till life with meadow flowers and roses (1886-1887)

Meadow
“…have my heart, should you name all the flowers.”

Title: Still life with meadow flowers and roses (1886-1887)
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#vangoghgang
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Vincent was 34 years old
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Method: Oil on Canvas
Dimensions: 100cm x 80 cm (39.4in x 31.5in)
Location: Kröller-Müller Museum, The Netherlands
*Purchased with support from the Rembrandt Association
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“My work at least lets me retain a little of my clarity of mind, and makes possible my getting rid of this someday.” (From Vincent van Gogh to Theo van Gogh, 4 January, 1890 in Saint-Rémy,)
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“It would seem that we are not the masters of this – of our existence – it seems that what matters is that one should learn to want to go on living, even when suffering. Oh, I feel so cowardly in this respect; even when my health has returned, I am still afraid.” (From Vincent van Gogh to Mr. and Mrs. Ginoux, 31st December, 1889 in Saint- Rémy)
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#GLOGH #vincentvangogh #vangogh#gogh #art #artist #paint #painter#painting #artwork #arthistory #color#impression #fineart #artlesson #letter#quote #museum #love #life #live#passion #sadness #sunflower

Sunflowers – August, 1888 in Arles

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Sunflowers: one of the initial/original 4 Sunflower paintings (August, 1888 in Arles) #tb #masterpiece
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Oil on Canvas
73.5cm x 60cm
Currently a Private Collection
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“I am hard at it, painting with the enthusiasm of a Marseillais eating bouillabaisse, which won’t surprise you when you know that what I’m at is the painting of some big sunflowers. I have three canvases going – 1st, three huge flowers in a green vase, with a light background, a size 15 canvas; 2nd, three flowers, one gone to seed, having lost its petals, and one a bud against a royal-blue background (destroyed during WWII in Japan), size 25 canvas; 3rd, twelve flowers and buds in a yellow vase (size 30 canvas). The last one is therefore light on light, and I hope it will be the best. Probably I shall not stop at that. Now that I hope to live with Gauguin in a studio of our own, I want to make decorations for the studio. Nothing but big flowers. Next door to your shop, in the restaurant, you know there is a lovely decoration of flowers; I always remember the big sunflowers in the window there.” (From #vvg to #tvg, 21st August, 1888)
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#GLOGH
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#vvg #tvg #vincent #vangogh#vincentvangogh #sunflower #stilllife #art#artist #paint #painter #painting #blue#yellow #flower #arthistory #aotd #live#life #with #dream #and #passion #love #🌻

Still Life with Bible (October, 1885 in Nuenen)

15876645_776511115837616_1960937975495786496_nStill Life with Bible (October, 1885 in Nuenen) #tb #masterpiece
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Vincent was 32 years old
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Oil on canvas
65.7cm x 78.5cm
Currently at Van Gogh Museum, Amsterdam: Vincent van Gogh Foundation
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“Dear Theo,
Flügel, Flügel über’s Leben
[Wings, wings to fly above life!]
Flügel über Grab und Tod
[Wings to fly above the grace and death!]
That is what we want, and I am beginning to understand that we can get them. Don’t you think Father has them? And you know how he got them? By prayer and the fruit of prayer – patience and faith – and from the Bible that was a light on his path and a lamp ahead of his feet.”
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“have more hope than memories; what there has been seriousness and blessed in your past life is not lost; wait no longer therefore, you will find it elsewhere.
Keep heart and believe me, your loving brother, Vincent.
If it was true that youth and adolescence are only vanity – of course, if one takes into account what is written above and if one dreams that a well employed youth is a treasure, although he breaks off and resumes later, we would have to strive and hope to become men like our father and others. We hope on these two, and pray. Compliments to all that may ask after me.” (From #Vincent #vangogh to #Theo van Gogh, 13th September, 1875, Paris)
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“Youth is a wonderful thing. What a crime to waste it on children,” said Bernard Shaw. Well, I hope to differ. Though I do hate seeing men in their flower wasting their time! It’s still a happy new year. Lest the resolution waste in time
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#stilllife #art #painting #🌻

Almond Blossom – 1890, February

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Almond Blossom – 1890, February (Painted for his nephew Vincent)

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Almond Blossom (February, 1890 in Saint-Rémy-de-Provence) #Tb #Masterpiece

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Oil on Canvas

73.3cm x 92.4cm

Collection at VanGogh Museum, Amsterdam (Vincent van Gogh Foundation)

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Almond Blossom was painted as a gift to Theo’s child whom Vincent dearly, dearly loved. Theo and Jo Bonger (Theo’s wife) had named the child after Vincent. Vincent van Gogh’s nephew was also called Vincent van Gogh

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“As we told you, we’ll name him after you, and I’m making the wish that he may be as determined and as courageous as you.” (T.v.G to V.v.G 31st January, 1890)

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“How glad I was when the news came… I should have greatly preferred him to call the boy after Father, of whom I have been thinking so much these days, instead of after me; but seeing it has now been done, I started right away to make a picture for him, to hang in their bedroom, big branches of white almond blossom against a blue sky.” (20th February, 1890 in Saint-Rémy)

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From Vincent: “My work was going well, the last canvas of branches in blossom–you will see that it was perhaps the best, the most patiently worked thing I had done, painted with calm and with a greater firmness of touch. And the next day, down like a brute. Difficult to understand, things like that, but alas! it’s like that.” (From Vincent van Gogh to Theo van Gogh – Circa. April in 1890)

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This except is from Jo-Bonger van Gogh shortly after Vincent gifted the Almond Blossom. She wrote about her encounter with Vincent when he first came to see the newborn: “I had expected a sick man, but there was a sturdy, broad-shouldered man, with a healthy colour, a smile on his face, and a very resolute appearance; of all the self-portraits, the one before the easel is most like him at that period. ‘He seems perfectly well; he looks much stronger than Theo,’ was my first thought.” (P.169 Jo’s Memoir of Vincent van Gogh)

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Continues: Then Theo drew him into the room where our little boy’s cradle was; he had been named after Vincent. Silently the two brothers looked at the quietly sleeping baby – both had tears in their eye. Then Vincent turned smilingly to me and said, pointing to the simple crocheted cover on the cradle, ‘Do not cover him too much with lace, little sister.’” (P.170)

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Vincent van Gogh (the painter) in full name was called: Vincent Willem van Gogh (as we all know, hopefully), which is exactly the same with his Nephew. There were more than four Vincent van Gogh(s) in van Gogh family tree. The one that was closest to the painter was called ‘Uncle Cent’ by the painter’s family to avoid confusion. Uncle Cent was an art dealer with promising career at Goupil & Co (one of the largest galleries in Europe) and *supposedly* had considered Vincent as his successor. It’s quite convincing considering Cent and Cornelia (wife) didn’t have any children. (I’ll share more about family lineage, soon 🙂 )

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Vincent van Gogh was 37 years old.

Irises (May, 1890)

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Irises (May, 1890)

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Vincent was 37 years old

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Oil on Canvas

73.3cm x 92.1cm (29in x 36.3in)

Currently at The MET Museum

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“I am doing a [canvas] of violet irises, one lot against a pink background in which the effect is soft and harmonious because of the combination of greens, pinks, violets. The canvas will take a whole month to dry, but the attendant here will undertake to send it off after my departure.” (From Vincent to Theo, 11th or 12th of May, 1890)

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Vincent van Gogh began his letter as followed: “At present all goes well, the whole horrible attack has disappeared like a thunderstorm and I am working to give a last stroke of the brush here with a calm and steady enthusiasm.”

After having been admitted to the mental asylum, Vincent found himself slowly recovering at one point. It was around this time he created this absolutely (I think magnificent) delicate and theoretically flourishing work. He was recovering from the so called ‘mental illness’ but putting that aside, do you notice the Sunflower painting in the canvas by any chance? I do, and if at the time of Sunflower paintings back in Arles (exclude the reproductions at the asylum) he practiced and completed his implication of Contrasting Color theory which Delacroix integrated in his works, this one: the Irises, he has tamed the colors of gentler and softer complementaries. The support each other (whereas the other Irises is painted in fuller yellow which brings out the subject but the yellow steals the sight of spectators’ eyes https://www.vangoghmuseum.nl/en/collection/s0050V1962)

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“The day of my departure depends on when I’m packed and have finished my canvases; I am working on the latter with such enthusiasm that packing seems to me more difficult than painting. Anyway, it won’t be long. I am very glad that this has not dragged along, which is always regrettable once you have made up your mind. I am looking forward so much to seeing the exhibition of Japanese prints again, and I don’t at all despise seeing the Salon, where I think there must still be some interesting things, though having read the account in the Figaro, it certainly left me pretty cold.”

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#vangogh #art #letter #quote #love