lessons he would need to gain admission to the university. This proved to be another false start. Van Gogh abandoned the lessons, and after brief training as an evangelist went to the Borinage coal-mining region in the south of Belgium. His ministry among the miners led him to identify deeply with the workers and their families. In 1897, however, his appointment was not renewed, and his parents despaired, regarding him as a social misfit. In an unguarded moment, his father even spoke of committing him to a mental asylum.

Vincent, too, was at his wits' end, and after a long period of solitary soul-searching in the Borinage he decided to follow Theo's advice and become an artist. His earlier desire to help his fellowman was an evangelist gradually developed into an urge, as he later wrote, to leave mankind "some memento in the form of drawings of paintings - not made to please any particular movement, but to express a sincere human feeling."

His parents could not go along with this latest change of course, and financial responsibility for Vincent passed to his brother Theo, who was now working in the Paris gallery of Boussod, Valadon et Cie., the successor to Goupil's. It was because of Theo's loyal support that Van Gogh later came to regard his oeuvre as the fruits of his brother's efforts on his behalf. A lengthy correspondence between the two brothers (which began in August 1872) would continue until the last days of Vincent's life.

When Van Gogh decided to become an artist, no one, not even himself, suspected that he had extraordinary gifts. His evolution from an inept but impassioned novice into a truly original master was remarkably rapid. He eventually proved to have an exceptional feel for bold, harmonious color effects, and an infallible instinct for choosing simple but memorable compositions.

In order to prepare for his new career, Van Gogh went to Brussels to study at the academy, but left after only nine months. There he got to know Anthon van Rappard, who was to be his most important artist friend during his Dutch period.

In April 1881, Van Gogh went to live with his parents in Etten in North Brabant, where he set himself the task of learning how to draw. He experimented endlessly with all sorts of drawing materials, and concentrated on mastering technical aspects of his craft like perspective, anatomy, and physiognomy. Most of his subjects were taken from peasant life.

At the end of 1881 he moved to The Hague, and there, too, he concentrated mainly on drawing. At first he took lessons from Anton Mauve, his cousin by marriage, but the two soon fell out, partly because Mauve was scandalized by Vincent's relationship with Sien Hoornik, a pregnant prostitute who already had an illegitimate child. Van Gogh made a few paintings while in The Hague , but drawing was his main passion. In order to achieve his ambition of becoming a figure painter, he drew from the live model whenever he could.

In September 1883 he decided to break off the relationship with Sien and follow in the footsteps of artists like Van Rappard and Mauve by trying his luck in the picturesque eastern province of Drenthe, which was fairly inaccessible in those days. After three months, however, a lack of both drawing materials and models forced him to leave. He decided once again to move in with his parents, who were now living in the North Brabant village of Nuenen, near Eindhoven.

In Nuenen, Van Gogh first began painting regularly, modeling himself chiefly on the French painter Jean-Francois Millet (1814 - 1875), who was famous throughout Europe for his scenes of the harsh life of peasants. Van Gogh set to work with an iron will, depicting the life of the villagers and humble workers. he made numerous scenes of weavers. In May 1884, he moved into rooms he had rented from the sacristan of local Catholic church, one of which he used as his studio.

At the end of 1884 he began painting and drawing a major series of heads and work-roughened peasant hands in preparation for a large and complex figure piece that he was planning. In April 1885 this period of study came to fruition in the masterpiece of his Dutch period, The Potato Eaters

In the summer of that year, he made a large number of drawings of the peasants working in the fields. The supply of models dried up, however, when the local priest forbade his parishioners to pose for the vicar's son. He turned to painting landscape instead, inspired in part by a visit to recently opened Rijksmuseum in Amsterdam.

I feel - a failure. That's it as far as I'm concerned - I feel that this is the destiny that I accept, that will never change. ”

He nevertheless continued working hard during his two months in Auvers, producing dozens of paintings and drawings. On 27 July 1890, Vincent van Gogh was shot in the stomach, and passed away in the early morning of 29 July 1890 in his room at the Auberge Ravoux in the village of Auvers-sur-Oise. Although official history maintains that Van Gogh committed suicide, the latest research reveals that Van Gogh's death might be caused by an accident.

Theo, who had stored the bulk of Vincent's work in Paris, died six months later. His widow, Johanna van Gogh-Bonger (1862 - 1925), returned to Holland with the collection, and dedicated herself to getting her brother-in-law the recognition he deserved. In 1914, with his fame assured, she published Vincent van Gogh's letters between the two brothers.

The Starry Night

Café terrace at night, vincent van gogh's letters, van gogh self portrait, the starry night over the rhone, wheatfield with crows, the night cafe, the potato eaters, the yellow house, almond blossom, the church at auvers, at eternity's gate by vincent van gogh, portrait of dr. gachet, portrait of the postman joseph roulin by vincent van gogh, self portrait with bandaged ear.

Why We Connect with Vincent van Gogh’s Paintings

Van Gogh was a troubled soul and master painter who relied on his emotions and color to create art that continues to attract millions of viewers.

With the advent of digitization, art has become more accessible to the masses than ever before. While the world of NFTs and crypto art may not appeal to everyone, they can certainly engage with digitized versions of art with which they are already familiar. Dutch post-impressionist painter Vincent van Gogh’s work , with its distinctive use of color and unique methodology of form, lends itself particularly well to digitization.

Despite being one of the most renowned artists of the modern age, Van Gogh only received recognition after his 1890 death by suicide at age thirty-seven. In a 1962–63 paper published in the Bulletin of the Detroit Institute of the Arts , Professor of Art History at the University of Chicago, Joshua C Taylor, argues that Van Gogh’s work was based on his emotions and therefore resonates with viewers decades after his death . Taylor highlights Van Gogh’s “brief but intense career as a painter,” which made him adept at making a “painting that would project through its own sensuous form the emotion and vitality of a creative life.”

After a period of capturing the vagaries of the human condition through his dark and depressive portraits of peasant life, Van Gogh lived in Paris during the height of the Impressionist era . Hence, he “respond[ed] to the new color sensations with an intensity equal to that which he had first associated with religion, then with his awareness of the raw humanity of the wretchedly poor,” Taylor writes.

“I believe in the absolute necessity for a new art of color, of design and—of artistic life,” Van Gogh claimed. “And if we work in that faith, it seems to me there is a chance that our hope is not vain.”

In his letters to his beloved brother Theo, Van Gogh wrote of being fascinated with the discovery of these colors:

I am always in the hope to express the love of two lovers by a marriage of two complementary colors, their mingling and their opposition, the mysterious vibrations of kindred tones. To express the thought of a brow by the radiance of a light tone against a sombre background.

Taylor argues that this new-found interest in vibrant color and form gave Van Gogh an insight into human values and the will to preserve them for posterity in a way that his previous exposure to religion and social work had not. As Vincent wrote to Theo,

[I]n a picture, I want to give something comforting as music is comforting. I want to paint men and women with that something of the eternal that the halo used to symbolize, and which we seek to give by the actual radiance and vibration of our colors.

It is this new and exciting quality that holds the viewer’s attention in Van Gogh’s work. As Taylor describes it, “Flowers burgeon with exhilarating energy, trees pulsate with life, and the world becomes live with a constantly renewing creative force.” He believes that Van Gogh’s presence in the paintings is inextricably linked with the viewer’s personal experience, and therefore Van Gogh’s self becomes an extension of the viewer.

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Perhaps the Van Gogh 360* Immersive Art experience has drawn crowds worldwide because of the artist’s emotive subjects , bold brush strokes, attractive colors, and the vibrant energy evident in his paintings. Taylor summarizes their appeal, describing Van Gogh’s paintings as a “special world he created for you in which there may be sadness and tragedy, but never loneliness.”

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More than 75 paintings and drawings by five interconnected artists—Vincent van Gogh, Georges Seurat, Paul Signac, Emile Bernard, and Charles Angrand—highlight the tremendous creativity that was sparked by their time in Paris's evolving working-class suburbs.

Van Gogh and the Avant-Garde: The Modern Landscape

May 14 – Sep 4, 2023

Vincent van Gogh. Fishing in Spring, the Pont de Clichy (Asnières) (detail), 1887. The Art Institute of Chicago, Gift of Charles Deering McCormick, Brooks McCormick, and the Estate of Roger McCormick

• Regenstein Hall

How the bringing together of extremes—the countryside as a whole and the bustle here [in the city]—gives me new ideas. —Vincent van Gogh, letter dated around January 2, 1886

Between 1882 and 1890, five artists—Vincent van Gogh, along with Georges Seurat, Paul Signac, Emile Bernard, and Charles Angrand—flocked to villages on the fringes of Paris. Unlike the earlier Impressionists, who in the previous decade had spent significant time in suburban locations further from the city, this next generation of ambitious artists preferred the northwestern suburbs around Asnières. This area along the Seine River had long been a popular spot for recreation and relaxation but was becoming increasingly populated with coal, gas, and manufacturing facilities in the last decades of the 19th century. And while its industrial development was an unappealing aspect to many, these artists found in the changing physical and social landscape a fresh and rich source of creativity, as Van Gogh’s letter indicates.

Visiting Van Gogh and the Avant-Garde

Get tips on getting your tickets in advance, joining the exhibition’s virtual line, and visiting during less busy times. Learn more .

The Restaurant Rispal at Asnières , 1887

Vincent van Gogh. The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Henry W. and Marion H. Bloch, 2015.13.10. Photo courtesy Nelson-Atkins Media Services, Jamison Miller

The area’s visual vocabulary—its bridges, embankments, factories, parks, and villages—along with its sunlight, water, and brilliant natural color prompted intense experimentation. Each artist explored the use of discrete brushstrokes and strong colors in innovative ways, and in turn developed novel styles of painting. Seurat and Signac began applying contrasting colors in unblended strokes (Divisionism). They then pioneered the use of small dots of complementary colors (Pointillism) to achieve an optical mixture in the viewer’s eye. Bernard, having reached the limits of these two styles, experimented with laying out large swathes of bold color defined by dark contours (Cloisonnism) in the last years of the decade. Van Gogh and Angrand followed the developments of Seurat and Signac, absorbing many of these approaches into their later painting styles.

Inspired by Asnières

Factories at Clichy , summer 1887

Vincent van Gogh. Saint Louis Art Museum, Funds given by Mrs. Mark C. Steinberg by exchange, 579:1958

The Seine at La Grande Jatte , 1888

Georges Seurat. Musées royeaux des Beaux-Arts, Brussels

Iron Bridges at Asnières , 1887

Emile Bernard. The Museum of Modern Art, New York, Grace Rainey Rogers Fund, 1962. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY

Gasometers at Clichy , 1886

Paul Signac. National Gallery of Victoria, Melbourne, Felton Bequest, 1948

The Seine at Dawn , 1889

Charles Angrand. Musée Petit Palais, Geneva

More than 75 paintings and drawings from this intensely creative period—many from private collections and rarely publicly displayed—come together for this insightful presentation. Among them are 25 works by Van Gogh, including paintings from all three triptychs that he executed in these suburbs. Uniting these outstanding works in this exhibition not only sheds new light on the boundary-pushing techniques Van Gogh and his fellow painters developed during this time, but it also illuminates the power of place to inspire—to encourage pioneering work, launch career-changing ideas, and shape artistic identities.

Van Gogh and the Avant-Garde: The Modern Landscape is organized by the Art Institute of Chicago and the Van Gogh Museum, Amsterdam.

This exhibition is curated by Jacquelyn N. Coutré, Eleanor Wood Prince Associate Curator, Painting and Sculpture of Europe, at the Art Institute of Chicago, and Bregje Gerritse, researcher at the Van Gogh Museum, Amsterdam, with the assistance of Jena K. Carvana, curatorial associate in Painting and Sculpture of Europe at the Art Institute of Chicago.

The exhibition is accompanied by a handsomely illustrated catalogue with scholarly essays on each of the five avant-garde artists as well as a map detailing the locations where the artists painted. Learn more .

Lead support for Van Gogh and the Avant-Garde: The Modern Landscape is generously provided by

THE KENNETH C. GRIFFIN CHARITABLE FUND

Lead foundation support is generously contributed by the Harris Family Foundation in memory of Bette and Neison Harris.

Major support is provided by the Shure Charitable Trust, the Jentes Family, the Pepper Family Foundation, Julie and Roger Baskes, The Manitou Fund, and Margot Levin Schiff and the Harold Schiff Foundation.

Additional funding is provided by the Jack and Peggy Crowe Fund, the Suzanne and Wesley M. Dixon Exhibition Fund, and The Regenstein Foundation Fund.

Members of the Luminary Trust provide annual leadership support for the museum’s operations, including exhibition development, conservation and collection care, and educational programming. The Luminary Trust includes an anonymous donor, Karen Gray-Krehbiel and John Krehbiel, Jr., Kenneth C. Griffin, the Harris Family Foundation in memory of Bette and Neison Harris, Josef and Margot Lakonishok, Robert M. and Diane v.S. Levy, Ann and Samuel M. Mencoff, Sylvia Neil and Dan Fischel, Cari and Michael J. Sacks, and the Earl and Brenda Shapiro Foundation.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

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Van Gogh 'immersive experiences': a guide to the global battle now reaching London

Presenting a vivid insight into vincent’s art, van gogh alive opens today in kensington gardens.

Van Gogh Alive, Kensington Gardens, London Photo: Martin Bailey

Adventures with Van Gogh is a weekly blog by Martin Bailey, our long-standing correspondent and expert on the artist. Published every Friday, his stories range from newsy items about this most intriguing artist to scholarly pieces based on his own meticulous investigations and discoveries. © Martin Bailey

Immersive experiences featuring Van Gogh’s greatest hits have sprung up in cities around the world, sparking intense competition. Van Gogh Alive: the Experience, which opens in London today, promotes itself as “the most visited immersive multi-sensory experience in the world”. Close on its heels will be Van Gogh: the Immersive Experience, now scheduled to come to London in July.

Across the world at least four other competing attractions are touring numerous other cities: Imagine Van Gogh: the Immersive Exhibition ; Immersive Van Gogh Exhibit; Beyond Van Gogh: the Immersive Experience; and the Van Gogh Museum’s “official” one, Meet Vincent van Gogh . Confusing? Yes certainly, but be advised that the different presentations are of varying qualities.

Whatever the name, the one thing you won’t see is original artworks. The publicity for London’s Van Gogh Alive points out that ideas of “tiptoeing through silent galleries and viewing paintings from afar in quiet contemplation are forgotten… you will be surrounded by a vibrant symphony of light, colour, sound as fragrance”.

Van Gogh’s Starry Night (June 1889) in two presentations: Van Gogh: the Immersive Experience (above) and Van Gogh Alive: the Experience (below) Courtesy of Van Gogh Alive: the Experience and Van Gogh: the Immersive Experience

Van Gogh Alive is opening in a huge marquee in Kensington Gardens (adjacent to Hyde Park), opposite the Royal Albert Hall (until 26 September). Having had a sneak preview, I was pleasantly surprised with the excellent production. For 45 minutes visitors are engulfed by 38 huge screens, where changing details of the artist’s paintings appear with a soundtrack of classical music. What really brings the experience to life is the accompaniment of relevant quotes from Vincent’s letters, shown on a screen.

Van Gogh Alive: the Experience, London Photo: Martin Bailey

The sensitive presentation does not dwell on the more sensationalist aspects of Vincent’s life, with only subtle allusions to the ear incident and the suicide. Instead the emphasis is very much on his art, projected in amazing detail, enabling one to really see his vigorous brushwork. But of course the “show” is no substitute for viewing the actual paintings, the way the artist intended—the “immersive experience” should be regarded as something different.

Van Gogh Alive was first presented in Singapore in 2011. Since then it has been seen by over 7 million people in 70 cities. It is currently also in St Petersburg (Florida), Mexico City and Auckland. The presentation will shortly open in Denver, Kansas City, Munich, Beijing and Adelaide. In the UK it is now in Birmingham and will tour to other venues.

Behind the venture is the Melbourne-based company Grande Experiences. In London the organisers hope to attract 250,000 visitors, which would equate to a very successful blockbuster exhibition at a major London museum. Ticket prices are sightly higher than at a museum, starting at £24 for standard adult weekday admission.

But what about the impact of Covid-19? England is still subject to social distancing, but hopefully on the government’s 21 June target date this will be lifted (although this is far from certain). Unlike a museum, where visitors need to get close to paintings, the huge Kensington Gardens marquee provides plenty of space.

The other presentation coming to London is Van Gogh: the Immersive Experience , organised by the Brussels-based company Exhibition Hub. Their production began in 2017 and has so far been seen by 900,000 visitors in 8 cities (it is currently in York, Berlin, Las Vegas and Atlanta).

In London it will be shown in the 19th-century stable yard of the Old Truman Brewery in Spitalfields, in the East End (from July). With a smaller venue than the Kensington Gardens marquee, adult tickets will start at £19.90. Along with London, venues are due to open in a string of US cities.

The Van Gogh Museum has also joined the throng. In 2019 Meet Vincent van Gogh began in Barcelona (attracting 160,000 visitors) and Seoul (75,000 visitors). Although it opened in London in February 2020, in a marque on London’s South Bank, it was forced to shut the following month with the Covid lockdown. It is now being presented in Lisbon (until 25 July), although no further venues are currently planned.

And what would Vincent have thought about these “experiences”? As someone who failed to sell his paintings, the idea would of course have been totally unbelievable. But in any case Van Gogh was hardly a technical innovator, unlike his one-time collaborator Gauguin (who bought rough sacking material for paintings and introduced “ready-mades” into his sculptures).

Vincent was a traditionalist when it came to materials. His achievement was to use ordinary paint and canvas to create the most extraordinary pictures. Hopefully the “experiences” will encourage visitors to flock back to see the originals.

Other Van Gogh news

• The 85-minute cinema film Sunflowers: the Mystery of Van Gogh’s Greatest Masterworks will be released in the UK next week and then internationally. Produced by Exhibition On Screen, it is directed by David Bickerstaff. The commentators include curators of the five museums which hold the different versions of the Arles Sunflowers (and myself).

Sunflowers being filmed at the Van Gogh Museum, Amsterdam Photo: David Bickerstaff, Exhibition on Screen

Martin Bailey is the author of Van Gogh’s Finale: Auvers and the Artist’s Rise to Fame (Frances Lincoln, 2021, available in the UK and US ). He is a leading Van Gogh specialist and investigative reporter for The Art Newspaper . Bailey has curated Van Gogh exhibitions at the Barbican Art Gallery and Compton Verney/National Gallery of Scotland. He was a co-curator of Tate Britain’s The EY Exhibition: Van Gogh and Britain (27 March-11 August 2019).

Martin Bailey’s recent Van Gogh books

Bailey has written a number of other bestselling books, including The Sunflowers Are Mine: The Story of Van Gogh's Masterpiece (Frances Lincoln 2013, available in the UK and US ), Studio of the South: Van Gogh in Provence (Frances Lincoln 2016, available in the UK and US ), Starry Night: Van Gogh at the Asylum (White Lion Publishing 2018, available in the UK and US ) and Van Gogh’s Finale: Auvers and the Artist’s Rise to Fame  (Frances Lincoln 2021, available in the UK and US ). Bailey's Living with Vincent van Gogh: the Homes and Landscapes that Shaped the Artist (White Lion Publishing 2019, available in the UK and US ) provides an overview of the artist’s life. The Illustrated Provence Letters of Van Gogh has been reissued (Batsford 2021, available in the UK and US ).

To contact Martin Bailey, please email [email protected] . Please note that he does not undertake authentications.

Read more from Martin's Adventures with Van Gogh blog   here .

Van Gogh's Cypresses

Entering the exhibition.

You must join the virtual exhibition queue via QR code once inside the Museum. No advance or timed tickets required. Access is first come, first served and subject to capacity limitations. The virtual queue closes daily when capacity is reached.

Special Access Met Member Morning Hours: 9–10 am every Thursday, Saturday, and Sunday starting May 27.

Visitor Guidelines

The following items are not permitted:

• Bags larger than 11 x 17 x 5 in (28 x 43 x 13 cm)
• Strollers (parking is available)

Free bag and coat check is available.

Van Gogh’s Cypresses is the first exhibition to focus on the trees—among the most famous in the history of art—immortalized in signature images by Vincent van Gogh (1853–1890). Such iconic pictures as Wheat Field with Cypresses and The Starry Night take their place as the centerpiece in a presentation that affords an unprecedented perspective on a motif virtually synonymous with the Dutch artist’s fiercely original power of expression. Some 40 works illuminate the extent of his fascination with the region’s distinctive flamelike evergreens as they successively sparked, fueled, and stoked his imagination over the course of two years in the South of France: from his initial sightings of the “tall and dark” trees in Arles to realizing their full, evocative potential (“as I see them”) at the asylum in Saint-Rémy. Juxtaposing landmark paintings with precious drawings and illustrated letters—many rarely, if ever, lent or exhibited together—this tightly conceived thematic exhibition offers an extraordinary opportunity to appreciate anew some of Van Gogh’s most celebrated works in a context that reveals the backstory of their invention for the first time. Accompanied by a catalogue.

The exhibition is made possible by the Iris & B. Gerald Cantor Foundation.

Additional support is provided by the Janice H. Levin Fund, Katharine Rayner, and the Aaron I. Fleischman and Lin Lougheed Fund.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

The catalogue is made possible by the Janice H. Levin Fund.

Additional support is provided by Adrian Sassoon and Edmund Burke.

Exhibition Tour

Join Susan Alyson Stein, Engelhard Curator of Nineteenth-Century European Painting, on a virtual tour of the exhibition.

Exhibition Objects

Latest Reviews

a revelatory and appealingly green exhibition.

By now, you’ve surely seen his cypresses … but you’ve never seen them like this.

The tightly focused show is a pleasure and a revelation.

New Presentation Permanent Collection - 2

The completely new presentation of the permanent collection of the Van Gogh Museum focuses on the development of Vincent van Gogh.

• Date 25 November 2014
• Press Release New Presentation Permanent Collection - 2

The story of Van Gogh's life and art is the common theme of all floors of the museum; and his paintings, as well as his drawings and letters have now found a permanent place. All the myths surrounding Van Gogh – his suicide, illness and ear– will now be discussed in detail for the first time. More so than before, Van Gogh is presented in the context of his own time. His huge impact on generations after him will also be shown: the museum will demonstrate that Van Gogh has been a source of inspiration until this very day by presenting works on loan that will be regularly changed.

Vincent van Gogh (1853-1890) is one of the most famous artists of all times and he has become an icon, an almost mythical, larger than life figure. This underlying idea is the start through the spectacularly redesigned Van Gogh Museum. On the ground floor of the museum, the visitor is immediately and literally confronted with the master: a spectacular presentation of self-portraits and his only surviving palette. A video installation in the hall shows how, after his death, Van Gogh has become the important (pop)cultural icon that he is today. This visual culture determines how the general public experiences his art.

Van Gogh's selfportraits in the glass displays were revealed symbolically by family members of Van Gogh. Photo: Jan-Kees Steenman

Complete picture

Now, for the first time, the museum focuses on the complete story: the artist, the context, his personal ambitions, his emotions, the myths and his influence until this very day. All these aspects have contributed to Van Gogh's fame. Throughout the entire building, the permanent collection is presented as a unity and an answer will be given to the question why Van Gogh is such a universally attractive artist for many millions of admirers.

The main theme in the new presentation is Van Gogh's development into one of the greatest artists ever, a story told in various sections. Van Gogh experienced life and the world passionately, and he wanted to express in his art the major themes of the human condition - anxiety, suffering, love and hope. The accompanying texts show how Van Gogh used his distinct style of painting and use of colour to express these emotions.

Artist impression ground floor, Floris Visualisaties, 2014

Coloured walls

Each section focuses on one crucial work that best represents Van Gogh's artistic ambitions at that particular time in his life. For example, the key painting The Potato Eaters (1885) is the focus of the "Painter of Peasant Life" section, related to the early period of Van Gogh's career. Sunflowers (1889) illustrates the "Heyday" section of the time when Van Gogh lived in the South of France, where the artist was struck by its clear light and bright colours, which inspired him to paint orchards in bloom, harvest and other nature scenes.

These important works hang on their own individual wall, so that they fully come to life and automatically take up the key role in the story. For each section, a wall is painted in a particular colour that suits the atmosphere of the subject and the art presented. The traditional white museum walls have now become something of the past: the walls have been painted in distinct colours.

Letters and drawings

Van Gogh was a talented writer and his correspondence is an important source to understand him better both as a person and as an artist. The letters are on display everywhere in the new presentation: a few original letters are displayed and visitors can listen through the headphones to fragments read out loud. The accompanying texts of the entire presentation have made extensive use of Van Gogh's own words. The visitor thus enters the world of Van Gogh himself.

The museum will also, for the first time, pay attention to Van Gogh's drawings. Van Gogh was a great draughtsman and he made circa 1100 drawings, half of which are in the Van Gogh Museum collection. Because they are very sensitive to the influence of light, these drawings can only seldom be displayed. By continually rotating a selection of circa eight drawings, some of his most ambitious pages, as well as special sketches and preparatory drawings will be on display.

Everybody is familiar with the stories about Van Gogh's illness, his partly severed ear and his death. Previously, this was only touched upon in combination with a painting, but from now on the museum will pay attention to the myths in a separate section: a step-by-step presentation of letters, documents and long-term research will show what really happened. This way, the museum meets a great public demand.

Artist impression, Floris Visualisaties, design: Mariëlle Tolenaar, 2014

Through Van Gogh's eyes

Van Gogh is often considered to have been an isolated artist, but he was in actual fact inspired by the work of other artists until the end of his career. He was involved in the developments of contemporary art and he worked together with artists such as Paul Gauguin and Henri de Toulouse-Lautrec in their search for a modern style. Previously, the works by other artists were shown separately from those by Van Gogh. In the new presentation, the works by his examples and contemporaries are integrated in the story about Van Gogh as an artist, so that the connection becomes clear, which enables the visitor to look at this art through the eyes of Van Gogh.

Francis Bacon

Van Gogh's hope that his work might go on inspiring the world after his death has come true: until this very day he reaches out to millions of admirers. Periodically, a special (modern) artwork will be displayed that shows to be influenced and inspired by Van Gogh. From November 2014 this will be Francis Bacon's Study for a Portrait of Van Gogh VI , on loan from the Southbank Centre, London. The huge impact of Van Gogh on the first generation of artists after his death will be shown by expressive works such as those by Maurice de Vlaminck and Kees van Dongen from the museum's own collection.

Touch Van Gogh

The new media make it possible to get to know even more about Van Gogh and his artworks. The showpiece is the Touch Van Gogh app: some artworks are accompanied by touch screens that reveal the secrets of the painting.

By means of individual interventions, such as a perspective frame or a microscope, the visitor can find out more about the daily practice of the artist. For instance, the microscope reveals grains of sand that were blown off the beach onto Van Gogh's wet canvas. Van Gogh's sketchbooks can be paged through and a completely new multi-media tour offers the visitor a new perspective on Van Gogh.

Image from app 'Touch Van Gogh'

Also new: on three locations, young and old are encouraged in a playful manner to carefully look at a painting or object together. The works hang on a child-friendly height, accompanied by authentic objects and provided with a stimulating explanation. They tell a story in their own right. These walls give information about Van Gogh's love of nature, Van Gogh the fervent correspondent, and about his activities as a painter during his stay in the mental hospital in Saint-Rémy-de-Provence. The themes of the presentations will change every year.

History Museum

The presentation will also pay attention to the unique history of the museum and the role played by the Van Gogh family. Vincent Willem Van Gogh (the son of Theo Van Gogh) inherited his uncle's paintings and he was closely involved in the foundation of the Van Gogh Museum in 1973. Documents and stories illustrate this unique history. Van Gogh's belongings that were kept by the family, such as a mounted kingfisher and small balls of wool by means of which Van Gogh carried out his colour experiments are also on display.

Design by Schmalgemeijer & Tolenaar

“When the Van Gogh Museum commissioned me to design the new presentation of the best-known collection in the world, I immediately thought that things should be altered. I felt that in the current presentation the aesthetic experience did not receive the attention it deserves. Of course, the paintings offer visitors this experience, but it was important to me that the entire museum should be pervaded with a sense of aesthetics. It was my aim to make visitors feel that they enter the world of Van Gogh from the very first moment. We have been working very hard at the new presentation for the last two years. And now that the project is almost finished, I think that "Yes, we have succeeded!", according to Marcel Schmalgemeijer. Together with graphical designer Mariëlle Tolenaar, Marcel Schmalgemeijer is responsible for the design.

Van Gogh · New presentation of the artist's works at the Musée d'Orsay

Since February 6, 2024, the Musée d'Orsay has been offering visitors a new presentation of works by Vincent van Gogh in rooms 36 and 37. Located at the end of the Impressionist gallery, this new space offers better conditions for visiting and contemplating the artist's works. To highlight the paintings, the picture rails are painted blue, echoing the colors used by the artist on his canvases. These larger rooms, more conducive to wandering, present Vincent van Gogh's career in France through his paintings: Paris, Arles and Auvers-sur-Oise. They also show the special bond that developed between the painter and Docteur Gachet in the last weeks of his life.

“The aim of the new presentation is to give greater visibility to Van Gogh's works, which are so popular with visitors.” Personne citée Jean-Rémi Touzet, Paint curator

Room 36 · Vincent van Gogh in France (1886-1890)

Vincent van Gogh (1853-1890), born in the Netherlands, was 33 when he arrived in Paris in 1886. His style changed as he came into contact with impressionist painting and the young artists he met, including Paul Signac and Émile Bernard, who were seeking to invent an art in which colour and simplicity of drawing took precedence.

In 1888, tired of the hustle and bustle of Paris, he settled in sunny Arles. He intended to found a colony of artists. Despite the graphic and luminous power of his paintings, his project was a failure that plunged him into disarray. He mutilated his ear and was committed in Saint-Rémy-de-Provence, where he continued to paint despite his episodes.

At the end of May 1890, he made a fresh start in Auvers-sur-Oise, an artists’ village near Paris. He worked intensely, but soon lost all illusions of recovery and artistic recognition. On 27 July, he took his own life by shooting himself in the chest.

Playing with variations of brushstrokes and harmonies of colour, Van Gogh compared his art to music, a “consoling art” and the expression of a personal vision.

Room 37 · The Paul Gachet collection

When Van Gogh decided to leave the hospital in Saint-Rémy-de-Provence, convinced that he had caught “a southern disease”, he expressed a wish to be taken in by the Impressionist painter Camille Pissarro. Pissarro refused, but suggested that he go to Auvers-sur-Oise, a village frequented by artists where the doctor Paul Gachet (1828-1909) practised.

A doctor specialising in “melancholy” and nervous illnesses, Gachet monitored Van Gogh’s state of health. An amateur painter and engraver himself, under the pseudonym of Paul Van Ryssel, he was close to the Impressionists, from whom he bought several paintings, notably by Cézanne, Guillaumin, Monet and Renoir. Gachet was one of the first art lovers to collect works by Van Gogh. He posed for the painter, who gave him a number of works, and he obtained others from Theo van Gogh after his death. He owned up to twenty-seven paintings, twenty drawings and three prints by the artist.

Heirs to their father’s collection, Marguerite Gachet (1869-1949) and Paul Gachet junior (1873-1962) donated it to the Musée du Louvre between 1949 and 1954, where it remained until the opening of the Musée d’Orsay.

To discover also

New rooms Paris, the capital of a modern nation

New mediation station in front of the model of the Paris Opera House

New presentation of Rodin's Gates of Hell

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Impressionist Artist Van Gogh Thesis Defense

Impressionist artist van gogh thesis defense presentation, free google slides theme and powerpoint template.

Vincent van Gogh was a Dutch post-impressionist painter and is today one of the world's most famous artists. He lived from 1853 to 1890, and over the course of his life produced over 2,000 artwork pieces. Van Gogh is particularly famous for his vibrant use of colour and modern expression in his paintings. His works were heavily influenced by French Impressionism and Japanese woodcuts. Some of his most iconic pieces include Starry Night, Sunflowers, The Bedroom, and Irises. On these slides, you’ll find artworks that could’ve been painted by Van Gogh himself! Use them to speak about his troubled life, his art and the legacy he has left.

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Vincent Van Gogh

Jan 04, 2020

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Vincent Van Gogh. Born: March 30, 1853 Died: July 29, 1890. Vincent Van Gogh. Born in Holland Art and religion were the two occupations to which the Van Gogh family gravitated. He went to Paris at 16 to assist an art dealer, began making sketches, and his interest in art began.

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• starry night
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Presentation Transcript

Vincent Van Gogh Born: March 30, 1853Died: July 29, 1890

Vincent Van Gogh • Born in Holland • Art and religion were the two occupations to which the Van Gogh family gravitated. • He went to Paris at 16 to assist an art dealer, began making sketches, and his interest in art began. • For a time, he served as a missionary in England and Holland, but he eventually was expelled from the mission.

Vincent Van Gogh • He decided to become an artist and studied at The Academic Art School at The Hague; where his cousin Anton Mauve taught. He began to paint gloomy scenes of thatched huts, peasants and workers. • His brother Theo was his source of financial and emotional support. Theo sent money to Vincent for food, paint and canvas and tried to sell Vincent’s paintings. He also wrote him many letters of encouragement. « La chambre de Van Gogh à Arles » (Van Gogh's Room at Arles)

Vincent Van Gogh • In 1886 he moved in with his brother in Paris. • He met the leaders of Impressionism • Claude Monet • Camille Pissarro • Paul Gauguin • Georges Seurat. « WheatfieldWithCypresses »

Vincent Van Gogh • He began painting prolifically in his own style characterized by lively brushstrokes and bright, clashing colors. • Among his best-known works are The Potato Eaters (1885), Starry Night (1889), and Irises (1889). • During this time he was suffering from depression and had hallucinations. « The PotatoEaters »

Vincent Van Gogh’s Art • Productive period lasted 10 years (His most popular pieces of work were created in the last 3 years of his life) • Produced more than 2000 pieces of artwork, 900 paintings & 1100+ drawings and sketches • Mostly self taught • Not very famous DURING his life • Guess how many paintings sold during his life? • Paintings sold after his death? For how much? • His work had a powerful influence on the development of modern painting, and he is considered the greatest Dutch painter since Rembrandt.. • He is now regarded as one of the most profoundly influential artists of the 19th century.

Vocabulary • Horizon • A level line where water or land seems to end and the sky begins. It is usually on the eye level of the observer. If the horizon cannot be seen, its placement must be imagined. • Perspective • Techniques for creating the illusion of depth on a two-dimensional surface. • Mood • The feeling or emotion created • What mood do you think is depicted with this painting? « Three Pairs of Shoes »

Vocabulary • Impressionism • A style of painting among French artists in the 1870’s and 1880’s that depicted the natural appearances of objects by means of dabs or strokes of primary unmixed colors in order to simulate actual reflected light. • Post-Impressionism • A style of painting among French artists from 1886 to 1914 that places a greater emphasis on structure and form and rejecting the naturalism of the Impressionists. « The Café Terrace on the Place du Forum, Arles, at Night »

More on Post-Impressionism • Originating in France in 1886 – 1914 • Artists include • Vincent Van Gogh • Paul Gaugin • Georges Seurat • Henri de Toulouse-Lautrec • Distinctive brushstrokes and thick application of paint • Dabs of vivid color • Impressionist did NOT use black • Short and wide lines; and Pointillism • Emotional connection with the subject rather than its true appearance • Unmixed primary colors that are applied side by side; the eye of the viewer optically mixes upon viewing • Depiction of light in its ever changing qualities; natural light emphasized

Portrait of Dr. Gachet $ 82.5 Million Dollars in 1990

Van Gogh Self Portrait without Beard $71.5 Million Dollars in 1998

Starry Night • What is the mood of the painting? • Which elements help to set it?

The Olive Trees • What does the use of color do to create mood? • How does it make you feel?

Red Vineyard in Arles • How does the color here change the mood as in previous examples? • How do you think Van Gough was feeling when he painted this?

Peach Blossom in the Crau • What is his use of space? • What was Van Gogh’s state of mind while painting this?

Peach Blossom in the Crau • Painted this landscape in 1988 during his Arles period, when he used the Japanese style of making people and objects appear small in composing his landscapes. • The horizon line is just above the middle of the painting. • The blooming trees symbolize his optimism, wishes and desires. • He used the Impressionist style in applying the paint in dabbing brushstrokes of thick paint.

Van Gogh Quotes • “What would life be if we had no courage to attempt anything?” • "Painting is a faith, and it imposes the duty to disregard public opinion.“ • “A good picture is equivalent to a good deed. “ • “Paintings have a life of their own that derives from the painter's soul.” •  “Happiness... it lies in the joy of achievement, in the thrill of creative effort.“

Van Gogh Quotes • “Great things are not done by impulse, but by a series of small things brought together. “ • “Love many things, for therein lies the true strength, and whosoever loves much performs much, and can accomplish much, and what is done in love is done well.” • “I feel that there is nothing more truly artistic than to love people.” • “It is not the language of painters but the language of nature which one should listen to. . . . The feeling for the things themselves, for reality, is more important than the feeling for pictures. “

Today’s Lesson • You will create a landscape painting using Van Gogh’s style of straight brushstrokes and perspective. • Decide on mood and color scheme for your landscape. • What color will you use to create the mood? • First draw a light line on the paper to represent the horizon, then lightly sketch in the remainder of the landscape . • Objects grow smaller toward the back of the painting (perspective) • Paint the landscape in a style that will support the mood.

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