The First Art Newspaper on the Net Established in 1996 United States Saturday, July 26, 2014


Philadelphia Museum of Art exhibition explores van Gogh's deep immersion into nature
Joseph J. Rishel, the Gisela and Dennis Alter Senior Curator of European Painting before 1900, and Senior Curator of the John G. Johnson Collection and the Rodin Museum, smiles during an interview at the media availability for the Van Gogh Close Up exhibit at the Philadelphia Museum of Art in Philadelphia. The exhibit opens February 1st. AP Photo/Alex Brandon.
PHILADELPHIA, PA.- “I…am always obliged to go and gaze at a blade of grass, a pine-tree branch, an ear of wheat, to calm myself,” Vincent van Gogh wrote in a letter to his sister, Wilhemina, in July of 1889. An artist of exceptional intensity, not only in his use of color and exuberant application of paint but also in his personal life, van Gogh was powerfully and passionately drawn to nature. From 1886, when van Gogh left Antwerp for Paris, to 1890 when he ended his own life in Auvers, van Gogh’s feverish artistic experimentation and zeal for the natural world propelled him to radically refashion his still lifes and landscapes. With an ardent desire to engage the viewer with the strength of the emotions he experienced before nature, van Gogh radically altered and at times even abandoned traditional pictorial strategies in order to create still lifes and landscapes the likes of which had never before been seen.

Van Gogh Up Close, a major exhibition organized by the Philadelphia Museum of Art and the National Gallery of Canada, presents a group of the artist’s most daring and innovative works that broke with the past and dramatically altered the course of modern painting. Made between 1886 and 1890 in Paris, Arles, Saint-Rémy, and Auvers, the works in the exhibition concentrate on an important and previously overlooked aspect of van Gogh’s work: “close-ups” that bring familiar subjects such as landscape elements, still lifes, and flowers into the extreme foreground of the composition or focus on them in ways that are entirely unexpected and without precedent. These landscapes and still lifes have not previously been seen together or identified before as critical to our understanding of van Gogh’s artistic achievement.

Van Gogh Up Close, includes major loans from museums and private collections in Europe, North America, and Japan, and will be seen in the United States only in Philadelphia (February 1-May 6, 2011) before traveling to the National Gallery of Canada in Ottawa. The exhibition is accompanied by a fully illustrated catalogue and will offer a wide range of programs, including a lecture on the artist by exhibition co-curator Joseph J. Rishel; a conversation about the legacy of van Gogh with a panel of contemporary artists; a film series; and a lecture and book signing with Steven Naifeh and Gregory White Smith, co-authors of the recent biography Van Gogh: The Life (February 12, 2 p.m.).

The exhibition will feature over 70 works, including 46 paintings by van Gogh and more than 30 comparative works such as Japanese woodblock prints by Utagawa Hiroshige and Hayashi Roshü; European prints and drawings by Jean Corot, Camille Pissarro, and Jacob Ruisdael; and photographs by Frederick Evans, August Kotzsch, and others. Van Gogh was an avid collector of Japanese and European prints and drawings by artists whose aesthetic devices served as sources of inspiration for him. While van Gogh was loudly dismissive of photography, the medium offers intriguing parallels with his work and it is possible that van Gogh would have been fascinated by contemporary landscape photographs.

“Van Gogh Up Close explores an important facet of van Gogh’s work that underscores his importance as a path-finding modern artist,” comments Timothy Rub, the George D. Widener Director and CEO of the Philadelphia Museum of Art. “In seeking to share the intensity of his emotional response to the world around him as directly as possible, van Gogh took the traditional methods making pictures and changed the rules.”

After unsuccessfully pursuing careers as an art dealer, teacher, and pastor, Vincent van Gogh (1853 –1890), prompted by his brother Theo, began to study art in 1880. In the Netherlands in 1885, he completed his first major works using a palette of browns, greens, grays, and blacks. A year later, his work underwent a striking shift when, arriving in Paris, he was confronted for the first time by the Impressionist paintings of Monet, Pissarro, Renoir, and by the new pointillist works of Seurat and others. These progressive artists inspired him to lighten his palette and modernize his brushstroke. At roughly the same time, van Gogh began to collect Japanese woodblock prints, fascinated by their vibrant color, high horizon lines, tilting perspectives, and truncated or unusually cropped edges. These influences encouraged van Gogh to experiment with a radical treatment of field and space, flattening and compressing the picture plane in his paintings in order to create a sense of shifting perspective and tension.

Working initially in the apartment he shared with Theo in Montmartre, van Gogh painted a series of still lifes of flowers and fruit such as Still Life with Pears (1888, Gemäldegalerie Neue Meister, Dresden) and Sunflowers (1887, Metropolitan Museum of Art). In these works, objects are often seen from above yet are placed very close to the picture plane in a tightly cropped space which provides no clues to their context or setting. Pieces of fruit appear to tip forward and threaten to roll out of the picture. Van Gogh’s landscapes such as Undergrowth (1887, Centraal Museum, Utrecht) stress the abundance of grasses and flowers by cropping out the horizon.

By the spring of 1888, troubled by intense personal anxieties, van Gogh sought refuge from city life and moved to Arles in the south of France. There he hoped to emulate Japanese artists, working in close communion with nature and studying “a single blade of grass” in order to better comprehend nature as a whole. Landscapes such as Field with Flowers Near Arles (1888, Van Gogh Museum, Amsterdam) reflect a Japanese influence in their high horizon lines and bold colors. Here van Gogh began to adopt a more structured, deliberate treatment of his subjects.

The open compositions that van Gogh created in Arles gave way to a series of landscapes painted in Saint-Rémy, where van Gogh had committed himself to an asylum late in 1888 after his break with Gauguin, and continued in Auvers outside Paris, where van Gogh ultimately took his life in 1890. In these densely packed compositions, the artist evoked the immediacy and closeness of his surroundings as he continued to develop an intimate, close up focus. The exhibition culminates in an audacious series of still lifes which were painted outdoors and take as their subject an extremely close view of a clump of iris, an upward gaze through a tangle of almond branches, or the vibrant patterning of a Death’s-head moth. In these works van Gogh closes in on his subject, dramatically reducing the depth of field and maximizing the expressive impact of his brushwork and color.

“Studying Van Gogh’s close-ups is essential to understanding the artist’s development, as they demonstrate a visual strategy that has been touched upon in scholarship but has not been systematically separated and addressed,” notes Jennifer Thompson, the Philadelphia Museum’s Gloria and Jack Drosdick Associate Curator of European Painting and Sculpture before 1900 and the Rodin Museum. “By exploring this astonishing dimension of the artist’s achievements, we will establish a greater understanding of the scope of his work.”



Today's News

January 30, 2012

Philadelphia Museum of Art exhibition explores van Gogh's deep immersion into nature

Newly renovated and freshly installed 19th-Century French galleries reopen at National Gallery of Art

Weegee: Murder Is My Business at the International Center of Photography in New York

The Clark explores the art of copying - "Copycat: Reproducing Works of Art" opens

Indian tribes join forces to save petroglyph site dating as far back as A.D. 1200

Aargauer Kunsthaus opens monographic exhibition featuring Swiss artist Roman Signer

Rachel Kneebone presents new artwork alongside sculptures by Rodin at the Brooklyn Museum

George Custer dealer Christopher Kortlander seeks return of seized artifacts

Amalia Pica and Karsten Födinger open exhibition at Kunst Halle St. Gallen

Japanese composer and visual artist Ryoji Ikeda presents exhibition at Hamburger Bahnhof

Kunsthalle Zurich announces opening date in new permanent home in the Lowenbrau art complex

Celebrities and unknowns alike star in presentation of nearly forty rarely or never-seen Andy Warhol Polaroids

Exhibition on the production and culture of tobacco as seen through the eyes of Xu Bing

Robert Rauschenberg Foundation announces recipients for the inaugural round of its artistic grants

MoMA P.S. 1 announces a solo exhibition of Darren Bader

Media pioneer Zbigniew Rybczynski and Gábor Bódy in an exhibition at the ZKM Media Museum

Egyptians move to reclaim streets through graffiti

Frederick's Montezuma: Power and Meaning in the Prussian Court Opera opens in Berlin

Israeli artist Ruven Kuperman opens exhibition at Kit Schulte Contemporary Art

Most Popular Last Seven Days



1.- Archaeologists discover Roman 'free choice' cemetery in the 2,700-year-old ancient port of Rome

2.- Romanians must pay 18 million euros over Kunsthal Museum Rotterdam art heist

3.- Hello Kitty designer Yuko Yamaguchi defends cute character as cat turns 40 years old

4.- eBay and Sotheby's partner to bring world class art and collectibles to a global community

5.- Exhibition on Screen returns with new series of films bringing great art to big screens across the globe

6.- Marina Abramović reaches half way point of her '512 Hours' performance at the Serpentine Gallery

7.- The Phillips Collection in Washington introduces a uCurate app for curating on-the-go

8.- United States comic icon Archie Andrews dies saving openly gay character

9.- New feathered predatory fossil, unearthed in China, sheds light on dinosaur flight

10.- Exhibition at Thyssen Bornemisza Museum presents an analysis of the concept of the 'unfinished'



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 

Founder:
Ignacio Villarreal
Editor & Publisher: Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Rmz. - Marketing: Carla Gutiérrez
Special Contributor: Liz Gangemi - Special Advisor: Carlos Amador
Contributing Editor: Carolina Farias

Royalville Communications, Inc
produces:

ignaciovillarreal.org theavemaria.org juncodelavega.org facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site