Vincent Van Gogh (1853-1890) is one of art historys greatest colourists. However, the first years of his career in Holland were above all influenced by the painters of the Barbizon and Hague schools, whose grey and gloomy palettes he emulated. It was only when he moved to Paris in early 1886 that his work began to gradually change. In the capital he studied the works of Delacroix his favourite artist but also old masters, impressionists and the avant-garde of the era. Van Gogh also drew inspiration from Japanese art, especially highly coloured engravings on wood that he started collecting. His palette gradually took on more colour under the influence of the chromatic theories he had already met in Holland, the meaning of which he now understood. In February 1888 Van Gogh set out for Arles, where he lived until early May 1889. Here his talent as a colourist flourished. The artist was fascinated by the light of the south and the intensity of colour he observed there. He combined all the sources of inspiration he had drew upon in Paris to create a very personal and expressive modern style. Following in Delacroixs footsteps, while drawing on Japanese art, he started using stark chromatic contrast along with a very dynamic brushstroke. Van Gogh hoped to form an artists community in Provence and Paul Gauguin joined him in Arles late October 1888. The pair worked together and influenced each other, but in late December their incompatible characters led to confrontation. Gauguin left, and Van Goghs dream of an artists community was shattered. Mental illness led him to the asylum of Saint-Rémy, where he developed a less contrasting style. His work ceased to express the radiant colours and light of the south that he had found in Arles.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
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This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...