Javascript required
Skip to content Skip to sidebar Skip to footer
Home / Vincent Van Goghs Painting a Starry Night Is an Example of Plastic Art

Vincent Van Goghs Painting a Starry Night Is an Example of Plastic Art

1889 painting by Vincent van Gogh

The Starry Night
A painting of a scene at night with 10 swirly stars, Venus, and a bright yellow crescent Moon. In the background are hills, in the foreground a cypress tree and houses.
Artist Vincent van Gogh
Yr 1889
Catalogue
  • F612
  • JH1731
Medium Oil on canvas
Dimensions 73.seven cm × 92.i cm (29.01 in × 36.26 in)
Location Museum of Modern Art, New York City

The Starry Night is an oil-on-canvas painting past the Dutch Mail service-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the due east-facing window of his asylum room at Saint-Rémy-de-Provence, just earlier sunrise, with the add-on of an imaginary village.[i] [2] [3] It has been in the permanent collection of the Museum of Modern Art in New York Urban center since 1941, caused through the Lillie P. Elation Bequest. Widely regarded equally Van Gogh's magnum opus,[4] [5] The Starry Night is one of the most recognized paintings in Western art.[6] [7]

The asylum [edit]

The Monastery of Saint-Paul de Mausole

In the aftermath of the 23 Dec 1888 breakdown that resulted in the self-mutilation of his left ear,[8] [nine] Van Gogh voluntarily admitted himself to the Saint-Paul-de-Mausole lunatic asylum on viii May 1889.[10] [11] Housed in a former monastery, Saint-Paul-de-Mausole catered to the wealthy and was less than one-half full when Van Gogh arrived,[12] allowing him to occupy not just a second-story bedroom but too a footing-flooring room for utilize as a painting studio.[xiii]

During the year Van Gogh stayed at the asylum in Saint-Rémy-de-Provence, the prolific output of paintings he had begun in Arles continued.[xiv] During this period, he produced some of the best-known works of his career, including the Irises from May 1889, now in the J. Paul Getty Museum, and the blue self-portrait from September, 1889, in the Musée d'Orsay. The Starry Dark was painted mid-June by around 18 June, the engagement he wrote to his brother Theo to say he had a new written report of a starry sky.[i] [15] [xvi] [50 1]

The painting [edit]

Van Gogh'southward bedchamber in the asylum

Although The Starry Night was painted during the twenty-four hour period in Van Gogh's ground-floor studio, it would exist inaccurate to state that the pic was painted from memory. The view has been identified as the one from his bedroom window, facing east,[one] [two] [17] [eighteen] a view which Van Gogh painted variations of no fewer than twenty-one times,[ citation needed ] including The Starry Night. "Through the fe-barred window," he wrote to his brother, Theo, around 23 May 1889, "I can see an enclosed square of wheat ... higher up which, in the morning, I sentry the sun rising in all its glory."[two] [L 2]

Van Gogh depicted the view at different times of the solar day and nether diverse weather conditions, such as the sunrise, moonrise, sunshine-filled days, overcast days, windy days, and 1 day with rain. While the infirmary staff did non allow Van Gogh to pigment in his bedroom, he was able in that location to brand sketches in ink or charcoal on paper; eventually, he would base newer variations on previous versions. The pictorial element uniting all of these paintings is the diagonal line coming in from the correct depicting the low rolling hills of the Alpilles mountains. In 15 of the twenty-one versions, cypress trees are visible across the far wall enclosing the wheat field. Van Gogh telescoped the view in vi of these[ vague ] paintings, most notably in F717 Wheat Field with Cypresses and The Starry Dark, bringing the trees closer to the moving picture plane.[ citation needed ]

I of the first paintings of the view was F611 Mountainous Landscape Behind Saint-Rémy, at present in Copenhagen. Van Gogh made a number of sketches for the painting, of which F1547 The Enclosed Wheatfield Subsequently a Storm is typical. It is unclear whether the painting was fabricated in his studio or outside. In his 9 June letter of the alphabet describing it, he mentions he had been working outside for a few days.[19] [20] [50 3] [15] Van Gogh described the second of the two landscapes he mentions he was working on, in a alphabetic character to his sis Wil on 16 June 1889.[19] [L iv] This is F719 Green Wheat Field with Cypress, now in Prague, and the first painting at the aviary he definitely painted en plein air.[19] F1548 Wheatfield, Saint-Rémy de Provence, now in New York, is a study for it. Two days later, Vincent wrote to Theo stating that he had painted "a starry sky".[21] [L 1]

The Starry Night is the merely nocturne in the series of views from his sleeping accommodation window. In early June, Vincent wrote to Theo, "This morning I saw the countryside from my window a long time before sunrise with nothing but the morning star, which looked very big".[50 5] Researchers have determined that Venus (sometimes referred to as the "morning star") was indeed visible at dawn in Provence in the leap of 1889, and was at that time nearly as bright every bit possible. So the brightest "star" in the painting, just to the viewer'southward right of the cypress tree, is actually Venus.[15] [17]

The Moon is stylized, as astronomical records signal that it actually was waning gibbous at the time Van Gogh painted the picture,[15] and fifty-fifty if the phase of the Moon had been its waning crescent at the time, Van Gogh's Moon would not have been astronomically correct. (For other interpretations of the Moon, run across below.) The one pictorial element that was definitely non visible from Van Gogh'south cell is the village,[22] which is based on a sketch F1541v made from a hillside above the village of Saint-Rémy.[3] Pickvance idea F1541v was done later, and the steeple more Dutch than Provençal, a conflation of several Van Gogh had painted and fatigued in his Nuenen period, and thus the first of his "reminisces of the North" he was to pigment and draw early the following twelvemonth.[ane] Hulsker thought a landscape on the reverse F1541r was also a report for the painting.[23]

Interpretations [edit]

Despite the large number of messages Van Gogh wrote, he said very little most The Starry Dark.[1] Afterward reporting that he had painted a starry sky in June, Van Gogh next mentioned the painting in a alphabetic character to Theo on or about xx September 1889, when he included it in a listing of paintings he was sending to his brother in Paris, referring to it as a "night study."[24] Of this listing of paintings, he wrote, "All in all the merely things I consider a picayune adept in information technology are the Wheatfield, the Mountain, the Orchard, the Olive copse with the blue hills and the Portrait and the Archway to the quarry, and the remainder says nothing to me"; "the rest" would include The Starry Night. When he decided to hold back three paintings from this batch in order to save money on stamp, The Starry Nighttime was ane of the paintings he did non ship.[25] Finally, in a letter to painter Émile Bernard from late Nov 1889, Van Gogh referred to the painting as a "failure."[26]

Van Gogh argued with Bernard and particularly Paul Gauguin as to whether one should paint from nature, every bit Van Gogh preferred,[27] or paint what Gauguin called "abstractions":[28] paintings conceived in the imagination, or de tête.[29] In the letter to Bernard, Van Gogh recounted his experiences when Gauguin lived with him for nine weeks in the fall and wintertime[ clarification needed ] of 1888: "When Gauguin was in Arles, I once or twice allowed myself to exist led astray into abstraction, as you know. . . . Only that was delusion, love friend, and one soon comes up against a brick wall. . . And yet, once once again I allowed myself to be led astray into reaching for stars that are too big—another failure—and I accept had my fill up of that."[xxx] Van Gogh here is referring to the expressionistic swirls which dominate the upper center portion of The Starry Night.[31]

Theo referred to these pictorial elements in a letter to Vincent dated 22 October 1889: "I clearly sense what preoccupies yous in the new canvases similar the village in the moonlight [The Starry Night] or the mountains, but I feel that the search for style takes away the real sentiment of things."[26] Vincent responded in early November, "Despite what you lot say in your previous letter, that the search for style often harms other qualities, the fact is that I experience myself profoundly driven to seek style, if you similar, but I mean past that a more manly and more than deliberate drawing. If that will brand me more similar Bernard or Gauguin, I can't do anything most information technology. But am inclined to believe that in the long run you'd go used to it." And after in the same alphabetic character, he wrote, "I know very well that the studies drawn with long, sinuous lines from the final consignment weren't what they ought to go, however I dare urge you to believe that in landscapes one will keep to mass things by means of a cartoon mode that seeks to express the entanglement of the masses."[32]

But although Van Gogh periodically defended the practices of Gauguin and Bernard, each time he inevitably repudiated them[33] and continued with his preferred method of painting from nature.[34] Like the impressionists he had met in Paris, peculiarly Claude Monet, Van Gogh also favored working in series. He had painted his series of sunflowers in Arles, and he painted the serial of cypresses and wheat fields at Saint-Rémy. The Starry Night belongs to this latter series,[35] as well every bit to a small series of nocturnes he initiated in Arles.

The nocturne series was express by the difficulties posed by painting such scenes from nature, i.e., at night.[36] The first painting in the series was Café Terrace at Night, painted in Arles in early September 1888, followed by Starry Night (Over the Rhône) later that same calendar month. Van Gogh'south written statements apropos these paintings provide further insight into his intentions for painting night studies in full general and The Starry Night in particular.

Soon afterward his arrival in Arles in February 1888, Van Gogh wrote to Theo, "I demand a starry nighttime with cypresses or—perhaps to a higher place a field of ripe wheat; there are some really beautiful nights hither." That same calendar week, he wrote to Bernard, "A starry sky is something I should like to try to do, just as in the daytime I am going to endeavor to paint a greenish meadow spangled with dandelions."[37] He compared the stars to dots on a map and mused that, as one takes a train to travel on Earth, "we take death to reach a star."[38] Although at this point in his life Van Gogh was disillusioned past organized religion,[39] [40] he appears non to have lost his belief in an afterlife. He voiced this ambivalence in a letter to Theo after having painted Starry Nighttime Over the Rhône, confessing to a "tremendous demand for, shall I say the word—for faith—so I go outside at night to paint the stars."[41]

He wrote most existing in another dimension afterward decease and associated this dimension with the night sky. "It would be and then elementary and would account and then much for the terrible things in life, which at present amaze and wound us then, if life had nevertheless some other hemisphere, invisible it is truthful, merely where one lands when ane dies."[42] "Hope is in the stars," he wrote, just he was quick to point out that "globe is a planet likewise, and consequently a star, or celestial orb."[37] And he stated flatly that The Starry Night was "not a return to the romantic or to religious ideas."[43]

Noted art historian Meyer Schapiro highlights the expressionistic aspects of The Starry Night, saying it was created under the "pressure of feeling" and that information technology is a "visionary [painting] inspired by a religious mood."[44] Schapiro theorizes that the "hidden content"[44] of the work makes reference to the New Attestation book of Revelation, revealing an "apocalyptic theme of the woman in pain of birth, girded with the sun and moon and crowned with stars, whose newborn child is threatened by the dragon."[45] (Schapiro, in the same book, also professes to see an image of a mother and child in the clouds in Mural with Olive Trees,[46] painted at the same time and oft regarded as a pendant to The Starry Night.)[47]

Art historian Sven Loevgren expands on Schapiro's approach, once again calling The Starry Night a "visionary painting" which "was conceived in a country of groovy agitation."[48] He writes of the "hallucinatory character of the painting and its violently expressive class," although he takes pains to note that the painting was not executed during i of Van Gogh's incapacitating breakdowns.[49] Loevgren compares Van Gogh's "religiously inclined longing for the beyond" to the poesy of Walt Whitman.[l] He calls The Starry Night "an infinitely expressive flick which symbolizes the last absorption of the artist by the cosmos" and which "gives a never-to-be-forgotten sensation of standing on the threshold of eternity."[51] Loevgren praises Schapiro's "eloquent interpretation" of the painting every bit an apocalyptic vision[52] and advances his own symbolist theory with reference to the xi stars in one of Joseph's dreams in the Onetime Testament book of Genesis.[53] Loevgren asserts that the pictorial elements of The Starry Night "are visualized in purely symbolic terms" and notes that "the cypress is the tree of death in the Mediterranean countries."[54]

Fine art historian Lauren Soth also finds a symbolist subtext in The Starry Night, saying that the painting is a "traditional religious bailiwick in disguise"[57] and a "sublimated paradigm of [Van Gogh's] deepest religious feelings."[58] Citing Van Gogh'south avowed adoration for the paintings of Eugène Delacroix, and peculiarly the earlier painter's use of Prussian blue and citron yellow in paintings of Christ, Soth theorizes that Van Gogh used these colors to correspond Christ in The Starry Dark.[59] He criticizes Schapiro'due south and Loevgren's biblical interpretations, dependent as they are on a reading of the crescent moon as incorporating elements of the Sunday. He says information technology is merely a crescent moon, which, he writes, also had symbolic meaning for Van Gogh, representing "consolation."[60]

It is in calorie-free of such symbolist interpretations of The Starry Night that art historian Albert Boime presents his report of the painting. As noted above, Boime has proven that the painting depicts not only the topographical elements of Van Gogh's view from his asylum window but also the celestial elements, identifying not merely Venus only too the constellation Aries.[17] He suggests that Van Gogh originally intended to pigment a gibbous Moon but "reverted to a more traditional image" of the crescent moon, and theorizes that the brilliant aureole around the resulting crescent is a remnant of the original gibbous version.[22] He recounts Van Gogh's interest in the writings of Victor Hugo and Jules Verne as possible inspiration for his conventionalities in an afterlife on stars or planets.[61] And he provides a detailed discussion of the well-publicized advances in astronomy that took identify during Van Gogh'due south lifetime.

Boime asserts that while Van Gogh never mentioned astronomer Camille Flammarion in his letters,[62] he believes that Van Gogh must have been aware of Flammarion's popular illustrated publications, which included drawings of spiral nebulae (as galaxies were and so called) as seen and photographed through telescopes. Boime interprets the swirling effigy in the fundamental portion of the sky in The Starry Dark to represent either a spiral galaxy or a comet, photographs of which had also been published in popular media.[22] He asserts that the only non-realistic elements of the painting are the village and the swirls in the sky. These swirls represent Van Gogh's understanding of the cosmos as a living, dynamic identify.[63]

Harvard astronomer Charles A. Whitney conducted his own astronomical study of The Starry Nighttime contemporaneously with merely independent of Boime (who spent almost his entire career at U.C.L.A.).[64] While Whitney does not share Boime's certainty with regard to the constellation Aries,[65] he concurs with Boime on the visibility of Venus in Provence at the fourth dimension the painting was executed.[15] He also sees the delineation of a spiral milky way in the heaven, although he gives credit for the original to Anglo-Irish gaelic astronomer William Parsons, Lord Rosse, whose piece of work Flammarion reproduced.[66]

Whitney also theorizes that the swirls in the heaven could represent air current, evoking the mistral that had such a profound result on Van Gogh during the twenty-7 months he spent in Provence.[18] (It was the mistral which triggered his start breakup later on entering the asylum, in July 1889, less than a month afterwards painting The Starry Nighttime.)[67] Boime theorizes that the lighter shades of blue just above the horizon testify the first light of morning time.[22]

The hamlet has been variously identified as either a recollection of Van Gogh's Dutch homeland,[i] [68] or based on a sketch he fabricated of the town of Saint-Rémy.[3] [22] In either example, it is an imaginary component of the motion-picture show, not visible from the window of the asylum bedroom.

Cypress trees have long been associated with death in European culture, though the question of whether Van Gogh intended for them to have such a symbolic meaning in The Starry Nighttime is the subject of an open debate. In an April 1888 alphabetic character to Bernard, Van Gogh referred to "funereal cypresses,"[69] though this is perhaps like to maxim "stately oaks" or "weeping willows." One week afterwards painting The Starry Night, he wrote to his blood brother Theo, "The cypresses are always occupying my thoughts. I should like to make something of them like the canvases of the sunflowers, considering it astonishes me that they have not notwithstanding been done as I see them."[70] In the aforementioned letter he mentioned "2 studies of cypresses of that hard shade of canteen green."[71] These statements suggest that Van Gogh was interested in the trees more for their formal qualities than for their symbolic connotation.

Schapiro refers to the cypress in the painting as a "vague symbol of a human being striving."[44] Boime calls it the "symbolic counterpart of Van Gogh's own striving for the Infinite through non-orthodox channels."[62] Fine art historian Vojtech Jirat-Wasiutynski says that for Van Gogh the cypresses "function every bit rustic and natural obelisks" providing a "link between the heavens and the earth."[72] (Some commentators see one tree, others encounter two or more than.) Loevgren reminds the reader that "the cypress is the tree of death in the Mediterranean countries."[54]

Art historian Ronald Pickvance says that with "its capricious collage of separate motifs," The Starry Night "is overtly stamped as an 'abstraction'."[73] Pickvance claims that cypress trees were not visible facing east from Van Gogh'southward room, and he includes them with the village and the swirls in the sky as products of Van Gogh's imagination.[1] Boime asserts that the cypresses were visible in the eastward,[17] equally does Jirat-Wasiutyński.[74] Van Gogh biographers Steven Naifeh and Gregory White Smith concur, saying that Van Gogh "telescoped" the view in certain of the pictures of the view from his window,[21] and it stands to reason that Van Gogh would practice this in a painting featuring the Morning Star. Such a pinch of depth serves to enhance the brightness of the planet.

Soth uses Van Gogh'due south argument to his brother, that The Starry Night is "an exaggeration from the indicate of view of arrangement" to further his argument that the painting is "an amalgam of images."[75] Still, information technology is by no means certain that Van Gogh was using "arrangement" as a synonym for "limerick." Van Gogh was, in fact, speaking of three paintings, i of which was The Starry Night, when he made this comment: "The olive trees with white deject and background of mountains, as well as the Moonrise and the Night result," as he chosen it, "these are exaggerations from the signal of view of the arrangement, their lines are contorted like those of the aboriginal woodcuts." The commencement two pictures are universally best-selling to be realistic, non-composite views of their subjects. What the three pictures practice take in common is exaggerated color and brushwork of the blazon that Theo referred to when he criticized Van Gogh for his "search for style [that] takes away the real sentiment of things" in The Starry Dark.

On two other occasions around this time, Van Gogh used the give-and-take "arrangement" to refer to colour, like to the mode James Abbott McNeill Whistler used the term. In a letter of the alphabet to Gauguin in January 1889, he wrote, "As an arrangement of colours: the reds moving through to pure oranges, intensifying even more in the flesh tones up to the chromes, passing into the pinks and marrying with the olive and Veronese greens. Equally an impressionist system of colours, I've never devised annihilation better."[76] (The painting he is referring to is La Berceuse, which is a realistic portrait of Augustine Roulin with an imaginative floral groundwork.) And to Bernard in belatedly November 1889: "Simply this is enough for y'all to understand that I would long to see things of yours again, like the painting of yours that Gauguin has, those Breton women walking in a meadow, the arrangement of which is and then cute, the colour so naively distinguished. Ah, you're exchanging that for something—must one say the word—something artificial—something affected."[77] [78]

While stopping short of calling the painting a hallucinatory vision, Naifeh and Smith talk over The Starry Nighttime in the context of Van Gogh's mental illness, which they identify as temporal lobe epilepsy, or latent epilepsy.[79] "Not the kind," they write, "known since antiquity, that caused the limbs to jerk and the body to collapse ('the falling sickness', as it was sometimes called), but a mental epilepsy—a seizing up of the mind: a collapse of thought, perception, reason, and emotion that manifested itself entirely in the encephalon and frequently prompted baroque, dramatic behavior."[lxxx] Symptoms of the seizures "resembled fireworks of electrical impulses in the brain."[31]

Van Gogh experienced his second breakdown in vii months in July 1889.[67] Naifeh and Smith theorize that the seeds of this breakdown were nowadays when Van Gogh painted The Starry Dark, that in giving himself over to his imagination "his defenses had been breached."[81] On that day in mid-June, in a "state of heightened reality," with all the other elements of the painting in place,[82] Van Gogh threw himself into the painting of the stars, producing, they write, "a dark sky unlike any other the globe had ever seen with ordinary eyes."[31]

Provenance [edit]

Afterward having initially held it back, Van Gogh sent The Starry Night to Theo in Paris on 28 September 1889, along with nine or ten other paintings.[25] [73] Theo died less than 6 months after Vincent, in Jan 1891. Theo'south widow Jo became the flagman of Van Gogh's legacy. In Paris in 1900 she sold the painting to poet Julien Leclercq. In 1901 Leclercq sold it to Gauguin's old friend Émile Schuffenecker. Jo bought the painting back from Schuffenecker and in 1906 sold information technology to the Oldenzeel Gallery in Rotterdam. From 1906 to 1938 it was owned by Georgette P. van Stolk, of Rotterdam, who sold it to Paul Rosenberg, of Paris and New York. Information technology was through Rosenberg that the Museum of Modern Art acquired the painting in 1941.[83]

Painting materials [edit]

The painting was investigated past the scientists at the Rochester Found of Technology and the Museum of Modern Art in New York.[84] The pigment analysis has shown that the heaven was painted with ultramarine and cobalt blue, and for the stars and the moon, Van Gogh employed the rare pigment indian yellow together with zinc yellow.[85]

  • Details of Van Gogh'due south The Starry Night exhibited at the Museum of Modern Art of New York.

  • Moon

  • Venus

  • Hills and sky

  • Left part of the canvas and frame

  • Stars in the sky

See also [edit]

  • Baldin Collection
  • "Vincent", 1971 song past Don McLean written as a tribute to Vincent van Gogh
  • Timbres, espace, mouvement: an orchestral piece of work (1978) by Henri Dutilleux inspired by the painting

References [edit]

Citations
  1. ^ a b c d e f m Pickvance 1986, p. 103
  2. ^ a b c Naifeh & Smith 2011, p. 747
  3. ^ a b c Naifeh & Smith 2011, p. 760
  4. ^ "Vincent van Gogh Biography, Art, and Analysis of Works". The Fine art Story . Retrieved 12 June 2015. Starry Night is often considered to be Van Gogh'due south pinnacle accomplishment.
  5. ^ "Vincent van Gogh Paintings, 50 of his all-time works of art". Growth Skills. 8 March 2013. Retrieved 18 August 2020. [ permanent dead link ]
  6. ^ Moyer, Edward (14 February 2012). "Interactive canvass lets viewers stir Van Gogh'due south 'Starry Night'". CNET News . Retrieved 12 June 2015. ...i of the Westward's most iconic paintings: Vincent van Gogh'southward 'The Starry Night.'
  7. ^ Kim, Hannah (27 May 2010). "Vincent van Gogh'southward The Starry Night, now pocket-sized!". MoMA . Retrieved 12 June 2015. Instantly recognizable and an iconic prototype in our culture, Vincent van Gogh'southward The Starry Dark is a touchstone of modernistic fine art and one of the nigh love works...
  8. ^ Naifeh & Smith 2011, pp. 701–seven
  9. ^ Pickvance 1984, p. 159
  10. ^ Naifeh & Smith 2011, pp. 741–iii
  11. ^ Pickvance 1986, pp. 25–6
  12. ^ Naifeh & Smith 2011, p. 746
  13. ^ Naifeh & Smith 2011, p. 754
  14. ^ Naifeh & Smith 2011, pp. 592, 778
  15. ^ a b c d due east Whitney 1986, p. 356
  16. ^ Naifeh & Smith 2011, pp. 759–61
  17. ^ a b c d Boime 1984, p. 88
  18. ^ a b Whitney 1986, p. 358
  19. ^ a b c Hulsker 1986, p. 394
  20. ^ Pickvance 1986, p. 93
  21. ^ a b Naifeh & Smith 2011, p. 759
  22. ^ a b c d e Boime 1984, p. 89
  23. ^ Hulsker 1986, p. 396
  24. ^ Van Gogh Letters Project, no. 805
  25. ^ a b Van Gogh Letters Project, no. 806
  26. ^ a b Naifeh & Smith 2011, p. 784
  27. ^ Naifeh & Smith 2011, p. 755
  28. ^ Naifeh & Smith 2011, p. 625n
  29. ^ Naifeh & Smith 2011, p. 674
  30. ^ de Leeuw, Ronald (ed.) (1996). The Messages of Vincent van Gogh. London: Penguin Books. p. 469. ISBN978-0-140-44674-6.
  31. ^ a b c Naifeh & Smith 2011, p. 762
  32. ^ Van Gogh Letters Project, no. 816
  33. ^ Naifeh & Smith 2011, pp. 626, 680
  34. ^ Naifeh & Smith 2011, p. 778
  35. ^ Schapiro, Meyer (1950). Vincent van Gogh. New York: H. N. Abrams. p. 110.
  36. ^ Naifeh & Smith 2011, p. 650
  37. ^ a b Naifeh & Smith 2011, p. 649
  38. ^ Naifeh & Smith 2011, p. 611
  39. ^ Soth 1986, p. 301
  40. ^ Naifeh & Smith 2011, p. 766
  41. ^ Naifeh & Smith 2011, p. 651
  42. ^ Naifeh & Smith 2011, p. 858n
  43. ^ Naifeh & Smith 2011, p. 767
  44. ^ a b c Schapiro, p. 100
  45. ^ Schapiro, p. 33
  46. ^ Schapiro, p. 108
  47. ^ Pickvance 1986, p. 101
  48. ^ Loevgren 1971, p. 172
  49. ^ Loevgren 1971, pp. 172–73
  50. ^ Loevgren 1971, p. 181
  51. ^ Loevgren 1971, p. 182
  52. ^ Loevgren 1971, p. 183
  53. ^ Loevgren 1971, p. 186
  54. ^ a b Loevgren 1971, p. 184
  55. ^ The Sterling and Francine Clark Fine art Institute: Cypresses in Starry Night Archived 10 Jan 2013 at archive.today in the Lost Art digital collection. Retrieved three June 2012.
  56. ^ Richard Boudreaux: "Ex-Soviet Officer Tried to Return Art Institute in Cellar", Los Angeles Times 20 March 1995, retrieved iii June 2012.
  57. ^ Soth 1986, p. 308
  58. ^ Soth 1986, p. 312
  59. ^ Soth 1986, p. 307
  60. ^ Soth 1986, p. 309
  61. ^ Boime 1984, p. 95
  62. ^ a b Boime 1984, p. 96
  63. ^ Boime 1984, p. 92
  64. ^ Rourke, Mary. "Fine art historian viewed works from social, political standpoints". Los Angeles Times . Retrieved sixteen August 2014.
  65. ^ Whitney 1986, p. 352
  66. ^ Whitney 1986, p. 351
  67. ^ a b Naifeh & Smith 2011, p. 771
  68. ^ Schapiro, p. 34
  69. ^ Pickvance 1984, p. 181
  70. ^ Naifeh & Smith 2011, p. 758
  71. ^ Van Gogh Messages Project, no. 783
  72. ^ Jirat-Wasiutynski, p. 657
  73. ^ a b Pickvance 1986, p. 106
  74. ^ Jirat-Wasiutynski, p. 667
  75. ^ Soth 1986, p. 305
  76. ^ Van Gogh Letters Project, no. 739
  77. ^ Van Gogh Letters Project, no. 822
  78. ^ Naifeh & Smith 2011, p. 675
  79. ^ Naifeh & Smith 2011, pp. 762–763
  80. ^ Naifeh & Smith 2011, p. 749; accent in the original
  81. ^ Naifeh & Smith 2011, p. 763
  82. ^ Naifeh & Smith 2011, p. 761
  83. ^ "The Provenance Research Project". Museum of Modern Art . Retrieved sixteen August 2014.
  84. ^ Yonghui Zhao, Roy Due south. Berns, Lawrence A. Taplin, James Coddington, An Investigation of Multispectral Imaging for the Mapping of Pigments in Paintings, in Proc. SPIE 6810, Calculator Image Analysis in the Study of Fine art, 681007 (29 February 2008)
  85. ^ Van Gogh, The Starry Nighttime, illustrated paint analysis, ColourLex
Letters
  1. ^ a b "Letter 782:To Theo van Gogh. Saint-Rémy-de-Provence, on or about Tuesday, 18 June 1889". Vincent van Gogh: The Letters. Van Gogh Museum. 1v:2. At last I take a mural with olive trees, and as well a new report of a starry sky.
  2. ^ "Letter 776: To Theo van Gogh. Saint-Rémy-de-Provence, on or near Th, 23 May 1889". Vincent van Gogh: The Letters. Van Gogh Museum. 1v:2. Through the atomic number 26-barred window I can brand out a square of wheat in an enclosure, a perspective in the manner of Van Goyen, to a higher place which in the morning I meet the sun ascension in its glory.
  3. ^ "Letter 779: To Theo van Gogh. Saint-Rémy-de-Provence, Lord's day, 9 June 1889". Vincent van Gogh: The Letters. Van Gogh Museum. 1v:2. ... for a few days now I've been going outside to work in the neighbourhood... Ane is the countryside that I glimpse from the window of my bedroom. In the foreground, a field of wheat, ravaged and knocked to the footing after a storm. A boundary wall and beyond, grey leafage of a few olive trees, huts and hills. Finally, at the pinnacle of the painting, a large white and greyness cloud swamped by the azure. It's a landscape of extreme simplicity — in terms of colouration as well.
  4. ^ "Alphabetic character 780: To Willemien van Gogh. Saint-Rémy-de-Provence, Sunday, xvi June 1889". Vincent van Gogh: The Letters. Van Gogh Museum. 1r:1. Then yet some other that depicts a field of yellowing wheat surrounded by brambles and greenish bushes. At the end of the field a footling pink house with a tall and dark cypress tree that stands out against the distant purplish and bluish hills, and against a forget-me-not bluish sky streaked with pinkish whose pure tones dissimilarity with the already heavy, scorched ears, whose tones are as warm equally the crust of a loaf of bread.
  5. ^ "Letter 777: To Theo van Gogh. Saint-Rémy-de-Provence, betwixt about Fri, 31 May and virtually Thursday, 6 June 1889". Vincent van Gogh: The Messages. Van Gogh Museum. 1v:2. This morn I saw the countryside from my window a long fourth dimension before sunrise with nothing but the morning star, which looked very large.
Sources
  • Boime, Albert (December 1984). "Van Gogh'south Starry Dark: A History of Affair and a Thing of History" (PDF). Arts Magazine. 59 (four): 86–103.
  • De La Faille, Jacob Baart (1970). The works of Vincent van Gogh (third ed.). Amsterdam: Meulenhoff. OCLC 300160639.
  • Ives, Colta; Stein, Susan Alyson; van Heugten, Sjraar; Vellekoop, Marije (2005). Vincent Van Gogh: The Drawings. New York: Metropolitan Museum of Art. ISBN978-1588391650.
  • Hulsker, January (1986). The Complete Van Gogh: Paintings, Drawings, Sketches. New York, NY: Harrison House/Harry N. Abrams Distributed past Crown Publishers, Random House. ISBN0-517-44867-X.
  • Jirat-Wasiutynski, Vojtech (December 1993). "Vincent van Gogh's Paintings of Olive Trees and Cypresses from St.-Remy". Art Bulletin. 75 (iv). JSTOR 3045988.
  • Loevgren, Sven (1971). The Genesis of Modernism: Seurat, Gauguin, Van Gogh, and French Symbolism in the 1880s . Bloomington: Indiana University Printing. ISBN978-0253325600.
  • Naifeh, Steven and Gregory White Smith (2011). Van Gogh: The Life. New York: Random House. ISBN978-0-375-50748-ix.
  • Pickvance, Ronald (1984). Van Gogh in Arles. New York: Metropolitan Museum of Art. ISBN0-87099-376-three.
  • Pickvance, Ronald (1986). Van Gogh In Saint-Rémy and Auvers (exhibition catalog, Metropolitan Museum of Art) . New York: Metropolitan Museum of Art, Abrams. ISBN0-87099-477-viii.
  • Soth, Lauren (June 1986). "Van Gogh's Agony". Fine art Bulletin. 68 (2): 301. doi:10.1080/00043079.1986.10788341.
  • Whitney, Charles A. (September 1986). "The Skies of Vincent van Gogh". Fine art History. 9 (three): 351–362. doi:10.1111/j.1467-8365.1986.tb00206.x.

External links [edit]

  • The Starry Night at the Museum of Modern Art
  • The Starry Night at Who is van Gogh
  • Van Gogh, paintings and drawings: a special loan exhibition, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains fabric on this painting (run into index)
  • Aerial photo of monastery marking Vincent's sleeping room Archived 24 April 2017 at the Wayback Machine
  • Vincent van Gogh, The Starry Night, ColourLex
  • "12 Most Famous Paintings in History", paintandpainting.com

stacyagnsur.blogspot.com

Source: https://en.wikipedia.org/wiki/The_Starry_Night