Vincent van Gogh: Emotion, Vision, and A Singular Style
Mention Vincent van Gogh (Dutch, 1853–1890) and one of the first things likely to come to many people’s minds is the fact that he cut off his own ear. This stark act, committed in 1888, marked the beginning of the depression that would plague him until the end of his life. But to know van Gogh is to get past the caricature of the tortured, misunderstood artist and to become acquainted instead with the hardworking, deeply religious, and difficult man. Van Gogh found his place in art and produced emotional, visually arresting paintings over the course of a career that lasted only a decade.
Largely self-taught, van Gogh produced more than 2,000 oil paintings, watercolors, drawings, and sketches, which became in demand only after his death. He also wrote scores of letters, especially to his brother Theo, in which he worked out his thoughts about art. “Always continue walking a lot and loving nature, for that’s the real way to learn to understand art better and better,” he wrote in 1874. “Painters understand nature and love it, and teach us to see.”1
It was nature, and the people living closely to it, that first stirred van Gogh’s artistic inclinations. In this he was not alone. Landscapes remained a popular subject in late-nineteenth-century art. Driven in part by their dissatisfaction with the modern city, many artists sought out places resembling earthly paradises, where they could observe nature firsthand, feeding its psychological and spiritual resonances into their work. Van Gogh was particularly taken with the peasants he saw working the countryside; his early compositions featured portraits of Dutch peasants and rural landscapes, rendered in dark, moody tones.
In 1886, van Gogh moved to Paris, where he encountered the works of the Impressionists and Neo-Impressionists, and the Pointillist compositions of Georges Seurat. Inspired by these artists’ harmonious matching of colors, shorter brushstrokes, and liberal use of paint, he brightened his own palette and loosened his brushwork, emphasizing the physical application of paint on the canvas. The style he developed in Paris and carried through to the end of his life became known as Post-Impressionism, a term encompassing works made by artists unified by their interest in expressing their emotional and psychological responses to the world through bold colors and expressive, often symbolicimages. In a letter to his sister Willemien, touching upon the mind and temperament of artists, van Gogh once wrote that he was “very sensitive to color and its particular language, its effects of complementaries, contrasts, harmony.”2
By 1888, van Gogh had returned to the French countryside, where he would remain until his death. There, close once again to the peasants who had inspired him early on, he concentrated on painting landscapes, portraits (of himself and others), domestic interiors, and still lifes full of personal symbolism.
Observation and Imagination in The Starry Night (1889)
“This morning I saw the countryside from my window a long time before sunrise, with nothing but the morning star, which looked very big,” wrote van Gogh to his brother Theo, describing his inspiration for one of his best-known paintings, The Starry Night (1889).3 The window to which he refers was in the Saint-Paul asylum in Saint-Rémy, in southern France, where he sought respite from his emotional suffering while continuing to make art.
This mid-scale, oil-on-canvas painting is dominated by a moon- and star-filled night sky. It takes up three-quarters of the picture planeand appears turbulent, even agitated, with intensely swirling patterns that seem to roll across its surface like waves. It is pocked with bright orbs—including the crescent moon to the far right, and Venus, the morning star, to the left of center—surrounded by concentric circles of radiant white and yellow light.
Beneath this expressive sky sits a hushed village of humble houses surrounding a church, whose steeple rises sharply above the undulating blue-black mountains in the background. A cypress tree sits at the foreground of this night scene. Flame-like, it reaches almost to the top edge of the canvas, serving as a visual link between land and sky. Considered symbolically, the cypress could be seen as a bridge between life, as represented by the earth, and death, as represented by the sky, commonly associated with heaven. Cypresses were also regarded as trees of the graveyard and mourning. “But the sight of the stars always makes me dream,” van Gogh once wrote. “Why, I say to myself, should the spots of light in the firmament be less accessible to us than the black spots on the map of France? Just as we take the train to go to Tarascon or Rouen, we take death to go to a star.”4
The Starry Night is based on van Gogh’s direct observations as well as his imagination, memories, and emotions. The steeple of the church, for example, resembles those common in his native Holland, not in France. The whirling forms in the sky, on the other hand, match published astronomical observations of clouds of dust and gas known as nebulae. At once balanced and expressive, the composition is structured by his ordered placement of the cypress, steeple, and central nebulae, while his countless short brushstrokes and thickly applied paint set its surface in roiling motion. Such a combination of visual contrasts was generated by an artist who found beauty and interest in the night, which, for him, was “much more alive and richly colored than the day.”5
Vincent van Gogh, Letter to Theo van Gogh, London, beginning of January 1874, http://vangoghletters.org/vg/letters/let017/letter.html.
Vincent van Gogh, Letter to Willemien van Gogh, Saint-Rémy-de-Provence, Wednesday, 19 February 1890, http://vangoghletters.org/vg/letters/let856/letter.html.
Vincent van Gogh, Letter to Theo van Gogh, Saint-Rémy-de-Provence, between about Friday, 31 May and about Thursday, 6 June 1889, http://vangoghletters.org/vg/letters/let777/letter.html.
Vincent van Gogh, Letter to Theo van Gogh, Arles, Monday, 9 or Tuesday, 10 July 1888, http://vangoghletters.org/vg/letters/let638/letter.html.
Vincent van Gogh, Letter to Theo van Gogh, Arles, Saturday, 8 September 1888, http://vangoghletters.org/vg/letters/let676/letter.html.
Vincent van Gogh, Letter to Theo van Gogh, Saint-Rémy-de-Provence, on or about Friday, 20 September 1889, http://vangoghletters.org/vg/letters/let805/letter.html.
The virtual, illusionary plane created by the artist, parallel to the physical surface of a two-dimensional work of art; the physical surface of a two-dimensional work of art, e.g. a painting, drawing, or print.
One who applies paint to canvas, wood, paper, or another support to produce a picture.
A paint composed of pigment mixed into water; a work of art made with this paint.
A term coined in 1910 by the English art critic and painter Roger Fry and applied to the reaction against the naturalistic depiction of light and color in Impressionism, led by Paul Cézanne, Paul Gauguin, Vincent van Gogh, and Georges Seurat. Though each of these artists developed his own, distinctive style, they were unified by their interest in expressing their emotional and psychological responses to the world through bold colors and expressive, often symbolic images. Post-Impressionism can be roughly dated from 1886 to 1905.
A paint in which pigment is suspended in oil, which dries on exposure to air.
A term applied to an avant-garde art movement that flourished principally in France from 1886 to 1906. Led by the example of Georges Seurat, the Neo-Impressionists renounced the spontaneity of Impressionism in favor of a measured painting technique grounded in science and the study of optics. Neo-Impressionists came to believe that separate touches of interwoven pigment result in a greater vibrancy of color than is achieved by the conventional mixing of pigments on the palette.
Two or more things having a common center.
A rough or unfinished version of any creative work, often made to assist in the completion of a more finished work (noun); to make a rough drawing or painting (verb).
1. The range of colors used by an artist in making a work of art; 2. A thin wooden or plastic board on which an artist holds and mixes paint.
A representation of a person or thing in a work of art.
A setting for or a part of a story or narrative.
A work of art made from paint applied to canvas, wood, paper, or another support (noun).
A work of art made with a pencil, pen, crayon, charcoal, or other implements, often consisting of lines and marks (noun); the act of producing a picture with pencil, pen, crayon, charcoal, or other implements (verb, gerund).
The manner in which a painter applies paint with a brush.
Cotton or linen woven cloth used as a surface for painting.
A technique of painting developed by French painters Georges-Pierre Seurat and Paul Signac, in which small, distinct points of unmixed color are applied in patterns to form an image.
A form, sign, or emblem that represents something else, often something immaterial, such as an idea or emotion.
The visual or narrative focus of a work of art.
A combination of pigment, binder, and solvent (noun); the act of producing a picture using paint (verb, gerund).
A distinctive or characteristic manner of expression.
A representation of inanimate objects, as a painting of a bowl of fruit.
A representation of a particular individual.
A series of events, objects, or compositional elements that repeat in a predictable manner.
The natural landforms of a region; also, an image that has natural scenery as its primary focus.
A 19th-century art movement, associated especially with French artists, whose works are characterized by relatively small, thin, visible brushstrokes that coalesce to form a single scene and emphasize movement and the changing qualities of light. Anti-academic in its formal aspects, Impressionism also involved the establishment of independent exhibitions outside of the established and official venues of the day.
The shape or structure of an object.
The area of an image—usually a photograph, drawing, or painting—that appears closest to the viewer.
A facial aspect indicating an emotion; also, the means by which an artist communicates ideas and emotions.
The arrangement of the individual elements within a work of art so as to form a unified whole; also used to refer to a work of art, music, or literature, or its structure or organization.
Colors located opposite one another on the color wheel. When mixed together, complementary colors produce a shade of gray or brown. When one stares at a color for a sustained period of time then looks at a white surface, an afterimage of the complementary color will appear.
The perceived hue of an object, produced by the manner in which it reflects or emits light into the eye. Also, a substance, such as a dye, pigment, or paint, that imparts a hue.
A rendering, usually a drawing, of a person or thing with exaggerated or distorted features, meant to satirize the subject.
The area of an artwork that appears farthest away from the viewer; also, the area against which a figure or scene is placed.
Reality through an Artist’s Eyes
In a letter to his brother Theo, van Gogh wrote passionately about painting a scene as he experienced, imagined, and, ultimately, interpreted it, not as it was expected to be rendered. Comparing painting to playing music, he argued: “We painters are always asked to compose ourselves and to be nothing but composers. Very well – but in music it isn’t so […] in music […] a composer’s interpretation is something […].”6
F. SCOTT FITZGERALD'S poignant story of a father's lonely love for his little girl, told in "Babylon Revisited," has "inspired" Metro-Goldwyn-Mayer's big color film, "The Last Time I Saw Paris," which opened last night at the Capitol.
"Inspired" is a polite way to put it. For what has actually occurred is that Mr. Fitzgerald's cryptic story of a man's return to the scene of his wantonness—to Paris, that is—in the tense hope of recovering his child by his late wife has excited the picture-makers to an orgy of turning up the past and constructing a whole lurid flashback on the loving and lushing of the man and his wife before she died.
Where Fitzgerald did it in a few words—in a few subtle phrases that evoked a reckless era of golden dissipation toward the end of the Twenties' boom—Richard Brooks, who directed this picture after polishing up an Epstein-brothers' script, has done it in a nigh two-hour assembly of bistro balderdash and lush, romantic scenes.
First, he has changed the time of it — from the predepression days to the years just after the last war, when Paris was again full of American sports. Next, he has changed the hero's business. Now he is an ink-smeared journalist who graduates from Stars and Stripes to a news agency and then to a hopeless try at authorship. And finally he has made the wife a daughter of an American expatriate, and has arranged for the couple to get wealthy by a lucky strike in Texas oil.
With this rearrangement of Fitzgerald's background, Mr. Brooks and Jack Cummings, who produced, have proceeded to fill up a picture with a great florid rush of warm romance. With Van Johnson and Elizabeth Taylor playing the Americans in Paris this time, they have got the two meeting and kissing, very gaily and juicily, on V-Day, then going on to having dates and getting married and having a child and struggling gallantly to live.
Money is the evil that defeats them. As soon as they strike it rich, they begin to behave like idiots and get themselves hopelessly involved. (Why they could not have shared the money with the sister and the brother-in-law, not to mention with Walter Pidgeon, as the expatriate father who gave them the oil stock, is not explained.) Finally, after a tedious marital mix-up he with another woman and she with another man—the husband locks the wife out in a snowstorm and she dies of pneumonia, after a very dainty and articulate death-bed scene.
This is all told in flashback. The rest is loosely Mr. Fitzgerald's tale—how the husband, now sober and repentant, returns to Paris to get his child, how his sister-in-law resists him and how, in the end—unlike Mr. Fitzgerald's lady—she gives in.
What is to be said of such a picture? The story is trite. The motivations are thin. The writing is glossy and pedestrian. The acting is pretty much forced. Mr. Johnson as the husband is too bumptious when happy and too dreary when drunk; Miss Taylor as the wife is delectable, but she is also occasionally quite dull. Mr. Pidgeon is elaborately devilish, Sandra Descher as the child is over-cute, Donna Reed as the bitter sister is vapid and several others are in the same vein.
But the soft soap is smeared so smoothly and that sweet old Jerome Kern tune, from which the title is taken, is played so insistently that it may turn the public's heart to toothpaste. This is something which we wouldn't know.
THE LAST TIME I SAW PARIS, screen play by Julius J. and Philip G. Epstein and Richard Brooks, based on the short story "Babylon Revisited" by F. Scott Fitzgerald; directed by Mr. Brooks; produced by Jack Cummings for Metro-Goldwyn-Mayer. At the Capitol.
Helen Ellswirth . . . . . Elizabeth Taylor
Charles Wills . . . . . Van Johnson
James Ellswirth . . . . . Walter Pidgeon
Marion Ellswirth . . . . . Donna Reed
Lorraine Quarl . . . . . Eva Gabor
Maurice . . . . . Kurt Kasznar
Claude Matine . . . . . George Dolenz
Paul . . . . . Roger Moore
Vicki . . . . . Sandra Descher
Mama . . . . . Cella Lovsky
Barney . . . . . Peter Leeds
Campbell . . . . . John Doucette
Singer . . . . . Odette