•Vincent VanGogh was a Dutch artist who lived in France during the 's. • He liked to draw and paint landscapes. •A landscape is a picture of land. •He used. love him or hate him,” he tried to explain. “He spares nothing and no one.” Excerpted from 'Van Gogh: The Life' by Steven Naifeh and Gregory White Smith. Editorial Reviews. terney.info Review. A Look Inside Van Gogh. Jo Bonger Van Gogh with Van Gogh: The Life by [Naifeh, Steven, Smith, Gregory White].
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Items 69 - Vincent van Gogh (excerpts from the artist's letters). Genealogy . map illustrating van Gogh's life in the low countries and to Raymond and. The Life Of Vincent Van Gogh - terney.info van gogh painted quickly, dashing thick globs of paint onto his canvas. his paintings are full of lines and texture. Read [PDF] Van Gogh: The Life By Steven Naifeh Download EBOOK EPUB KINDLE HARDCOVER Where may possibly i download merit Van.
Thereafter, from to , when he was in Paris he completed oil paintings, 40 drawings, and 10 water colors. This massive outpouring of creativity went on unabated in the last two years of his life at Arles. Some observers have alluded to the near-repetitive and seemingly compulsive nature of the themes in his writings, some of which might even seem quasi-religious. He was seen with a pipe dangling from his lips even in his deathbed, and in general, it is believed that all these vices resulted in malnutrition.
Yasuda first adduced the hypothesis in [ 21 ] and Arenberg et al. However, this view has been piquantly challenged by Martin in a recent publication. Symptoms such as stomatitis, abdominal pain, anemia, signs of lead neuropathy, and other features of lead encephalopathy along with delirium and epileptic fits strongly indicate lead as an incriminating factor.
Moreover, no member in his family suffered even remotely from such a condition and the majority of historians are therefore reluctant to accept this view. On the other hand, speculation is rife that both Van Gogh and Theo were victims of syphilis and the view was first put forward by Cavenaille, a physician, though others who had been looking after them for a long time, such as Rey and Peyron, did not subscribe to such a view.
Later researches seem to rule out that his mental symptoms could be attributed to general paresis of the insane.
It makes a ferocious beast of man, a martyr of woman, and a degenerate of the infant, it disorganizes and ruins the family and menaces the future of the country. It contains the terpene compound thujone, structurally an isomer of camphor, which induces convulsion.
Both thujone and camphor induce convulsions, and they were used liberally during the s and s in the study of models for epilepsy. Later textbooks on neurology referred to the relationship of absinthe and epilepsy,[ 36 ] and in the early part of the 20th century, absinthe was finally outlawed in most countries because of its psychotoxic effects. Whatever avenue our senses are aroused, we feel something and this is worth noting and labeling.
To feel that a painting should be discussed, even written about and critiqued, makes it an object of literature — even literature itself. And were this sufficient, we could stop here with a tidy statement about how Van 6 Cynthia Freeland.
Press, , 8, But it is not. Imitation theory would posit that all art — including literature - is an imitation or reflection of the human experience, whether emotional, political, sexual, religious, whatall. This discussion goes back as far as Plato and Aristotle, who were already in dialogue with their contemporaries in 4th Century B. For Vincent, this understanding validated the things he was feeling as he read Bunyan and Kempis — that he was a stranger in this weary land like many others, including Bunyan and Kempis , intent upon reflecting the image and presence of Christ in his own time.
Yet, having been rejected by his family and his faith, van Gogh found solidarity with and gained spiritual nourishment from the characters of literature as much as the ways he was expressing his ideas, sermonizing, through his paintings.
Writing and being literate was, for Vincent, a sacred act, as evidenced by voluminious correspondence with his brother Theo. Vincent was, if nothing else, incredibly literate and to ignore this is to ignore a large part of who he was as a human and as an artist.
Admittedly, it was not always so. It was during this time, the Dordrecht period, that he would write Theo, encouraging him destroy his library — all books, save the Bible and certain devotionals. But again, by , shortly after his termination from ministry, there are indications that his religious fervor was waning.
He was deeply wounded that his effort to sacrificially help others would be grounds for termination, more that his father would join those who rejected Vincent. In this final rejection was the culmination of years of familial pain, embodied in a realm that meant so much to Vincent — his faith.
Inspired by Bunyan and Kempis, Vincent saw himself as a man of sorrow whose redemption was to be found in helping others. Nothing could be less true. No longer is he the amateur translator ignoring his daily tasks, but a passionate and informed seeker.
Told that he was wrong for finding Christ in the face of the suffering, he sought the divine in literature as an art form. It is out of this transformative period that his works take on a very different hue and he begins to tell stories with his paintings.
The Potato Eaters is arguably the best representation of this. There, Vincent tells the story of those he worked with — the miners of Borinage; he depicts the sobriety of the workers he labored with, writing that he wanted to make it so that people get the idea that these folk, who are eating their potatoes by the light of their little lamp, have tilled the earth themselves with these hands they are putting in the dish, and so it speaks of manual labor… they have thus honestly earned their food.
I wanted to give the idea of a wholly different way of life from ours — civilized 12 Ibid. But how could he have held the painting in such high esteem?
Indeed, the sacredness of literature took on deep meaning for Vincent. He sought to name the beauty he had found in Bunyan and Kempis all around him, in nature, in people. He sought to tell a story of comparable worth, but for a failed- theologian-cum-painter, how could that ever happen?
Rather than reject the faith of his earlier life, Vincent began to emulate Hugo and the other authors. He continued devouring their works, but also began telling his own stories in his paintings. In this way, perhaps Vincent assumed too much of his audience.
His letters indicate such a thorough grasp of scripture and literature, and it is clear that he assumes his audience will be as literate. In many ways, his paintings are either indecipherable or too heady — one of the criticisms his superiors had of his sermons shortly 13 Letter Press, , 49 before they terminated him from Borinage. A casual observer and many an art critic have determined that Vincent was relegating the looming scripture to shadow, perhaps indicative of how he felt about his father.
I dare you to read the letters and form the same conclusion. The rest of the information about Vincent is nothing but heresay. Imagine having a strained relationship with your parents and someone writing about you basing their interpretations of your behaviour on how these other people felt about it.
What these other people saw. And the gossip they spread.
The assumption that because it's quoted and cited, that it's actually a correct interpretation of the situation would be absurd. My disgruntlement is not about the alternative ending, which I actually find more plausible than the story of Vincent's attempted suicide.
I do not question the details of his life: where he went, who he met, what he did. What I object to is the way they portray the man.
They paint such an unflattering picture of a man who, if you read what he actually wrote, comes across as an extremely intelligent, sensitive, passionate, exuberant, persistent, energetic, chatty, needy, kind, spiritual, learned, and lonely man who loved his parents, wanted to please and help them and others, and who wanted a deep connection to other people and to the world around him but was thwarted, chastised, bossed around, controlled by others, bullied and ostracised wherever he went.