Van Gogh
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Van Gogh - Jp. A. Calosse
Author: Jp. A. Calosse
Layout: Baseline Co. Ltd.
61-63A Vo Van Tan Street
4th Floor
District 3, Ho Chi Minh City,
Vietnam.
© Confidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
All rights reserved
No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
ISBN: 978-1-78160-595-0
Jp. A. Calosse
Vincent
Van Gogh
TABLE OF CONTENS
As through a looking glass, by dark reason…
Feeling nowhere so much myself a stranger as in my family and country… " Holland, England and Belgium, 1853-1886
The spreading of the ideas
. Paris, 1886-1888
An artist’s house
. Arles, 1888-1889
I was a fool and everything I did was wrong
. Arles, 1889
What is the good of getting better?
Saint-Rémy, 1889-1890
But there’s nothing sad in this death…
Auvers-sur-Oise, 1890
LIST OF ILLUSTRATIONS
NOTES
1. Self-Portrait (dedicated to Paul Gauguin), Arles, September 1888.
Oil on canvas, 62 x 52 cm.
Cambridge, Massachussetts,
Fogg Art Museum, Havard University.
2. Vincent’s Chair with his Pipe,
Arles, December 1888.
Oil on canvas, 93 x 73.5 cm.
London, The National Gallery.
As through a looking glass, by dark reason…
Vincent Van Gogh’s life and work are so intertwined that it is hardly possible to see his pictures without reading in them the story of his life: a life which has been described so many times that it is by now the stuff of legend. Van Gogh is the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider.
It became apparent early on that the events of Van Gogh’s life would play a major role in the reception of his works. The first article about the painter was published in January, 1890 in the Mercure de France. The author of the article, Albert Aurier, was in contact with a friend of Van Gogh’s named Emile Bernard, from whom he learned the details of Van Gogh’s illness. At the time, Van Gogh was living in a mental hospital in Saint-Rémy, near Arles. The year before, he had cut off a piece of his right ear.
Without explicitly revealing these facts from the artist’s life, Aurier nevertheless introduced his knowledge of the apparent insanity of the painter into his discussion of the paintings themselves. Thus, for example, he uses terms like obsessive passion
[1] and persistent preoccupation.
[2] Van Gogh seems to him a terrible and demented genius, often sublime, sometimes grotesque, always at the brink of the pathological.
[3] Aurier regards the painter as a Messiah [...] who would regenerate the decrepitude of our art and perhaps of our imbecile and industrialist society.
[4]
With this characterization of the artist as a mad genius, the critic lay the foundation for the Van Gogh myth which began to emerge shortly after the death of the painter. After all, Aurier didn’t believe that Van Gogh would ever be understood by the general public.
A few days after Van Gogh’s funeral in Auvers-sur-Oise, Dr.