Vincent van Gogh
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This comprehensive CD-ROM includes all 2,200 works that Van Gogh produced during his career: paintings, drawings, watercolors, letter sketches and juvenilia. Designed for both scholars as well as the general public, this CD-ROM has an intuitive, yet powerful search and query tool for accessing Van Gogh's works.
The database contains high quality images of every single artwork, many reproduced in color for the first time. Each artwork record contains a full physical description, date, location, along with full provenance and exhibition history.
This lush volume accompanies an important exhibition opening in February 2003 at the Van Gogh Museum, Amsterdam, marking the 150th anniversary of the birth of Vincent van Gogh. It brings together the paintings that inspired him—by such masters as Rembrandt and Rubens, Corot and Courbet, Monet and Gauguin—with dozens of his own works, creating an "imaginary museum" that reveals a fascinating dialogue between the artist and his art-historical predecessors. The book features 170 reproductions from the "imaginary museum" itself, most accompanied by fascinating related excerpts from the artist's correspondence.
A complete catalogue of the 871 paintings and a detailed monograph on his life and art. This study of Vincent van Gogh represents a rare and happy chance in art history, combining a detailed monograph on his life and art with a complete catalogue of the 871 paintings by one of the greatest modern artists. This volume also reproduces most of van Gogh's paintings in colour for the first time.
Van Gogh in Provence and Auvers includes almost 300 colorplates and 60 black-and-white illustrations that present a portrait of Van Gogh the artist, and uses beautiful colored and textured paper and die-cuts for the chapter openers. Van Gogh's own words, placed together with preparatory sketches for his works and vintage postcards and photographs, enhance an insightful text.
To accompany the Art Institute of Chicago blockbuster van Gogh and Gauguin exhibit, here's a blockbuster book, with reproductions of such sensuous beauty that they are likely to convert even non-fans of the squabbling yet eternally linked pair. This book's subtitle is a translation of a phrase van Gogh used, more accurately rendered as "The Studio in Southern France," where van Gogh and Gauguin were in close contact, inspiring and antagonizing one another in a way that has fascinated generations of poets, playwrights, screenwriters and even art historians. The most famous van Gogh paintings, like Starry Night and Sunflowers, are put into context here, and there is room also for early, lesser-known works. Four major chapters "Origins," "Encounters," "South Versus North," "The Studio of the South" are followed by a chapter of letters exchanged by the two artists; a "coda" about Gauguin in the tropics, after van Gogh's famous ear-cutting incident broke up their partnership; and a technical appendix with results from lab investigations of canvas fibers and paint chemistry that help to date the works.
In clear art historical prose, the painters' motivations are pointed out, such as van Gogh's portrait of Gauguin seen from behind: "In no other instance did Vincent decline to confront a sitter in this way." Two self-portraits, done simultaneously for a friend named Paul Laval, are cogently contrasted, with van Gogh's depiction of his own face showing "a scowl of concern and irritation, his green-eyed gaze skittish..." whereas Gauguin's view of himself shows "watchful, almost smug self-possession." This kind of lively character analysis, as well as art historical smarts, will make this a prestigious title for anyone even vaguely interested in modern French painting, but the 510 illustrations (over 300 in color) are the stars of the show here.
This is the first in what promises to be an exciting new series of eight volumes devoted to the drawings and paintings of the Van Gogh Museum in Amsterdam, which purportedly holds some 70 percent of the artist's output. This volume chronicles his early draughtsmanship, providing some 68 colored illustrations of cataloged drawings that clearly show the artist coming to grips with line, value, texture, light, and perspective. In a typical entry, the author, the museum's curator of prints and drawings, includes a date, medium, type of paper, sheet size, annotations to marks found on the front and verso of the sheet, provenance, and references to pertinent letters, scholarly literature, and exhibitions. Appendixes provide more complete information on exhibits and scholarly literature. Though expensive, these volumes will be invaluable to libraries supporting scholarly art research.
The Taschen Posterbooks are of excellent quality. The six Van Gogh's given us here, for a very low price, are a nicely representative group. Primarily the most impressive factor is the accuracy with which the colors are reproduced.
This lavish but manageable book is the catalog for one of the most successful van Gogh exhibitions ever (at the National Gallery of Art in Washington, D.C., through January 3, 1999, and the Los Angeles County Museum of Art from January 17, 1999, to April 4, 1999). Judging from the haunting, beautifully reproduced paintings and drawings in the book—which range from the iconic to the rarely seen—it is easy to see why hordes of people keep pressing through overcrowded galleries to get a glimpse of the originals. The ones here are all from the Van Gogh Museum, Amsterdam, where most of Vincent's work resides.
Author Richard Kendall does a heroic job of writing van Gogh's tortured story one more time. Few artists have analyzed their own work with the clarity and insight Vincent brought to his. And Kendall relies heavily on Vincent's letters to his brother Theo, giving the reader broad access to the ultimate expert, the painter himself. The wealth of color plates is intoxicating—70 paintings, including The Potato Eaters and other early, gloomy works, a dozen self-portraits, Almond Blossom, Wheatfield with Crows, Butterflies and Poppies, The Bedroom, The Zouave, and The Courtesan (van Gogh's take on a Japanese geisha in full regalia).
It seems trivial to further praise the book's designers for holding it to only 150 pages, but the length makes an important difference. This is a volume that fits comfortably on the lap, to be perused and enjoyed at close range, for hours if you want, and not just displayed in unwieldy glory on a coffee table.
This thorough collection of Van Gogh's letters has been assembled with an artful eye and sensitivity to the artist's thinking. The result is an atypical take on Vincent van Gogh that avoids putting too much stress on his troubled mental state and too much straining by the editor to shape a narrative out of van Gogh's epistolary clues. Instead, we see the thoughtful and contemplative side of this creative genius, as well as his concern for the impact his art and life had on those people closest to him.
Vincent Van Gogh was a great painter, but not a writer. So these letters are of interest in terms of history and painting. The life of Van Gogh is better exposed here than it would have been in a "real" autobiography, because Theo, his younger brother, was the only real friend Vincent ever had.