Self Portrait With Bandaged Ear By Vincent Van Gogh Journal
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Self-Portrait with Bandaged Ear by Vincent Van Gogh Journal by Golding Notebooks Pdf
Vincent van Gogh painted Self-Portrait with Bandaged Ear in 1889. While quarrelling with friend and fellow artist Paul Gauguin, van Gogh had a seizure during which he threatened Gauguin with a razor, leading him to sever part of his own ear.He then took the piece, in his subsequent feverish state, to the Maison de Tolérance bordello and presented it to a prostitute named Rachel. Features of this journal are: 6x9in, 110 pages lined (standard, B&W) on both sides front title and owner's contact details page cover soft, matte This elegantly simple journal - which will make wonderful Vincent van Gogh gifts for women and men and children - presents a uniquely beautiful work of art from one of the master painters, a distinctive Vincent van Gogh notebook (and van Gogh self portrait print, especially memorable and powerful among all van Gogh portraits) that aims to inspire in its owner greater and more imaginative writing. To browse the wide selection of journals from Golding Notebooks, please refer to our Amazon author page.
On a dark night in Provence in December 1888 Vincent van Gogh cut off his ear. It is an act that has come to define him. Yet for more than a century biographers and historians seeking definitive facts about what happened that night have been left with more questions than answers. In Van Gogh’s Ear Bernadette Murphy sets out to discover exactly what happened that night in Arles. Why would an artist at the height of his powers commit such a brutal act of self-harm? Was it just his lobe, or did Van Gogh really cut off his entire ear? Who was the mysterious “Rachel” to whom he presented his macabre gift? Murphy’s investigation takes us from major museums to the moldering contents of forgotten archives, vividly reconstructing the world in which Van Gogh moved—the madams and prostitutes, café patrons and police inspectors, his beloved brother, Theo, and his fellow artist and house guest Paul Gauguin. With exclusive revelations and new research about the ear and about Rachel, Bernadette Murphy proposes a bold new hypothesis about what was occurring in Van Gogh’s heart and mind as he made a mysterious delivery to a woman’s doorstep that fateful night. Van Gogh’s Ear is a compelling detective story and a journey of discovery. It is also a portrait of a painter creating his most iconic and revolutionary work, pushing himself ever closer to greatness even as he edged towards madness—and the one fateful sweep of the blade that would resonate through the ages.
A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore.
Starry Night is one of the most famous paintings known today. Vincent Van Goh's Self-Portrait with Bandaged Ear is also very recognizable, partly because of the story behind it. Readers are introduced to Van Gogh through biography and many of his works. Each of the featured paintings is shown in full color and details are brought to the reader's attention, such as the small signature Van Gogh put on the vase in Sunflowers. Readers learn all about Van Gogh's signature style of thick, paint-filled brushstrokes built upon each other in uneven layers. Then, they can learn to imitate him!
Van Gogh in Popular Culture by Lynnette Porter Pdf
Vincent van Gogh continues to fascinate more than a century after his death in 1890. Yet how much of what is commonly known about this world-renowned artist is accurate? Though he left thousands of works and a trove of letters, the definitive Van Gogh remains elusive. Was he a madman who painted his greatest pieces in a passionate fury or a lifelong student of art, literature and science who carefully planned each composition? Was he a loner dedicated only to his craft or an active collaborator with his contemporaries? Why is he best known for self-mutilation and "The Starry Night"? This book has biographers, scriptwriters, lyricists, actors, museum curators and tour guides, among others, presenting diverse interpretations of his life and work, creating a mythic persona that may, in fact, help us in the search for the real Van Gogh.
Van Gogh by Ingo F. Walther,Rainer Metzger,Vincent van Gogh Pdf
This comprehensive study of Vincent Van Gogh (1853-1890) contains a detailed monograph on his life and art combined with a complete catalogue of his 871 paintings, mostly reproduced in color.
Vincent Van Gogh and artworks by Vincent van Gogh Pdf
Vincent van Gogh’s life and work are so intertwined that it is hardly possible to observe one without thinking of the other. Van Gogh has indeed become the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider. An article, published in 1890, gave details about van Gogh’s illness. The author of the article saw the painter as “a terrible and demented genius, often sublime, sometimes grotesque, always at the brink of the pathological.” Very little is known about Vincent’s childhood. At the age of eleven he had to leave “the human nest”, as he called it himself, for various boarding schools. The first portrait shows us van Gogh as an earnest nineteen year old. At that time he had already been at work for three years in The Hague and, later, in London in the gallery Goupil & Co. In 1874 his love for Ursula Loyer ended in disaster and a year later he was transferred to Paris, against his will. After a particularly heated argument during Christmas holidays in 1881, his father, a pastor, ordered Vincent to leave. With this final break, he abandoned his family name and signed his canvases simply “Vincent”. He left for Paris and never returned to Holland. In Paris he came to know Paul Gauguin, whose paintings he greatly admired. The self-portrait was the main subject of Vincent’s work from 1886c88. In February 1888 Vincent left Paris for Arles and tried to persuade Gauguin to join him. The months of waiting for Gauguin were the most productive time in van Gogh’s life. He wanted to show his friend as many pictures as possible and decorate the Yellow House. But Gauguin did not share his views on art and finally returned to Paris. On 7 January, 1889, fourteen days after his famous self-mutilation, Vincent left the hospital where he was convalescing. Although he hoped to recover from and to forget his madness, but he actually came back twice more in the same year. During his last stay in hospital, Vincent painted landscapes in which he recreated the world of his childhood. It is said that Vincent van Gogh shot himself in the side in a field but decided to return to the inn and went to bed. The landlord informed Dr Gachet and his brother Theo, who described the last moments of his life which ended on 29 July, 1890: “I wanted to die. While I was sitting next to him promising that we would try to heal him. [...], he answered, ‘La tristesse durera toujours (The sadness will last forever).’”
Vincent van Gogh’s life and work are so intertwined that it is hardly possible to observe one without thinking of the other. Van Gogh has indeed become the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider. An article, published in 1890, gave details about van Gogh’s illness. The author of the article saw the painter as “a terrible and demented genius, often sublime, sometimes grotesque, always at the brink of the pathological.” Very little is known about Vincent’s childhood. At the age of eleven he had to leave “the human nest”, as he called it himself, for various boarding schools. The first portrait shows us van Gogh as an earnest nineteen year old. At that time he had already been at work for three years in The Hague and, later, in London in the gallery Goupil & Co. In 1874 his love for Ursula Loyer ended in disaster and a year later he was transferred to Paris, against his will. After a particularly heated argument during Christmas holidays in 1881, his father, a pastor, ordered Vincent to leave. With this final break, he abandoned his family name and signed his canvases simply “Vincent”. He left for Paris and never returned to Holland. In Paris he came to know Paul Gauguin, whose paintings he greatly admired. The self-portrait was the main subject of Vincent’s work from 1886c88. In February 1888 Vincent left Paris for Arles and tried to persuade Gauguin to join him. The months of waiting for Gauguin were the most productive time in van Gogh’s life. He wanted to show his friend as many pictures as possible and decorate the Yellow House. But Gauguin did not share his views on art and finally returned to Paris. On 7 January, 1889, fourteen days after his famous self-mutilation, Vincent left the hospital where he was convalescing. Although he hoped to recover from and to forget his madness, but he actually came back twice more in the same year. During his last stay in hospital, Vincent painted landscapes in which he recreated the world of his childhood. It is said that Vincent van Gogh shot himself in the side in a field but decided to return to the inn and went to bed. The landlord informed Dr Gachet and his brother Theo, who described the last moments of his life which ended on 29 July, 1890: “I wanted to die. While I was sitting next to him promising that we would try to heal him. [...], he answered, ‘La tristesse durera toujours (The sadness will last forever).’”
History's Greatest Artists by Charles River Charles River Editors,Charles River Pdf
*Includes pictures of 20 of van Gogh's most famous works, including an explanation of his techniques and influences. *Includes pictures of van Gogh and excerpts of his letters to brother Theo. *Explains the artistic influences and legacy of van Gogh's life and art. *Discusses the mysteries and controversies surrounding van Gogh's mental illnesses and death. *Includes a Bibliography for further reading. "A weaver who has to direct and to interweave a great many little threads has no time to philosophize about it, but rather he is so absorbed in his work that he doesn't think but acts, and he feels how things must go more than he can explain it." - Vincent van Gogh, 1883 Vincent van Gogh is undoubtedly one of the most famous artists of all time, and though the critical establishment may not consider him the greatest artist who ever lived, there may be no artist with whom the public has a greater familiarity. Unfortunately, a great deal of that familiarity comes from the circumstances leading up to his death, and the manner in which they have been linked to his painting career. Of all the things that occurred in van Gogh's tumultuous life and career, the best known thing about it might be that he cut off the lower left lobe of his ear, and much of the general public is familiar with his painting "Self Portrait with Bandaged Ear." In 1882, Vincent would hauntingly and somewhat prophetically write to his brother Theo, "What am I in the eyes of most people - a nonentity, an eccentric, or an unpleasant person - somebody who has no position in society and will never have; in short, the lowest of the low. All right, then - even if that were absolutely true, then I should one day like to show by my work what such an eccentric, such a nobody, has in his heart." Across much of the world, van Gogh's body of work is so commonplace that virtually everyone is familiar with at least some element of his life. Reproductions of his paintings populate offices, calendars, t-shirts, and the like, and his paintings continue to have the potential to affect people. On the surface, it might appear as though van Gogh is a very familiar figure, and yet people have spent nearly 125 years wondering just what compelled him to harm himself, just how tortured he was mentally, and what kind of effects it had on his art. In addition to dying a premature (and still controversial) death, van Gogh was 27 before beginning his 10-year painting career, meaning he painted for a comparably short period of his life. Nevertheless, he produced an extraordinary amount of art, and much of the myth of van Gogh surrounds the fact that he painted over 800 paintings (and many more drawings and watercolors) in such a short time. Understandably, the sheer volume of work meant that many had an unfinished, primal quality that seems to be commensurate with the type of person who would paint 800 paintings (in addition to numerous drawing and studies) over 10 years, building to a feverish crescendo at the end of his life. On top of that, van Gogh also managed to find time to write nearly 900 letters during that same period. Given the way his art and life blend together, it's no surprise that van Gogh and his work continue to deeply affect viewers to this day. While van Gogh's painting career is the period of greatest interest, it was in many ways a response to his upbringing and the events of his youth. History's Greatest Artists: The Life and Legacy of Vincent Van Gogh examines van Gogh's life before his career, a close analysis of his painting style and artistic themes, and his controversial death. Along with pictures of some of his most famous work, excerpts from his letters, a bibliography, and a Table of Contents, you will learn about one of history's greatest painters like you never have before, in no time at all.
In the Picture. Portraying the Artists by Bakker Nienke Pdf
People throughout the world recognize Vincent van Gogh - the man with the red beard and intense expression. Our image of the artist has been primarily shaped by his self-portraits.0In the 19th century painters made self portraits to practice, experiment, or to set out their identity. They also made portraits of one other, often as a token of friendship.0The spring exhibition 'In the Picture' tells stories about identity and image, in 75 portraits.00The self-portraits of Vincent van Gogh are the thread running through this exhibition. Van Gogh paints his famous 'Self-portrait with Bandaged Ear' in 1889. In this work, Vincent portrays himself as being both vulnerable and strong. Things were difficult, yet he continued to paint.00'In the Picture' shows that a portrait says more than you may initially think. Is it about a good resemblance, expressing the inner self or rather about defining an image? Like people nowadays carefully think about how they present themselves, for example when taking seflies, so did the 19th century painters. What do we show of ourselves? What not? Such considerations are of all times. 00Exhibition: Van Goghmuseum, Amsterdam, The Netherlands (21.02.-24.05.2020).
Vincent van Gogh was a sensitive, passionate, and eccentric individual. Painting gave him the means to express who he was and what he was feeling. Although his career lasted less than ten years, he created more than 2,000 artworks, and today most people consider him one of the founders of modern art. In this irresistible narrative, readers explore van Gogh’s artistic influences, inspirations, and painting skills. In this vibrant presentation, the legacy of van Gogh’s still lifes, self-portraits, landscapes, and other works are clearly evaluated.
In Modris Eksteins’s hands, the interlocking stories of Vincent van Gogh and art dealer Otto Wacker reveal the origins of the fundamental uncertainty that is the hallmark of the modern era. Through the lens of Wacker’s sensational 1932 trial in Berlin for selling fake Van Goghs, Eksteins offers a unique narrative of Weimar Germany, the rise of Hitler, and the replacement of nineteenth-century certitude with twentieth-century doubt. Berlin after the Great War was a magnet for art and transgression. Among those it attracted was Otto Wacker, a young gay dancer turned art impresario. His sale of thirty-three forged Van Goghs and the ensuing scandal gave Van Gogh’s work unprecedented commercial value. It also called into question a world of defined values and standards that had already begun to erode during the war. Van Gogh emerged posthumously as a hero who rejected organized religion and other suspect sources of authority in favor of art. Self-pitying Germans saw in his biography a series of triumphs—over defeat, poverty, and meaninglessness—that spoke to them directly. Eksteins shows how the collapsing Weimar Republic that made Van Gogh famous and gave Wacker an opportunity for reinvention propelled a third misfit into the spotlight. Taking advantage of the void left by a gutted belief system, Hitler gained power by fashioning myths of mastery. Filled with characters who delight and frighten, Solar Dance merges cultural and political history to show how upheavals of the early twentieth century gave rise to a search for authenticity and purpose.
On May 8th, 1889, Vincent Van Gogh was admitted to a mental asylum near St.-Remy-de-Provence where he remained as a voluntary patient until May the following year. Throughout the year, Van Gogh enjoyed a continuous dialogue with his brother about his art, his mental condition, his hopes and ambitions, and from time to time his despair and sense of failure. The asylum year saw Vincent at his most raw and needy, but also at his most creative - turning out the equivalent of a masterpiece a day. This book offers an account, month by month, of that crucial penultimate chapter in Van Gogh s life. It is separated from the other chapters in the artist s life because although treated in all the numerous biographies it is none the less a self-contained episode, a play within a play, with a shape and dynamic of its own. Van Gogh s asylum year is unlike any other year in the long history of art."
