Vincent van Gogh – razlika između verzija

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Red 22: Red 22:
Slika ''Seljanka'' iz njegovog ranog holandskog perioda ([[mart]] [[1885]]) nalazi se u [[Beograd|beogradskom]] [[Narodni muzej|Narodnom muzeju]].
Slika ''Seljanka'' iz njegovog ranog holandskog perioda ([[mart]] [[1885]]) nalazi se u [[Beograd|beogradskom]] [[Narodni muzej|Narodnom muzeju]].


⚫
== Van Gogov rad ==

⚫
Poreklom iz [[Holandija|Holandije]], bio je teolog i sveštenik u rudniku i slikao je rudare tamnim mrkozelenim bojama. Posle kratke [[Pariz|pariske]] [[impresionizam|impresionističke]] faze kada rasvetljava paletu i napušta socijalne teme, Van Gog odlazi u [[Arl]], na jugu [[Francuska|Francuske]], gde započinje njegov arlezijski period. Kopirao je Milea, [[Pol Gogen|Gogena]] i [[Anri de Tuluz-Lotrek|Lotreka]].

⚫
Intenzivno je koristio crvenu i zelenu boju i povodom svoje slike ''Kafana noću'' piše svom bratu [[Teo van Gog (trgovac umetninama)|Teu]] u Parizu:

⚫
{{cquote|''Soba je krvavocrvena i tamnožuta, u sredini je zeleni bilijar i četiri svetiljke limunove boje, koje bacaju narandžastozelenu svetlost. Svuda se bore najrazličitije zelene i crvene boje: u sitnim likovima protuva koje spavaju, u praznoj i žalosnoj sobi... Pokušao sam da crvenim i zelenim izrazim strašne strasti ljudske duše.''}}
== Životopis ==
== Životopis ==


Red 49: Red 42:
Vjerojatno je jedna od posljednih njegovih slika što ih je naslikao ''Pšenična polja s vranama'' ili ''Žitno polje s gavranima''. U 37. godini, [[27. 7.|27. srpnja]], depresivan, uznemiren, u trenutku paničnog predosjećaja strave pred novim nastupom hvata [[revolver]]. U polju kraj puta naslanja se na deblo koje je slikao i odapinje oružje. Umire nakon dva dana u svom krevetu. Pokopan je u [[Auvers-sur-Oise]]u uz svog brata Théa koji je preminuo 6 mjeseci kasnije.
Vjerojatno je jedna od posljednih njegovih slika što ih je naslikao ''Pšenična polja s vranama'' ili ''Žitno polje s gavranima''. U 37. godini, [[27. 7.|27. srpnja]], depresivan, uznemiren, u trenutku paničnog predosjećaja strave pred novim nastupom hvata [[revolver]]. U polju kraj puta naslanja se na deblo koje je slikao i odapinje oružje. Umire nakon dva dana u svom krevetu. Pokopan je u [[Auvers-sur-Oise]]u uz svog brata Théa koji je preminuo 6 mjeseci kasnije.
[[Datoteka:Grave of Vincent van Gogh.jpg|mini|Grob Vincenta i Thea van Gogha]]
[[Datoteka:Grave of Vincent van Gogh.jpg|mini|Grob Vincenta i Thea van Gogha]]

⚫
== Van Gogov rad ==

⚫
Poreklom iz [[Holandija|Holandije]], bio je teolog i sveštenik u rudniku i slikao je rudare tamnim mrkozelenim bojama. Posle kratke [[Pariz|pariske]] [[impresionizam|impresionističke]] faze kada rasvetljava paletu i napušta socijalne teme, Van Gog odlazi u [[Arl]], na jugu [[Francuska|Francuske]], gde započinje njegov arlezijski period. Kopirao je Milea, [[Pol Gogen|Gogena]] i [[Anri de Tuluz-Lotrek|Lotreka]].

⚫
Intenzivno je koristio crvenu i zelenu boju i povodom svoje slike ''Kafana noću'' piše svom bratu [[Teo van Gog (trgovac umetninama)|Teu]] u Parizu:

⚫
{{cquote|''Soba je krvavocrvena i tamnožuta, u sredini je zeleni bilijar i četiri svetiljke limunove boje, koje bacaju narandžastozelenu svetlost. Svuda se bore najrazličitije zelene i crvene boje: u sitnim likovima protuva koje spavaju, u praznoj i žalosnoj sobi... Pokušao sam da crvenim i zelenim izrazim strašne strasti ljudske duše.''}}
{{multiple image
| align = right
| direction = horizontal
| header =
| header_align = left/right/center
| header_background =
| footer
| footer_align = left/right/center
| footer_background =
| width =
| image1 = Vincent van Gogh (1853-1890) - The Old Mill (1888).jpg
| width1 = 97
| caption1 = ''The Old Mill'', 1888, [[Albright-Knox Art Gallery]], Buffalo, NY.
| alt1 = Under a bright cloudless blue/green sky is a large collection of connected buildings on the right side of the canvas. The buildings are all part of a mill, up a slight embankment from a stream in the foreground. On the left side of the painting near the steps leading up the embankment to the old mill are two small figures. Off in the left distance is a farmland and farmhouses, while the far distance shows low purple hills
| image2 = Starry_Night_Over_the_Rhone.jpg
| alt2 = The top of the painting is a dark blue night sky with many bright stars shining brightly surrounded by white halos. Along the distant horizon are houses and buildings with lights that are shining so brightly that they are casting yellow reflections on the dark blue river below. The bottom half shows the Rhone river with reflected lights showing throughout the river. In the foreground we can see a shallow wave.
| width2 = 179
| caption2 = ''[[Starry Night Over the Rhone]]'', 1888, [[Musée d'Orsay]], Paris.
| image3 = Van_Gogh_The_Olive_Trees..jpg
| width3 = 150
| caption3 = ''[[Olive Trees (Van Gogh series)|Olive Trees with the Alpilles in the Background]]'', 1889, [[Museum of Modern Art]], New York.
| alt3 = A starless, moonless evening sky of middle blue with two large white clouds are above darker blue twisting hills in the distance. In the foreground is a grove of Olive trees, that extend horizontally across the whole painting, towards the bottom is a winding, twisting path that extends horizontally across the painting}}

Van Gogh drew and painted with [[watercolor painting|watercolors]] while at school—only a few of these paintings survive and authorship is challenged on some of those that do.<ref>Van Heugten (1996), pp. 246–51</ref> When he committed to art as an adult, he began at an elementary level, copying the ''Cours de dessin'', a drawing course edited by [[Charles Bargue]]. Within two years he had begun to seek commissions. In spring 1882, his uncle, Cornelis Marinus, owner of a well-known gallery of contemporary art in Amsterdam, asked him for drawings of the Hague. Van Gogh's work did not live up to his uncle's expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointed with the result. Nevertheless, Van Gogh persevered. He improved the lighting of his studio by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures – highly elaborated studies in "Black and White",<ref>Artists working in ''Black & White'', i.e., for illustrated papers like ''The Graphic'' or ''Illustrated London News'' were among Van Gogh's favorites. See Pickvance (1974/75)</ref> which at the time gained him only criticism. Today, they are recognized as his first masterpieces.<ref>See Dorn, Keyes & alt. (2000)</ref>

[[File:Whitehousenight.jpg|thumb|left|upright|''[[White House at Night]]'', 1890, [[Hermitage Museum]], St. Petersburg, painted six weeks before the artist's death|alt=A white two-story house at twilight, with 2 cypress trees on one end, and smaller green trees all around the house, with a yellow fence surrounding it. Two women are entering through the gate in the fence; while a woman in black walks on by going towards the left. In the sky, there is a bright star with a large intense yellow halo around it]]
Early in 1883, he began to work on multi-figure compositions, which he based on his drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, he destroyed them and turned to oil painting. By Autumn 1882, his brother had enabled him financially to turn out his first paintings, but all the money Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned [[Hague School]] artists like [[Johan Hendrik Weissenbruch|Weissenbruch]] and [[Bernard Blommers|Blommers]], and received technical support from them, as well as from painters like [[Théophile de Bock|De Bock]] and [[Herman Johannes van der Weele|Van der Weele]], both second generation Hague School artists.<ref name="DSS">See Dorn, Schröder & Sillevis, ed. (1996)</ref> When he moved to Nuenen after the intermezzo in Drenthe he began several large-sized paintings but destroyed most of them. ''[[The Potato Eaters]]'' and its companion pieces – ''The Old Tower'' on the Nuenen cemetery and ''The Cottage'' – are the only ones to have survived. Following a visit to the [[Rijksmuseum]], Van Gogh was aware that many of his faults were due to lack of technical experience.<ref name="DSS"/> So in November 1885 he traveled to [[Antwerp]] and later to Paris to learn and develop his skill.<ref>See Welsh-Ovcharov & Cachin (1988)<!-- page(s)?? --></ref>

After becoming familiar with Impressionist and Neo-Impressionist techniques and theories, Van Gogh went to Arles to develop on these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as working with [[serial imagery]] on related or contrasting subject matter, which would reflect on the purposes of art. As his work progressed, he painted many ''[[Self-portraits by Vincent van Gogh|Self-portraits]]''. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his ''[[Flowering Orchards (Van Gogh series)|Flowering Orchards]]'' into triptychs, began a series of figures that found its end in ''[[The Roulin Family (Van Gogh series)|The Roulin Family series]]'', and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on ''[[The Décoration for the Yellow House|The Décorations for the Yellow House]]'', which was by some accounts the most ambitious effort he ever undertook.<ref name="d1909">See Dorn (1990)</ref> Most of his later work is involved with elaborating on or revising its fundamental settings. In the spring of 1889, he painted another, smaller group of orchards. In an April letter to Theo, he said, "I have 6 studies of Spring, two of them large orchards. There is little time because these effects are so short-lived."<ref name="H385">Hulsker (1980), 385</ref>

Art historian [[Albert Boime]] believes that Van Gogh – even in seemingly fantastical compositions like ''Starry Night'' – based his work in reality.<ref>Boime (1989)</ref> The ''[[White House at Night]]'', shows a house at twilight with a prominent star surrounded by a yellow halo in the sky. Astronomers at [[Southwest Texas State University]] in San Marcos calculated that the star is Venus, which was bright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture.<ref>At around 8:00&nbsp;pm on 16 June 1890, as astronomers determined by [[Venus]]'s position in the painting. [http://news.bbc.co.uk/2/hi/europe/1209192.stm Star dates Van Gogh canvas], [[BBC News]], 8 March 2001.</ref>


== Utjecaj ==
== Utjecaj ==

Verzija na datum 18 april 2015 u 16:05

Vincent van Gogh
postimpresionizam
Biografske informacije
Rođenje30. ožujka 1853.
Zundert, Nizozemska
Smrt29. srpnja 1890.
Anvers-sur-Oise, Francuska
Opus
Poljeslikarstvo, grafika, crtanje
Znamenita djela
Influencija
Na
Potpis

Vinsent Vilem van Gog (hol. Vincent Willem van Gogh; Zindert, 30. mart 1853 — Over sir Oaz, 29. jul 1890) bio je postimpresinistički slikar holandskog porekla. Jedan je od trojice najvećih slikara postimpresionizma[1] i jedan od najcenjenijih slikara uopšte. [2][3][4] NJegova dela su zapažena po svojoj gruboj lepoti, emotivnoj iskrenosti i hrabrim bojama, te je zahvaljujući tome postao jedan od vodećih umetnika 20. veka. Nakon dugog i bolnog problema sa anksioznošću i učestalim problemima mentalnih bolesti, umro je od prostrelne rane metkom u svojoj 37. godini. Opšte je prihvaćeno mišljenje da je izvršio samoubistvo, iako pištolj iz koga je pucano, nikada nije pronađen. NJegov rad je za vreme njegovog života bio poznat samo nekolicini ljudi, a samo par ga je cenilo i poštovalo.

Van Gog je počeo da crta kao dete, a nastavio je kroz godine kada je odlučio da će biti umetnik. Slikanjem se počeo baviti tek u kasnim dvadesetim godinama, a mnoge od njegovih najpoznatijih dela je završio poslednje dve godine svog života. Za nešto više od deceniju, stvorio je više od 2100 dela, uključujući 860 ulja na platnu i više od 1300 akvarela, crteža, skica i grafika. NJegov rad obuhvata autoportrete, pejzaže, mrtvu prirodu i portrete, a najčešći motivi su čempresi, polja pšenice i suncokreti.

Slika Seljanka iz njegovog ranog holandskog perioda (mart 1885) nalazi se u beogradskom Narodnom muzeju.

Životopis

Sedam je godina proživio kao namještenik u Haagu, a zatim je poslan u podružnicu Goupila u London (1873-76). U toj je trgovini slika dobio ne samo uvid u slikarstvo, već se i sam zainteresirao za slikanje te nastojao postati slikar. Prvi Van Goghovi crteži nastaju pod utjecajem idealista Milleta u Belgiji. 1881. upoznaje se sa slikarom Mauveom, a taj ga poznati slikar bodri, upućuje i prvi mu daje savjete kako bi trebao postupiti likovnim rješavanjima.[5][6]

Nakon kratkog boravka u Haagu odlazi u Brabant. U njegovom se likovnom izrazu tada počinje sve više i sve jasnije stavljati značajna crta humanitarne zanesenosti. Gogh se strastveno obraća prikazivanju života seljaka i radnika, koji se pate i muče na svojoj zemlji, da bi joj u svojoj bijedi istrgli nasušni hljeb. U tome razdoblju radi tamne male slike, gotovo sve u crnom. Te su slike blijede, izražajne, a uz to brutalne do karikature. Svi su ti likovi sumorni, i oni nacrtani i oni naslikani. Slikala ih je i crtala svijest osjetljive ćudi, koja je u životu od rana osjećala izolaciju i tjeskobu i redom proživljavala krize. Usred svih tih kriza i protuslovlja odlučuje se Gogh uporno i upravo strastveno za slikarstvo.

Van Gogh čitavo vrijeme strastveno crta kao fanatični autodidakt koji istovremeno i traži i prima savjete sa svih strana. Štoviše, tri mjeseca boravi na akademiji u Antwerpenu, da bi nadoknadio svoje nedostatke u crtanju. No njegova ga je nemirna priroda tjerala u Pariz, kamo ga je zvao brat Théo. Početkom 1886. dolazi u Pariz i postaje đak Cormonov, te u ove četiri godine do smrti Van Gogh doživljuje svoju veliku evoluciju. Već 1887. njegova se paleta radikalno mijenja: prema prijašnjem sumornom načinu čini se ta promjena kao regeneracija. Očituju se značajke arabeske u svježim otvorenim bojama, forma postaje dekorativna uz potcrtani grafizam. Van Gogh traži sintezu u pojednostavljenju. Novi se način Van Goghov ispoljava sve jače i snažnije: isključuju se sjene i svaka modelacija. On primjenjuje čistu otvorenu skalu boja, a oblike konturira tamnom bojom.

1888. izbacuje gotovo sliku za slikom. Uz to su se njegove boje pod mediteranskim nebom zažarile, zasjale i zablistale kao da je u njima iskričavo svjetlo samoga Sunca. Van Gogh slikao je i samo Sunce u punom žaru.

Gauguinov portret Van Gogha

Gauguin je stigao u Arles na poziv van Gogha, da bi se oživotvorio dugogodišnji san mnogih slikara o tome, kako bi se okupili na zajedničkom radu vani u prirodi. Vrlo brzo se pokazalo, da između njih postoje nepremostive suprotnosti: došlo je tako daleko, da je jedne noći u diskusiji Van Gogh u svom neuravnoteženom stanju navalio na Gauguina da ga zakolje. Dostajao je samo jedan Gauguinov pogled, da se Van Gogh osvijesti i da namah sam sebe kazni. Reže britvom vlastito uho i odnosi ga bludnicama u javnu kuću, te pada u težak i bolan grč epileptika. Gauguin odlazi u Pariz, a Van Gogh u psihijatrijsku bolnicu. Svjestan je da je u ludnici, ali između pojedinih nastupa strastveno radi - njegove boje kao da su dobile još više na intenzitetu. Bez predaha slika i crta, grčevito radi. Radi manijakalno, suludo, divlje. Radom nastoji nadbiti i samo ludilo, te svoje krize što se periodički ponavljaju. Kod njega se izmjenjuju časovi lucidnosti s teškim klonućima.

Zvjezdana noć, 1889. g.

8. svibnja 1889. dolazi u Saint-Rémy-de-Provence u Provansi na bolničko liječenje.[7][8] Tamo je počeo slikati čemprese i masline, a nastala je još jedna čuvena slika Zvjezdana noć. Svom je bratu Théu napisao:

Vječno je pitanje, je li nam dano da prije smrti spoznamo samo jednu hemisferu. Što se mene tiče, odgovora nema, ali zvijezde me uvijek potiču na razmišljanje.

Godine 1890. seli se u Auvers-sur-Oise na liječenje kod dr. Paula Gacheta kako bi bio bliže svom bratu. Prvi dojam Van Gogha o dr. Gachetu bio je: "mislim da je bolesniji od mene, ili možemo reći jednako". Dr. Gachet je Van Gogha pretpostavlja se liječio biljkom crvenim naprstkom, s kojom je Van Gogh i naslikao liječnika, a danas se smatra da je ta biljka možda i djelovala na slikarevu percepciju žute boje, s obzirom da pacijenti koji se njome liječe vide sve oko sebe žućkasto. Osim toga sumnja se također da su ga mučile shizofrenija i manična depresija, koje također utječu na percepciju stvarnosti i raspoloženje.

Vjerojatno je jedna od posljednih njegovih slika što ih je naslikao Pšenična polja s vranama ili Žitno polje s gavranima. U 37. godini, 27. srpnja, depresivan, uznemiren, u trenutku paničnog predosjećaja strave pred novim nastupom hvata revolver. U polju kraj puta naslanja se na deblo koje je slikao i odapinje oružje. Umire nakon dva dana u svom krevetu. Pokopan je u Auvers-sur-Oiseu uz svog brata Théa koji je preminuo 6 mjeseci kasnije.

Grob Vincenta i Thea van Gogha

Van Gogov rad

Poreklom iz Holandije, bio je teolog i sveštenik u rudniku i slikao je rudare tamnim mrkozelenim bojama. Posle kratke pariske impresionističke faze kada rasvetljava paletu i napušta socijalne teme, Van Gog odlazi u Arl, na jugu Francuske, gde započinje njegov arlezijski period. Kopirao je Milea, Gogena i Lotreka.

Intenzivno je koristio crvenu i zelenu boju i povodom svoje slike Kafana noću piše svom bratu Teu u Parizu:

“ Soba je krvavocrvena i tamnožuta, u sredini je zeleni bilijar i četiri svetiljke limunove boje, koje bacaju narandžastozelenu svetlost. Svuda se bore najrazličitije zelene i crvene boje: u sitnim likovima protuva koje spavaju, u praznoj i žalosnoj sobi... Pokušao sam da crvenim i zelenim izrazim strašne strasti ljudske duše. ”
Under a bright cloudless blue/green sky is a large collection of connected buildings on the right side of the canvas. The buildings are all part of a mill, up a slight embankment from a stream in the foreground. On the left side of the painting near the steps leading up the embankment to the old mill are two small figures. Off in the left distance is a farmland and farmhouses, while the far distance shows low purple hills
The Old Mill, 1888, Albright-Knox Art Gallery, Buffalo, NY.
The top of the painting is a dark blue night sky with many bright stars shining brightly surrounded by white halos. Along the distant horizon are houses and buildings with lights that are shining so brightly that they are casting yellow reflections on the dark blue river below. The bottom half shows the Rhone river with reflected lights showing throughout the river. In the foreground we can see a shallow wave.
Starry Night Over the Rhone, 1888, Musée d'Orsay, Paris.
A starless, moonless evening sky of middle blue with two large white clouds are above darker blue twisting hills in the distance. In the foreground is a grove of Olive trees, that extend horizontally across the whole painting, towards the bottom is a winding, twisting path that extends horizontally across the painting
Olive Trees with the Alpilles in the Background, 1889, Museum of Modern Art, New York.

Van Gogh drew and painted with watercolors while at school—only a few of these paintings survive and authorship is challenged on some of those that do.[9] When he committed to art as an adult, he began at an elementary level, copying the Cours de dessin, a drawing course edited by Charles Bargue. Within two years he had begun to seek commissions. In spring 1882, his uncle, Cornelis Marinus, owner of a well-known gallery of contemporary art in Amsterdam, asked him for drawings of the Hague. Van Gogh's work did not live up to his uncle's expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointed with the result. Nevertheless, Van Gogh persevered. He improved the lighting of his studio by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures – highly elaborated studies in "Black and White",[10] which at the time gained him only criticism. Today, they are recognized as his first masterpieces.[11]

A white two-story house at twilight, with 2 cypress trees on one end, and smaller green trees all around the house, with a yellow fence surrounding it. Two women are entering through the gate in the fence; while a woman in black walks on by going towards the left. In the sky, there is a bright star with a large intense yellow halo around it
White House at Night, 1890, Hermitage Museum, St. Petersburg, painted six weeks before the artist's death

Early in 1883, he began to work on multi-figure compositions, which he based on his drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, he destroyed them and turned to oil painting. By Autumn 1882, his brother had enabled him financially to turn out his first paintings, but all the money Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both second generation Hague School artists.[12] When he moved to Nuenen after the intermezzo in Drenthe he began several large-sized paintings but destroyed most of them. The Potato Eaters and its companion pieces – The Old Tower on the Nuenen cemetery and The Cottage – are the only ones to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience.[12] So in November 1885 he traveled to Antwerp and later to Paris to learn and develop his skill.[13]

After becoming familiar with Impressionist and Neo-Impressionist techniques and theories, Van Gogh went to Arles to develop on these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as working with serial imagery on related or contrasting subject matter, which would reflect on the purposes of art. As his work progressed, he painted many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family series, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on The Décorations for the Yellow House, which was by some accounts the most ambitious effort he ever undertook.[14] Most of his later work is involved with elaborating on or revising its fundamental settings. In the spring of 1889, he painted another, smaller group of orchards. In an April letter to Theo, he said, "I have 6 studies of Spring, two of them large orchards. There is little time because these effects are so short-lived."[15]

Art historian Albert Boime believes that Van Gogh – even in seemingly fantastical compositions like Starry Night – based his work in reality.[16] The White House at Night, shows a house at twilight with a prominent star surrounded by a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which was bright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture.[17]

Utjecaj

Van Gogh je prethodnik čitavog europskog ekspresionizma po tome, što je strastveno pokušavao izraziti u svojim slikama ono što se ne može izraziti. On je jedan od prvih umjetnika, koji je deformirao prirodni oblik, da bi postigao što jaču i intezivniju izražajnost. Svaki je njegov autoportret dio njegove autobiografije i u njima se odrazuje drama njegove životne putanje. Njegov je utjecaj nadasve velik u čitavom svjetskom slikarstvu. Ostavio je velik opus (850 slika i više od 900 crteža i akvarela) razasut po mnogim galerijama Europe i Amerike.

Van Goghove najskuplje slike

Vanjske poveznice

Ostali projekti

U Wikimedijinoj ostavi nalazi se članak na temu: Vincent van Gogh
U Wikimedijinoj ostavi ima još materijala vezanih za: Vincent van Gogh

Muzeji

Djela

Reference

  1. ↑ Rewald, John. Post-Impressionism: From van Gogh to Gauguin, edición revisada, Secker & Warburg. 1978. ISBN 978-0-436-41151-9. pp.
  2. ↑ Pomerans (1996), ix
  3. ↑ "Van Gogh: The Letters", vangoghletters.org; retrieved 7 October 2009.
  4. ↑ Van Gogh's letters, Unabridged and Annotated, webexhibits.org; retrieved 25 June 2009.
  5. ↑ Vincent Van Gogh Biography, Quotes & Paintings, The Art History Archive; retrieved 12 July 2011.
  6. ↑ Pomerans (1997), pg. 1
  7. ↑ Tralbaut (1981), pp. 286-87
  8. ↑ Hulsker (1990), 390
  9. ↑ Van Heugten (1996), pp. 246–51
  10. ↑ Artists working in Black & White, i.e., for illustrated papers like The Graphic or Illustrated London News were among Van Gogh's favorites. See Pickvance (1974/75)
  11. ↑ See Dorn, Keyes & alt. (2000)
  12. ↑ 12,0 12,1 See Dorn, Schröder & Sillevis, ed. (1996)
  13. ↑ See Welsh-Ovcharov & Cachin (1988)
  14. ↑ See Dorn (1990)
  15. ↑ Hulsker (1980), 385
  16. ↑ Boime (1989)
  17. ↑ At around 8:00 pm on 16 June 1890, as astronomers determined by Venus's position in the painting. Star dates Van Gogh canvas, BBC News, 8 March 2001.

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Vanjske veze

Izvor: https://sh.wikipedia.org/w/index.php?title=Vincent_van_Gogh&oldid=11641202