Vincent van Gogh lived during the Impressionist era. With the development of photography, painters and artists move to convey feelings and ideas behind people, places, and things rather than trying to imitate their physical form. Impressionist artists do this by emphasizing certain colors, using strong brush strokes, and paying attention to the spotlight. Vincent van Gogh applied this ideology to pursue his goal to describe his own feelings towards and involvement with his subjects. The Van Gogh portrait focuses on the color and brush strokes to show their inner qualities and Van Gogh's own relationship with them.
Vincent van Gogh painted portraits throughout his career from 1881 to 1890.
Video Portraits by Vincent van Gogh
Belanda dan Brussels 1881-1886
Van Gogh was fascinated by making portraits early in his artistic career. He wrote to his brother, Theo while studying in The Hague, "I want to create an image that not everyone will understand, a simplified figure becomes important, deliberately ignoring details that do not belong to real characters and are just coincidences." For example, he discusses having their parents pose for a painting, but that, in capturing the character of a "poor village priest" or "a couple who have grown old together in love and loyalty", they may not appreciate the work, because in doing so the painting will not be exactly the same. Even so, he considered it a "serious problem" to focus on their character, where his approach should be trusted.
Joseph Block
Van Gogh wrote to his brother Theo in November 1882 that he had drawn portraits of Jozef Blok (F993), a street book dealer sometimes called the "Binnenhof outdoor librarian". In contrast to character studies, his work was written with a pencil with watercolors and lime. Nowadays very seldom Van Gogh uses color, because he finds it hard to work (see Vincent van Gogh's early work).
Study of farmer character
In November 1882, Van Gogh began drawing individuals to describe the various types of characters of the working class. The "peasant genre" which greatly influenced Van Gogh began in the 1840s with the works of Jean-FranÃÆ'§§§ Millet, Jules Breton, and others. In 1885, Van Gogh described the paintings of peasants as the most important contribution to modern art.
Van Gogh holds the workers up to a high standard of how he should be dedicated to painting, "One must do with conviction, with certain assurances that one does the natural thing, like the peasant who rides his plow... (the one who) drags a rake behind himself If a man has no horse, a horse is his own. "
To illustrate the essence of peasant life and their passion, Van Gogh lives as they live, he is in a field like them, enduring in the weather or for hours. Doing so was not something taught in school, he said, and became frustrated by traditionalists who were more focused on techniques than the nature of the people who were captured. So really engaging in the farmer's lifestyle, his appearance and speech began to separate him from others, but this is the cost he believes he needs to bear for his artistic development.
Portrait of a Woman in Blue
Portrait of a Woman with a Red Ribbon
Portrait of an Old Man with a Beard
Van Gogh describes his guardian for this painting as "an extraordinary old man". It was made in Antwerp where Van Gogh hopes to bring money to support himself by painting portraits.
Sien
Van Gogh made a series of paintings of Sien Hoornik, a prostitute whom he met and received when he lived in The Hague. Included in the series is the work of Sien's daughter, Maria, her newborn son and mother.
Maps Portraits by Vincent van Gogh
Paris 1886-1888
Alexander Reid
Agostina Segatori
Van Gogh occasionally visits the Cafà ©  © du Tambourin managed by Agostina Segatori, the subject of this painting. Previously an artist's model for Manet and Corot and others, Naples-born, Agostina, saved the money he produced as a model and opened the Italian-themed Cafè du Tambourin in 1885, which specifically served the artists.
Italian lady also called Le Italienne is "without a doubt" Agostina Segatori, per MusÃÆ'Â| e d'Orsay. Van Gogh introduced elements of Japanese wood-cut pieces in this portrait. Agostina is depicted without shadows. The surrounding image is an asymmetrical border with a monochromatic background. He also carries his own style and energy for the job as opposed to the clean lines of Asian mold. The complementary and contrasting colors of Neo-impressionism are used to bring intensity to work: green against red and blue beside orange so that the paired colors are clearer than they want. Van Gogh created his own brushstroy style of Impressionism and Pointilism, in this "cross overlapping nervous oppression, using the red and green on his face which he later described as a technique" to express a terrible passion. humanity with red and green ".
Etienne-Lucien Martin
The Portrait of Etienne-Lucien Martin was created from the restaurant owner in Paris. He allows artists to showcase their work. In November 1887, Van Gogh and his friends demonstrated their work; Van Gogh does not sell paintings. Van Gogh made Martin's paintings with care and precision. The colors in the portrait itself and the background are conquered, painted with a smooth brush strokes. The man's face, though, has color stripes all over his cheeks.
Leonie Rose Davy-Charbuy
Art dealer Pierre Firmin-Martin, a friend of the brother of Van Gogh Theo, features several Van Gogh paintings. Mom by Cradle, Portrait of Leonie Rose Davy-Charbuy is made up of Martin's nephew who lives with his uncle. Reflections of family interest in art, paintings hanging in the background. In the year the painting was made, Theo commented that Van Gogh did a portrait of painting a good job but never asked for a fee.
Nude study of Little Girl
PÃÆ'¨re Tanguy
Portrait of PÃÆ'¨re Tanguy , painted by Vincent van Gogh in 1887, is one of Julien Tanguy's three paintings. The three works show developments in Van Gogh's artistic style since arriving in Paris. The first painting was grim and the composition was simple. In the second painting, Van Gogh introduces his Japanese mold. The latter and the most advanced in style, skill and color reflect Japan's integration, Impressionism, and other influences from the Paris artist community. It conveys the sense of composure Van Gogh sought for himself. Tanguy's last painting is in MusÃÆ' Â © e Rodin, Paris.
PÃÆ'¨re Tanguy is a Breton who was exiled and pardoned after taking part in the French Revolution. When Vincent van Gogh knew him, he owned a small artist's shop. The store was important to the painters of the time. Impressionist painter in Paris is usually found in the Tanguy PÃÆ'¨re store. Painters like CÃÆ' Â © zanne, Pissarro, and Gauguin, as well as their paintings, often visit the store. Van Gogh painted several portraits of PÃÆ'¨re Tanguy. This particular portrait, painted in the winter of 1887-88 from PÃÆ'¨re Tanguy is better known for its frontal perspectives, such as early photography. The development of photography is part of what inspires impressionistic styles. The technology to capture the exact image of the person in turn creates a defined style of painting to capture more than what the eye can see. Van Gogh's style is driven by this goal as well as his own interest to engage his own thoughts in artwork. In this Tanguy PÃÆ'¨re portrait, van Gogh communicates his friendship with Tanguy and his love for foreign artworks. Meanwhile, van Gogh's painting fell into the popular theme of a portrait figure surrounded by objects at that time. Van Gogh compares the flat and tacky colors of Japanese wood carvings to the depths of a cold tone that creates portraits of the Tanguy PÃÆ'¨re. However, he managed to tie these two ideas together by applying a warm and bright spotlight on the face, hat, and hand PÃÆ'¨re Tanguy. The corners in Tanguy's posture are also imitated in Japanese wood pieces. This combination shows the relationship Van Gogh saw between his friend, shop owner, and Van Gogh's fun experience with exotic art.
Tanguy's face is an important feature of the painting. The emphasis on different colors of skin, highlights, and low light creates a known person. This and the spirit of painting centered from Tanguy's stare contrasted sharply with Japanese wooden faces. This portrayal of east and west demonstrates van Gogh's understanding of the fundamental difference between the art of the Far East and Europe.
Portrait of a Man
Portrait of a Man with Mustache
Portrait of a Woman
Portrait of a Woman, Facing Rights
The Smoker
Women Sitting on the Grass
Arles 1888-1889
Van Gogh goes to Arles to enjoy the sun, color, and lifestyle of the country, but more than anything else "that I really expect is to paint a good portrait."
Doctor Rey
According to Doiteau and Leroy, one day Van Gogh wanted to present the painting he had just completed. Rey. But the doctor refused the prize, so Van Gogh offered the painting to the hospital pharmacist just passing by, Mr. Rousseau. He, too, refused and became the next passer, the hospital administrator, offered the painting - and he, a Mr. NeuviÃÆ'¨re, is said to have accepted it.
Rey later recalled: "When I saw that he was outlining my head entirely in green (he only had two main colors, red and green), that he painted my hair and my mustache - I really did not have red hair - red on a green background biting, I just cringe... "
Ginoux Family
Marie Ginoux, lahir Jullian (atau Julien) di Arles (8 Juni 1848 - 2 Agustus 1911), dan suaminya Joseph (1835-1906) menikah 2 Februari 1866, dan mengelola CafÃÆ' © de la Gare, di 30 Tempat Lamartine.
La MousmÃÆ' ©
La MousmÃÆ' © was painted by Vincent van Gogh in 1888 while living in Arles, called Van Gogh as "Japan in the south". Withdrawing from the city, he hopes that his time at Arles will awaken in his artwork a simple yet dramatic expression of Japanese art. Inspired by Pierre Loti's novel Madame ChrysanthÃÆ'¨me and Japanese artwork, Vincent painted the well-dressed Japanese girl Ben Mousmà ©  ©, . The audience is attracted by the use of contract patterns and colors that bring energy and intensity to the job.
The Zouave
Van Gogh, excited to have models for portraits, worked on a portrait of a Zouave in June 1888 in Arles. Van Gogh described him as a man, with a small face, big neck and sharp eyes. A half-long portrait was made of a tanned man with bright colors which he called a "wild combination of a strange tone". Zouave uniform is blue with red-orange braid, red hat and two yellow stars on his chest, all placed against a background of green doors and orange bricks. Dissatisfied with the painting, he calls it "ugly and unsuccessful", but thinks that the challenge may extend his artistic skills. Van Gogh also made pictures, which he did not particularly like, and Zouave's paintings on white walls.
Head Girl
This portrait, and The Zouave, was one of two portraits by van Gogh in 1888 from an anonymous subject, which he sent to his Australian artist friend John Russell. Like The Zouave , Van Gogh compares his subject with animals. He calls the girl "dirty mud".
The Beloved : Paul-EugÃÆ'¨ne Milliet
Paul-EugÃÆ'¨ne Milliet is Lieutenant 2 in the 3rd Zouave Regiment which has a place in Caserne Calvin located on Boulevard des Lices in Arles. Vincent van Gogh gave him drawing lessons, and in return Milliet took a roll of Van Gogh paintings to Paris, when in mid-August he passed the French capital on his way to the North, where Milliet spent his holiday. Upon his return to Arles, at the end of September 1888, Milliet handed over a collection of Ukiyo-e woodcuts and other prints chosen by Vincent's brother Theo from their collection. In the days that followed, Vincent executed this portrait of Milliet.
In the first version of Van Gogh Bedroom in Arles , which was executed in October 1888, a portrait of Milliet is shown hanging to the right of Eugène Boch's portrait.
A few decades later, when Milliet had retired to the 7th arrondissement in Paris, his memory of Van Gogh was recorded by Pierre Weiller, currently living in a building owned by Milliet, and published in 1955, following the death of Milliet.
- The Mudlark
- Old Arles
- Van Gogh Face to Face: The Portraits , with contributions by Roland Dorn, George S. Keyes, Joseph J. Rishel with Katherine Sachs, George TM Shackelford, Lauren Soth, Judy Sund , and chronology by Katherine Sachs, Detroit Institute of Arts & amp; Thames and Hudson, 2000 ISBNÃ, 0-89558-153-1
- Self-portrait by Vincent van Gogh
- Children Painting (Van Gogh series)
- PÃÆ'¨re Tanguy , Vincent van Gogh, on the official website of MusÃÆ' Â © e Rodin.
- The Harvesters , Vincent van Gogh, on the official website of MusÃÆ' Â © e Rodin.
- Eugene Boch.com - website on friend Van Goghà ¢ â,¬â "¢ painted as poet
- Van Gogh, paintings and drawings: special loan exhibitions , catalogs of digital exhibits entirely from the Metropolitan Museum of Art Museum, containing material about these portraits (see index)
The girl with the Ruffled Hair (The Mudlark) was painted by Van Gogh when she lived in Arles. This work is located in MusÃÆ'Â des Beaux-Arts, La Chaux-de-Fonds, Switzerland (F535). See also Children's Painting (Van Gogh series).
Van Gogh Old Lady Arles was made as soon as she arrived in Arles. He wrote to his brother Theo, "I believe that there are real opportunities for portraits here, while the people here are very ignorant about painting in general, when it comes to their own looks and their own lives, they are much more artistic than in the North. "
One-eyed man
The One-eyed Man is a portrait of a patient in Saint-Paul asylum in Saint-RÃÆ' Â © my. Van Gogh used sweeping brushstrokes in a painting made in green in the background, the man's coat and a touch on his face. At the hospital, Van Gogh finds that in the presence of other patients he becomes more calm about his mental state. In a letter to his mother he wrote, "Right now I'm working on a portrait of one of the patients here.It's strange that if someone was with them for a while, and got used to them, people no longer think they're crazy."
Since Van Gogh was not in Saint-Paul until 1889, perhaps the patient and artwork called Van Gogh in the letter to his mother was about the Portrait of a Patient.
Paul Gauguin
Poet : Eugène Boch
Eugène Boch (1855-1941) was a Belgian painter, born in Saint-Vaast, Hainaut, who is the younger brother of Anna Boch, a founding member of Les XX. Born in a rich dynasty of ceramic porcelain producers and ceramics, still active today under the firm Villeroy & amp; Boch, Eugène Boch enrolled in a private workshop LÃÆ'Â © in Bonnat, Paris, in 1879. Since 1882, when Bonnat closed his workshop, he studied at the Fernand Cormon atelier. His paintings were inserted into the Salon in 1882, 1883 and 1885. In June 1888, he was introduced by Dodge MacKnight to Vincent van Gogh.
The portrait was executed in the first days of September 1888, a few days before Boch's departure. In the first version of Van Gogh's Bedroom, which was executed in October 1888, this portrait is displayed hanging to the left of Paul-EugÃÆ'¨ne Milliet's portrait. Arranged in this way, the two portraits may have formed part of the DÃ © coration for the Yellow House .
When Eugène Boch died in 1941, he left the Poet (Van Gogh's title for his portrait of Eugène Boch, received by Boch of Johanna van Gogh-Bonger as a gift in July 1891). ) to the Louvre.
Portrait of Mother Artist
Portrait of the Artist Mother is a painting made by Vincent van Gogh in 1888 his mother, Anna Carbentus van Gogh from a black and white photograph. In September 1888, Van Gogh replied to a letter from his sister, Wil, who informed him of their mother's last photograph - asking for a print. About a week later he accepted it, but - "troubled with the black" - sat down to paint a copy based on this similarity: Van Gogh's early introduction to art was through his mother, an amateur artist. After years of tension with family members, Van Gogh eagerly shared some of his favorite works of his mother, flowers and natural settings. In this painting of his mother, Van Gogh captures his great and proud nature.
Van Gogh made a painting, Memory of the Garden in Etten , to describe an older woman whom he imagined as his mother and a younger woman in a checkered shawl to represent his sister, Wil and the garden - beautiful garden from the Netherlands. In a letter to his sister, Wil Van Gogh says that he has an impression like you are in Dicken's novels.
The Roulin Family
The Roulin family is a group of portraits that Vincent van Gogh executed in Arles in 1888 and 1889 Joseph, his wife Augustine and their three children: Armand, Camille and Marcelle. The series is unique in many ways. Although Van Gogh likes to paint portraits, it is difficult for financial and other reasons for him to find a model. So, finding an entire family that agrees to sit for painting, actually for some sittings each is a gift. Joseph Roulin became an excellent, loyal, and supportive friend to Van Gogh during his stay in Arles. Representing a man he really admired is very important to him. Families, with children ranging in age from four months to seventeen, also gave him the opportunity to produce individual works in different stages of life. Rather than making photographic works, Van Gogh uses his imagination, colors and themes artistically and creatively to evoke desired emotions from the audience.
Le Facteur : Joseph Roulin
While Van Gogh lives in Arles, Joseph Roulin works at the railway station, both places close to their residence: Roulin and his family are at a dead end, and Van Gogh is just round the corner, at 2 Place Lamartine - and both are frequented CafÃÆ'Â © run by the Ginoux couple, a few steps further; there was already Van Gogh, before he moved to Yellow House. Roulin married Augustine. They have three children: Armand, Camille, and Marcelle. Van Gogh painted every member of the Roulin family several times between 1888-1889.
While in Arles, Vincent van Gogh befriended the postman. Van Gogh painted several portraits of Roulin and his family. "Gravity and Silent Softness" Roulin, and his "strange and touching" voice inspired van Gogh to paint him, commemorating their friendship. Van Gogh painted this portrait with oil paint on canvas in July 1888. Formally, the vast blue expanse of Roulin's mantle took the stage. The lack of contrasting colors in suits and blue pants makes the plane less deep. This official tone contrasts with Roulin's personality. The warm skin color and the bright red, yellow, and green color of the Roulin beard is a tribute to the friendship van Gogh felt for the postman. This is a theme in impressionism; to paint invisible feelings and ideas using bright colors and brush strokes. Van Gogh emphasized the pink color on the Roulin's cheek, the light in Roulin's eyes, and the arrogance of his hand to indicate aspects of Roulin's personality. The use of color, lighting, and brush strokes shows the candor and intelligence that Gogh sees in the Roulin mailman.
Augustine
Augustine Roulin was born on October 9, 1851 at Lambesc and died on April 5, 1930. After her husband posed for several works with van Gogh, Augustine sat down for Van Gogh and Paul Gauguin in the Yellow House two men share. During his sitting, he continues to stare at Gauguin, perhaps to reassure her because, according to his daughter, he is uncomfortable in the presence of van Gogh.
La Berceuse (Augustine)
In addition to mother-daughter work where Marcelle looks, Van Gogh also creates some La Berceuse works where Augustine shakes his invisible holder with a rope.
Van Gogh labels the La Berceuse working group, which means "our bed or female bed shook the cradle."
Armand
Armand Roulin, the eldest son, was born on May 5, 1871 at Lambesc, and died on November 14, 1945. He was 17 years old when described by Van Gogh.
Camille
Camille Roulin, the middle child, was born in Lambesc in southern France, on July 10, 1877, and died on June 4, 1922. When his portrait was painted, Camille was eleven years old. The Van Gogh Museum's paintings show Camille's head and shoulders. Brush the yellow brush behind him to shake the sun.
Marcelle
Marcelle Roulin, the youngest son, was born on July 31, 1888, and four months, when Van Gogh made his portrait. She was painted three times by herself and twice in her mother's lap.
Madame Roulin's husband, the postman, was good friends with Vincent van Gogh when they were both in Arles. Portraits of Madame Roulin and her baby were painted through November and December 1888. Although the baby was so young it could barely posing for long, van Gogh managed to imply his style of marking the subject with events in their lives. This portrait does not idealize the baby, but it captures the essence of the newborn. The child has no cherubim like baby traits depicted in the rococo style, but the definition of the cheek contour can not be denied childishly. The expression of pale pink, blues, and yellow, on the baby's face shows Van Gogh's intention to show the nature of the skin. Madame Roulin, the mother, joined the portrait in two important ways. Madame Roulin's hands were positioned, gently holding her child. Van Gogh's attention to their position and the light and color that make up his skin highlight the figurative idea of ​​the hand. The details make viewers aware of the hands that care for the baby. Both Madame Roulin profiles appear as part of a cruel yellow background. The outlines of her figure imitate baby contours and build a strong relationship between mother and child.
Vieux Paysan : Escalier Patience
Patience Escalier is a gardener and shephard with a trade, and his portrait results from Van Gogh's desire to paint an old farmer similar to his father in terms of features.
There are two versions of this portrait. It's held by Norton Simon Museum in Pasadena, California, and the others in Philip Niarchos's private collection.
Saint-RÃÆ'Â © my -en-Provence 1889
Family Trabuc
FranÃÆ'§ois Trabuc, who was the orderly head at Saint-Paul, and his wife, Jeanne sat with van Gogh. FranÃÆ'§ois Trabuc has a view of "contemplative calm" which Van Gogh finds interesting even though he suffered at Saint-Paul and the Marseilles hospital during the cholera outbreak. He wrote to Theo of Trabuc, military presence and "sharp little black eyes." If it were not for his intelligence and kindness, his eyes could have looked like birds of prey.
Portrait of a patient
While in Saint-Paul, Van Gogh writes about other patients and their support for each other, "Although here are some patients who are severely ill, the fears and horrors of madness that I used to have diminished a lot and, constantly hearing terrible cries and wailing like wild animals on the farm, even though the men knew each other and helped each other when their attacks came. "
Auvers-sur-Oise
Gachet Family
Drawings. Gachet is one of the most respected paintings by the Dutch artist, Vincent van Gogh of Dr. Paul Gachet, who took care of him in his final months. In 1990, it took a record price of $ 82.5 million ($ 75 million, plus a 10 percent buyer commission).
Dr. Gachet is also an artist from the Impressionist era. He is a painter and amateur carver. Vincent van Gogh went to the doctor for medical treatment. Van Gogh saw himself in the doctor; like herself, she sees in Dr. Gachet "a heartbroken expression of our time." Similar to many van Gogh portraits, the painting is a study not about the physical features of man, but the inner quality of the physician's personality. Portrait. Gachet recorded all the smallest detail of his performance and described it in the way van Gogh sees. The image characteristics of doctors are all freely painted so viewers can see them in the same way van Gogh does.
Adeline Ravoux
Portrait of Adeline Ravoux was painted by Dutch post-impressionist artist Vincent van Gogh in 1890.
The twelve-year-old Adeline Ravoux is the daughter of Arthur-Gustave Ravoux, whose inn is where Van Gogh lodged in Auvers-sur-Oise. He then wrote a memoir about Van Gogh's stay with them. He witnessed the return of Van Gogh to the inn after a fatal incident in which he shot himself: "Vincent stooped down, clutching his stomach, again exaggerating his habit of holding one shoulder higher than the other.Mother asked him:" M. Vincent, we are anxious, we are glad to see you back; Do you have a problem? "He replied in a suffering voice:" No, but I have... "he did not finish, crossed the hall, took the stairs and went up to his bedroom I witnessed this incident Vincent made us a strange impression that Dad got up and left to the stairs to see if he can hear anything. "See also Children's Painting (Van Gogh series).
A piece of F1652r study picture has on the top left of a young girl's profile recognizable Adeline Ravoux. The young girl seen from behind to the left is considered as well. He is allegedly appearing in a number of other paintings, including especially the Two Ladies Walking in a Landscape. The sheet sold $ 4480,000 with the sale of Christie in 2007.
Children with Orange
Lihat juga Lukisan Anak-Anak (serial Van Gogh).
Girl in White
White Girl also known as Young Girl Standing Against Background of Wheat and Women in the Cornfield painted by Vincent van Gogh in 1890 at Auvers - sur-Oise, France during the last months of his life. Girl in White has been part of the Chester Dale Collection at the National Gallery of Art, Washington D.C. since 1963.
Little Arlesienne
The Little Arlesienne () is found at the KrÃÆ'¶ller-MÃÆ'¼ller Museum. See also Children's Painting (Van Gogh series).
Young Peasant Woman with Straw Hat
The Peasant Woman Against the Background of Wheat is a painting of 1890 by Vincent van Gogh. Van Gogh went on to paint several versions of this painting. The painting has changed hands several times. In 1997, Stephen Wynn paid $ 47.5 million for the painting. On October 7, 2005, it was announced that Stephen Wynn had sold the painting along with Gauguin's Bathers to Steven A. Cohen for more than $ 100 million.
Two Children
Two Young Girls , also called Two Children are owned by MusÃÆ' Â © e d'Orsay, Paris. Another version of Two Children is part of the private collection (F784). See also Children's Painting (Van Gogh series).
Youth with Cornflower
The Young Man with Cornflower was created in June 1890 in Auvers. See also Children's Painting (Van Gogh series).
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Source of the article : Wikipedia
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