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Famous artist Vincent Van Gogh's portraits and
self portraits |
Self-portrait with
Dark Felt Hat |
Self-portrait with
Pipe |
Vincent Van Gogh
selfportrait |
Portrait of Pere
Tanguy |
Self-portrait with
Grey Felt Hat |
Agostina
Segatori Sitting in the Cafe du Tambourin |
Van Gogh Self-portrait
|
Self-portrait with
Straw Hat |
Van Gogh Self portrait
with Grey Felt Hat |
Van Gogh Woman Sitting
by a Cradle |
Van Gogh
Self-portrait, Paris |
Van Gogh Self-portrait |
Van Gogh selfportrait |
Van Gogh Self portrait |
Vincent van Gogh,
for whom color was the chief symbol of
expression, was born in Groot-Zundert, Holland.
The son of a pastor, brought up in a religious
and cultured atmosphere, Vincent was highly
emotional and lacked self-confidence. Between
1860 and 1880, when he finally decided to become
an artist, van Gogh had had two unsuitable and
unhappy romances and had worked
unsuccessfully as a clerk in a bookstore in the
Borinage. He remained in Belgium to study art,
determined to give happiness by creating beauty. |
Self portrait with
Straw Hat and Pipe |
Van Gogh’s Self-portrait |
Van Gogh Self-portrait |
Van Gogh Self-portrait |
Self-portrait with
Straw Hat |
Selfportrait with
Straw Hat |
Gogh Self-portrait
with Straw Hat |
Van Gogh Portrait of
Pere Tanguy |
Self-portrait with a
Japanese Print |
Self-portrait, Paris,
Autumn 1887 |
Italian Woman
(Agostian Segatori) |
Van Gogh Portrait of
Pere Tanguy |
Van Gogh selfportraits |
Van Gogh portraits |
Van Gogh Self portrait
with Straw Hat |
Van Gogh Self-portrait
with Grey Felt Hat |
Van Gogh Self-portrait
in Front of the Easel |
Van Gogh La Mousme,
Sitting |
Portrait of Postman
Joseph Roulin |
Portrait of Patience
Escalier |
The works of his
early Dutch period are somber-toned, sharply
lit, genre paintings of which the most famous is
"The Potato Eaters" (1885). In that year van
Gogh went to Antwerp where he discovered the
works of Rubens and purchased many Japanese
prints. In 1886 he went to Paris to join his
brother Theo, the manager of Goupil's gallery.
In Paris, van Gogh studied with Cormon,
inevitably met Pissarro, Monet, and Gauguin, and
began to lighten his very dark palette and to
paint in the short brushstrokes of the
Impressionists. His nervous temperament made him
a difficult companion and night-long discussions
combined with painting all day undermined his
health. |
Van Gogh Self-portrait
Dedicated to Paul Gauguin |
Van Gogh Portrait of Eugene Boch |
Van Gogh Portrait of Eugene Boch |
Portrait of Milliet,
Second Lieutenant of the Zouaves |
Van Gogh Portrait of
Artist's Mother |
Van Gogh L Arlesienne
Madame Ginoux with Books |
Van Gogh Self portrait |
Van Gogh The Schoolboy Camille Roulin
|
Van Gogh Portrait of
Armand Roulin |
Van Gogh Portrait of
Armand Roulin |
Van Gogh Self-portrait with Bandaged Ear and
Pipe |
Van Gogh Portrait of Doctor Felix Rey |
Van Gogh La Berceuse (Augustine Roulin) |
Van Gogh Self-Portrait
with Bandaged Ear, Arles |
Van Gogh Self portrait 1889 |
Van Gogh SelfPortrait |
Van Gogh Self-portrait |
Portrait of Trabuc,
an Attendant at Saint-Paul Hospital |
Van Gogh self portrait |
Van Gogh Portrait of Doctor Gachet |
He decided to go
south to Arles where he hoped his friends would
join him and help found a school of art. Gauguin
did join him but with disastrous results. In a
fit of epilepsy, van Gogh pursued his friend
with an open razor, was stopped by Gauguin, but
ended up cutting a portion of his ear lobe off.
Van Gogh then began to alternate between fits of
madness and lucidity and was sent to the asylum
in Saint-Remy for treatment. In May of 1890, he
seemed much better and went to live in
Auvers-sur-Oise under the watchful eye of Dr.
Gachet. Two months later he was dead, having
shot himself "for the good of all." During his
brief career he had sold one painting.
Van Gogh's finest works
were produced in less than three years in a
technique that grew more and more impassioned in
brushstroke, in symbolic and intense color, in
surface tension, and in the movement and
vibration of form and line. |
Van Gogh Portrait of Doctor Gachet |
Van Gogh Portrait of Adeline Ravoux |
Young Peasant Woman
with Straw Hat Sitting in the Wheat |
Young Girl Standing
against a Background of Wheat |
Van Gogh Marguerite Gachet at the Piano |
Van Gogh's inimitable
fusion of form and content is powerful;
dramatic, lyrically rhythmic, imaginative, and
emotional, for the artist was completely
absorbed in the effort to explain either his
struggle against madness or his comprehension of
the spiritual essence of man and nature. |
Painting's Name
1- Self-portrait with
Dark Felt Hat, Paris, Spring 1886, 2- Self-portrait with
Pipe, Paris, Spring 1886, 3- Selfportrait, Paris, Autumn
1886, 4- Portrait of Pere Tanguy, Paris, Winter, 5-
Self-portrait with Grey Felt Hat, Paris, Winter, 6-
Agostina Segatori Sitting in the Cafe du Tambourin,
Paris, February - March 1887, 7- Self-portrait, Paris,
Spring 1887, 8- Self-portrait with Straw Hat, Paris,
March - April 1887, 9- Self portrait with Grey Felt Hat,
Paris, March - April 1887, 10- Woman Sitting by a
Cradle, Paris, Spring 1887, 11- Self-portrait, Paris,
Spring 1887, 12- Self-portrait, Paris, Spring - Summer
1887, 13- Self-portrait, Paris, Spring - Summer 1887,
14- Self portrait, Paris, Summer 1887, 15- Self portrait
with Straw Hat and Pipe, Paris, Summer 1887, 16-
Self-portrait, Paris, Summer 1887, 17- Self-portrait,
Paris, Summer 1887, 18- Self-portrait, Paris, Summer
1887, 19- Self-portrait with Straw Hat, Paris, Summer
1887, 20- Self-portrait with Straw Hat 2, Paris, Summer
1887, 21- Self-portrait with Straw Hat 3, Paris, Summer
1887, 22- Portrait of Pere Tanguy, Paris, Autumn 1887,
23- Self-portrait with a Japanese Print, Paris, December
1887, 24- Self-portrait, Paris, Autumn 1887, 25- Italian
Woman (Agostian Segatori), Paris, December 1887, 26-
Portrait of Pere Tanguy, Paris, Winter 1887, 27-
Self-portrait, Paris, Winter 1887, 28- Self-portrait,
Paris, Winter 1887, 29- Self-portrait with Straw Hat 4,
Paris, Winter 1887, 30- Self-portrait with Grey Felt
Hat, Paris, Winter 1887, 31- Self-portrait in Front of
the Easel, Paris, early 1888, 32- The Seated Zouave,
Arles, June 1888, 33- La Mousme, Sitting, Arles, July
1888, 34- Portrait of Postman Joseph Roulin, Arles,
early August 1888, 36- Portrait of Patience Escalier,
Arles, August 1888, 37- Self-portrait (Dedicated to Paul
Gauguin), Arles, September 1888, 38- Portrait of Eugene
Boch, Arles, September 1888, 39- Portrait of Milliet,
Second Lieutenant of the Zouaves, Arles, late September
1888, 40- Portrait of Artist's Mother, Arles, October
1888, 41- L Arlesienne Madame Ginoux with Books,
Arles, November 1888, 42- Self-portrait, Arles,
November - December 1887, 43- The Schoolboy Camille
Roulin, Sainte-Remy, November - December 1888, 44-
Portrait of Armand Roulin, Arles, November - December
1888, 45-Portrait of Armand Roulin, Arles, November -
December 1888, 46- Self-portrait with Bandaged Ear and
Pipe, Arles, January 1889, 47- Portrait of Doctor Felix
Rey, Arles, January 1889, 48- La Berceuse (Augustine
Roulin), Arles, January 1889, 49- Self-Portrait with
Bandaged Ear, Arles, January 1889, 50-Self-Portrait,
Saint-Remy, late August 1889, 51- SelfPortrait, Saint
Remy, September 1889 52- Self-portrait, Saint-Remy,
September 1889, 53- Portrait of Trabuc, an Attendant at
Saint-Paul Hospital, Sainte-Remy, September 1889, 54-
Self Portrait, Saint-Remy, September 1889, 55- Portrait
of Doctor Gachet 1 Auvers-sur-Oise June 1890, 56-
Portrait of Doctor Gachet, Auvers-sur-Oise, June 1890,
57- Portrait of Adeline Ravoux, Auvers-sur-Oise, 1890
June, 58- Young Peasant Woman with Straw Hat Sitting in
the Wheat, Auvers-sur-Oise, late June 1890, 59- Young
Girl Standing against a Background of Wheat,
Auvers-sur-Oise, late June 1890, 60- Marguerite Gachet
at the Piano, Auvers-sur-Oise, June 1890
Vincent Van Gogh Work
Van Gogh drew and painted with
watercolors while at school; few of these works survive
and authorship is challenged on some of those that
do.When he committed to art as an adult, he began at an
elementary level by copying the Cours de dessin, edited
by Charles Bargue and published by Goupil & Cie. Within
his first two years he had began to seek commissions. In
spring 1882, his uncle, Cornelis Marinus (owner of a
renowned gallery of contemporary art in Amsterdam) asked
him for drawings of the Hague. Van Gogh's work did not
prove equal 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 atelier (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",which at the time gained him only
criticism. Today, they are recogonised as his first
masterpieces.
The Old Mill, (1888), Albright-Knox Art Gallery
Starry Night Over the Rhone, (1888), Musée d'Orsay,
Paris
Olive Trees with the Alpilles in the Background, (1889),
Museum of Modern Art, New YorkEarly in 1883, he
undertook work on multi-figure compositions, which he
based on the drawings. He had some of them photographed,
but when his brother remarked that they lacked
liveliness and freshness, Van Gogh destroyed them and
turned to oil painting. By autumn 1882, Theo had enabled
him to do his first paintings, but the amount Theo could
supply was soon spent. Then, in spring 1883, Van Gogh
turned to renowned Hague School artists like
Weissenbruch and Blommers, and received technical
support from them, as well as from painters like De Bock
and Van der Weele, both Hague School artists of the
second generation.
When he moved to Nuenen after the intermezzo in Drenthe,
he began a number of large size paintings, but destroyed
most. The Potato Eaters and its companion pieces—The Old
Tower on the Nuenen cemetery and The Cottage—are the
only 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.So he went to
Antwerp and later to Paris to improve his skill.
White House at Night, 1890, Hermitage Museum, St.
Petersburg, painted six weeks before the artist's
deathMore or less acquainted with Impressionist and
Neo-impressionist techniques and theories, Van Gogh went
to Arles to develop these new possibilities. But within
a short time, older ideas on art and work reappeared:
ideas like doing series on related or contrasting
subject matter, which would reflect the purpose of art.
As his work progressed, he painted a great many
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 into triptychs, began
a series of figures that found its end in The Roulin
Family, and finally, when Gauguin had consented to work
and live in Arles side-by-side with Van Gogh, he started
to work on the The Décoration for the Yellow House,
which was by some accounts the most ambitious effort he
ever undertook.Most of his later work is elaborating 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."
The art historian Albert Boime was the first to show
that Van Gogh—even in seemingly phantastical
compositions like Starry Night—relied on reality.The
White House at Night, shows a house at twilight with a
prominent star with 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.
The paintings from the Saint-Rémy period are often
characterized by swirls and spirals. The patterns of
luminosity in these images have been shown to conform to
Kolmogorov's statistical model of turbulence.
Working procedure
Vestibule of the Asylum,
Saint-Remy (September 1889), Van Gogh Museum, brush and
oils, black chalk, on pink laid paperA Self-taught
artist with little training, Van Gogh's painting and
drawing techniques are all but academic. Recent research
has shown that works commonly known as "oil paintings"
or "drawings" would better be called executed in
"mixed-media". For example, The Langlois Bridge at Arles
still shows the highly elaborate under-drawing in pen
and ink,and several works from Saint-Rémy and Auvers,
hitherto considered to be drawings or watercolors, such
as Vestibule of the Asylum, Saint-Remy (September 1889),
turned out to be painted in diluted oil and with a
brush.
Radiographical examination has shown that Van Gogh
re-used older canvases more extensively than previously
assumed—whether he really overpainted more than a third
of his output, as presumed recently, must be verified by
further investigations. In 2008, a team from Delft
University of Technology and the University of Antwerp
used advanced X-ray techniques to create a clear image
of a woman's face previously painted, underneath the
work Patch of Grass.
Cypresses
One of the most popular and widely
known series of Van Gogh's paintings are his Cypresses.
During the summer of 1889, at sister Wil's request, he
made several smaller versions of Wheat Field with
Cypresses.The works are characterised by swirls and
densely painted impasto—and produced one of his
best-known paintings - The Starry Night. Others works
from the series have similar stylistic elements
including Olive Trees with the Alpilles in the
Background (1889) Cypresses (1889), Wheat Field with
Cypresses (1889), (Van Gogh made several versions of
this painting that year), Road with Cypress and Star
(1890) and Starry Night Over the Rhone (1888). These
have become synonymous with Van Gogh's work through
their stylistic uniqueness. According to art historian
Ronald Pickvance,
Road with Cypress and Star, May 1890, Kröller-Müller
Museum
Wheat Field with Cypresses, (1889), National Gallery,
London
Cypresses, (1889), Metropolitan Museum of Art, New York
CityRoad with Cypress and Star (1890), is a painting
compositionally as unreal and artificial as the Starry
Night. Pickvance goes on to say the painting Road with
Cypress and Star represents an exalted experience of
reality, a conflation of North and South, what both van
Gogh and Gauguin referred to as an "abstraction".
Referring to Olive Trees with the Alpilles in the
Background, on or around June 18, 1889, in a letter to
Theo, he wrote, "At last I have a landscape with olives
and also a new study of a Starry Night."
Hoping to also have a gallery for his work, his major
project at this time was a series of paintings including
Still Life: Vase with Twelve Sunflowers (1888), and
Starry Night Over the Rhone (1888) that all intended to
form the décoration of the Yellow House.
Flowering Orchards
See also: Flowering Orchards
Cherry Tree, (1888), Metropolitan Museum of Art, New
York City
View of Arles, Flowering Orchards (1889)The series of
Flowering Orchards, sometimes referred to as the
Orchards in Blossom paintings, were among the first
group of work that Van Gogh completed after his arrival
in Arles, Provence in February 1888. The 14 paintings in
this group are optimistic, joyous and visually
expressive of the burgeoning springtime. They are
delicately sensitive, silent, quiet and unpopulated.
About The Cherry Tree Vincent wrote to Theo on April 21,
1888 and said he had 10 orchards and: one big (painting)
of a cherry tree, which I've spoiled.The following
spring he painted another smaller group of orchards,
including View of Arles, Flowering Orchards.
Van Gogh was taken by the landscape and vegetation of
the south of France, and often visited the farm gardens
near Arles. Because of the vivid light supplied by the
Mediterranean climate his palette significantly
brightened.[147] From his arrival, he was interested it
capturing the effect of the seasons on the surrounding
landscape and plant life.
Flowers and nuturmorts
See also: Sunflowers (series of
paintings)
Van Gogh painted several versions of landscapes with
flowers, as seen in View of Arles with Irises, and
paintings of flowers, such as Irises, Sunflowers,lilacs,
roses, oleanders and other flowers. Some of the
paintings of flowers reflect his interests in the
language of color and also in Japanese ukiyo-e woodblock
prints.
View of Arles with Irises (1888), Van Gogh Museum,
Amsterdam
Irises (1889), Getty Center, Los AngelesHe completed two
series of sunflowers: the first while he was in Paris in
1887 and the later during his stay in Arles the
following year. The first set show the flowers set in
ground. In the second set, they are dying in vases.
However, the 1888 paintings were created during a rare
period of optimism for the artist. He intended them to
decorate a bedroom where Paul Gauguin was supposed to
stay in Arles that August, when the two would create the
community of artists Van Gogh had long hoped for. The
flowers are rendered with thick brushstrokes (impasto)
and heavy layers of paint.
In an August 1888 letter to Theo, he wrote,
"I am hard at it, painting with the enthusiasm of a
Marseillais eating bouillabaisse, which won't surprise
you when you know that what I'm at is the painting of
some sunflowers. If I carry out this idea there will be
a dozen panels. So the whole thing will be a symphony in
blue and yellow. I am working at it every morning from
sunrise on, for the flowers fade so quickly. I am now on
the fourth picture of sunflowers. This fourth one is a
bunch of 14 flowers ... it gives a singular effect."
The series is perhaps his best known and most widely
reproduced. In recent years, there has been debate
regarding the authenticity of one of the paintings, and
it has been suggested that this version may have been
the work of Émile Schuffenecker or of Paul Gauguin.Most
experts, however, conclude that the work is genuine.
Wheat fields
Wheatfield with Crows (1890), Van
Gogh Museum, AmsterdamVan Gogh made several painting
excursions during visits to the landscape around Arles.
He drew a number of paintings featuring harvests, wheat
fields and other rural landmarks of the area, including
The Old Mill (1888); a good example of a picturesque
structure bordering the wheat fields beyond.It was one
of seven canvases sent to Pont-Aven on October 4, 1888
as exchange of work with Paul Gauguin, Emile Bernard,
Charles Laval, and others. At various times in his life,
Van Gogh painted the view from his window—at The Hague,
Antwerp, Paris. These works culminated in The Wheat
Field series, which depicted the view he could see from
his adjoining cells in the asylum at Saint-Rémy.
Writing in July 1890, Van Gogh said that he had become
absorbed "in the immense plain against the hills,
boundless as the sea, delicate yellow".He had become
captivated by the fields in May when the wheat was young
and green. The weather worsened in July, and he wrote to
Theo of "vast fields of wheat under troubled skies",
adding that he did not "need to go out of my way to try
and express sadness and extreme loneliness".By August,
he had painted the crops both young and and
during both dark and bright weather. A depiction of the
golden wheat in bright sunlight was to be his final
painting, along with his usual easel and paints he had
carried a pistol with him that day. |