Lukisankarya vincent van gogh beserta keterangannya, aliran lukisan vincent van gogh, the starry night, vincent van gogh merupakan pelukis yang menganut aliran, judul lukisan vincent van gogh, lukisan terbaik van gogh, menilai lukisan starry. 69 cm x 84 cm deskripsi lukisan bunga di vas.
Vincent van Gogh adalah seniman besar asal Belanda yang terkenal karena melukis diluar konteks fisik dan emosional melalui marka kuasnya yang meliuk-liuk. Ia juga dikenal akan kisah tragisnya yang tidak mendapatkan apresiasi yang sebagaimana mestinya hingga ia meninggal dunia. Belum lagi, kematiannya yang banyak menyimpan misteri juga semakin menambah kisah sendunya. Seperti belum cukup tragis, Van Gogh juga jatuh miskin karena tidak berhasil menjual karyanya dan menderita gangguan jiwa sepanjang karir melukisnya. Namun semua itu tidak menghalanginya untuk terus menelurkan mahakarya. Ia tidak berhenti melukis dan terus produktif selama 10 tahun hingga akhir hayatnya. Oleh karena itu, rasanya amat disayangkan apabila kita tidak menelusuri kisahnya. Bukan hanya dari sensasionalismenya kisahnya saja, namun kita juga dapat memetik banyak pelajaran berharga, baik dari sisi artistik, maupun dari kehidupannya secara umum sebagai seniman. Berikut adalah biografi yang dilengkapi juga oleh beberapa contoh karya & analisisnya dari maestro dunia, Vincent Van Gogh. Vincent Van Gogh lahir di Belanda pada 30 Maret 1853 dan merupakan anak kedua dari enam bersaudara dari keluarga yang relijius di Belanda Selatan. Ayahnya, Theodorus Van Gogh, adalah seorang pendeta dan ibunya, Anna Cornelia Carbentus, adalah putri dari seorang penjual buku. Dari sejak kecil Van Gogh memiliki mood atau suasana hati yang tidak stabil. Dia tidak menunjukkan bakat seni-nya selama masa kanak-kanak, ia juga tidak begitu berhasil di sekolah. Pada 1868, ia meninggalkan sekolah dan tidak pernah kembali untuk mendapatkan pendidikan formal. Awal Karir Pada tahun 1869, Vincent Van Gogh magang di dealer seni internasional Goupil & Cie Paris dan akhirnya diterima bekerja untuk ditempatkan di kantor cabang Den Haag. Disana Vincent cukup sukses dalam karirnya sebagai art dealer dan bekerja di perusahaan tersebut selama hampir satu dekade. Pada tahun 1872, Van Gogh mulai berkirim surat dengan adiknya Theo Van Gogh. Surat-menyurat dengan adiknya itu kemudian berlanjut hingga akhir hayat Vincent. Theo sendiri akhirnya mengikuti jejak kakaknya sebagai penjual barang-barang seni. Sementara itu Vincent dipindahkan ke kantor Goupil & Cie cabang London. Disaat itu pula, Vincent mengalami depresi dan menjadi pribadi yang relijius. Van Gogh kemudian meninggalkan pekerjaannya di Goupil’s dan memutuskan untuk tinggal dan bekerja di Gereja. Meskipun Van Gogh mengalami kesulitan finansial Ia malah menyerahkan harta miliknya kepada para penambang batu bara setempat. Sayangnya kehidupannya sebagai seorang pastur tidak bertahan lama. Gereja memecatnya karena Vincent dianggap terlalu obsesif terhadap imannya. Pada tahun 1880, Vincent Van Gogh memutuskan untuk mencoba menjadi seorang seniman dan berharap masih dapat menjadi pelayan Tuhan lewat profesi itu. Kesulitan ekonomi Van Gogh makin memburuk, namun Theo selalu membantunya dengan mengiriminya sejumlah uang untuk bertahan hidup. Theo kemudian secara finansial terus mendukung Vincent disepanjang kariernya, karena ia tidak berhasil menghasilkan uang dari lukisannya. Karena kemiskinannya yang semakin tidak tertolong, pada tahun 1881 Vincent Van Gogh memutuskan untuk pulang ke rumah bersama orang tuanya. Disana ia terus mengasah kemampuan melukisnya secara otodidak. Dengan dukungan finansial Theo, Van Gogh menyewa sebuah studio di Den Haag dan belajar di bawah arahan Anton Mauve, seorang seniman terkemuka dari Aliran seni Den Haag. Mauve memperkenalkan Van Gogh pada karya-karya pelukis Prancis Jean-François Millet, yang dikenal karena aliran realismenya yang mengambil subjek kehidupan para kaum buruh dan petani. Kemudian gaya Millet juga mempengaruhi karya Van Gogh di masa ini. Kematangan Artistik Pada tahun 1884, setelah pindah ke Nuenen, Belanda, Van Gogh tak pernah berhenti berkarya dan terus bertekad untuk menjadi pelukis realisme seperti Millet. Meskipun keahliannya sebagai pelukis makin terasah, kehidupan ekonominya masih saja belum mebaik. Autumn Landscape with Four Trees, oleh Vincent van GoghVan Gogh sempat menuduh Theo tidak berusaha cukup keras untuk menjual lukisan-lukisannya. Theo sendiri menjawabnya dengan alasan aliran lukis Vincent sudah kurang diminati, karena pada saat itu aliran Impresionis-lah yang sedang naik daun. Kehidupannya yang masih tak kunjung membaik itu diperburuk dengan meninggalnya Ayah Van Gogh karena stroke. Van Gogh meninggalkan Belanda untuk terakhir kalinya pada tahun 1885 dan sempat mendaftarkan diri ke Akademi Seni Murni Antwerpen di Belgia. Disana ia bertemu dengan seniman yang ikut memberi pengaruh pada karyanya Peter Paul Ruben. Namun lagi-lagi ia tidak begitu tertarik dengan kehidupan akademik dan memutuskan untuk pergi ke Paris. Vincent Van Gogh tinggal bersama Theo di Montmartre, distrik seniman di Paris utara dan belajar dibawah tuntunan Fernand Cormon, yang memperkenalkan Vincent ke para Seniman Impresionis. Pengaruh seniman seperti Claude Monet, Camille Pissarro, Edgar Degas, dan Georges Seurat kemudian melekat pada karya Vincent Van Gogh. Tekanan dari Theo untuk menjual lukisannya juga ikut memotivasi Van Gogh dalam mengadopsi palet impressionist yang lebih terang dan berwarna. Pada saat itu juga Van Gogh mulai terobsesi dengan gaya grafis cetak Jepang. Ia mengoleksi bahkan mengkurasi pamerannya di Paris. Pada akhir 1887, Van Gogh menyelenggarakan pameran yang memuat karyanya sendiri dan rekan-rekannya Emile Bernard, Henri de Toulouse-Lautrec. Pada awal 1888, karyanya mulai menarik perhatian dan berhasil dipamerkan bersama dengan para tokoh Neo Impresionis Georges Seurat dan Paul Signac di Salle de Repetition of Teater Libre d’Antoine. Masa Puncak Artistik Karya-karya Van Gogh yang paling terkenal diciptakan selama dua tahun terakhir dalam hidupnya. Selama musim gugur dan musim dingin tahun 1888, Vincent Van Gogh dan Paul Gauguin tinggal dan bekerja bersama di Arles Perancis. Van Gogh menyewa empat kamar sekaligus di 2 Place Lamartine, yang dijuluki “The Yellow House” untuk studionya. Langkahnya tersebut dimulai sebagai rencana untuk membuat komunitas seniman baru di Arles sebagai alternatif Paris. Gauguin dan Van Gogh mengembangkan konsep warna simbolis sebagai ekspresi emosi dan batin agar tidak terus bergantung ke alam seperti aliran-aliran seni sebelumnya. Meskipun produktivitasnya luar biasa, Van Gogh menderita ketidakstabilan mental, termasuk epilepsi, delusi, dan gangguan bipolar. Gauguin pindah ke Tahiti untuk menghindari perilaku Van Gogh yang semakin tidak menentu. Ia pergi diam-diam setelah perkelahian sengit dengan Van Gogh yang mengancamnya menggunakan pisau cukur. Pisau itu kemudian justru digunakan untuk memotong telinga kanannya sendiri. Pada tanggal 8 Mei 1889, setelah merasa kondisi mentalnya kian memburuk, Van Gogh dengan sukarela menyerahkan dirinya ke sebuah institusi psikiatri di Saint-Remy, dekat Arles. Minggu-minggu berlalu dan kesehatan mentalnya lebih stabil hingga Vincent Van Gogh diizinkan untuk melanjutkan melukis. Periode ini menjadi salah satu masa yang paling produktif. Van Gogh menciptakan lebih dari 100 karya di Saint-Remy, termasuk karyanya yang paling terkenal Starry Night 1889. Klinik dan taman disekitarnya menjadi subjek lukis utamanya. Sapuan kuas yang dinamis dan berputar-putar serta palet kaya warna yang menjadi ciri khasnya semakin berkembang disini. Semasa perawatan di klinik, Van Gogh membenamkan dirinya dalam pengalaman lingkungan sekitar. Kemudian menciptakan kembali berbagai dari ingatan pepohonan dan flora lain yang mengisi taman klinik. Kondisi mentalnya pun semakin membaik hingga akhirnya dia diperbolehkan pulang. Kematian Tak lama setelah meninggalkan klinik, Van Gogh pindah ke utara Auvers-sur-Oise di luar Paris dibawah perawatan seorang dokter yang merangkap sebagai seniman amatir, Dr. Gachet. Gachet memotivasi Van Gogh untuk terus melukis sebagai bagian dari terapi lanjutan untuk kesembuhan mentalnya. Vincent Van Gogh tentunya dengan senang hati menjalankannya. Ia dengan penuh semangat melukis berbagai lingkungan dan pemandangan di Auvers. Vincent menyelesaikan sekitar satu lukisan dalam sehari selama bulan-bulan terakhir hidupnya. Namun, setelah Theo mengungkapkan rencananya untuk membangun bisnis sendiri dan menjelaskan bahwa bantuan finansialnya akan menipis untuk sementara waktu, depresi Van Gogh kambuh lagi. Pada tanggal 27 Juli 1890, dia berjalan ke ladang gandum di sekitar Auvers dan menembak dirinya sendiri di dada dengan pistol. Meskipun Van Gogh belum mati dan berhasil berjuang kembali ke kamarnya, luka-lukanya tidak dirawat dengan benar dan dia meninggal dua hari kemudian. Theo bergegas untuk berada di sisi saudara laki-lakinya selama jam terakhirnya dan berkata bahwa kata-kata terakhir Vincent Van Gogh adalah “Kesedihan ini akan bertahan selamanya.” Kesedihan itu diperdalam dengan kematian Theo yang menyusulnya tidak lama setelah kematian Vincent. Theo didiagnosis menderita kelumpuhan progresif yang dini. Pada tanggal 1 Desember catatan medisnya menegaskan bahwa ia menunjukkan gejala dementia paralytica, penyakit otak. Penyebabnya disebutkan oleh “faktor keturunan, penyakit kronis, terlalu banyak bekerja, atau kesedihan mendalam dan depresi”. Dia meninggal pada 25 Januari 1891. Kemudian surat-menyurat antara Vincent Van Gogh dan Theo menjadi salah satu dokumentasi terpenting bagi kisah mereka berdua. Selama masa hidupnya Van Gogh tidak mendapatkan apresiasi yang semestinya, hanya satu lukisan yang berhasil terjual selama hidupnya. Baru setelah ia meninggal dunia karya-karyanya mulai bergema. Bahkan hingga masa kini sempat berkali-kali menjadi salah satu karya seni termahal di dunia. Karya seni Vincent Van Gogh Vincent Van Gogh adalah seniman yang sangat produktif dan menghasilkan 900 lukisan selama masa hidupnya. Lukisannya sendiri terdiri dari dua aliran utama dan banyak seri. Seri-seri lukisan Vincent Van Gogh mencakup potret, potret diri, ladang gandum, bunga, pepohonan, pemandangan dan sebagainya. Aliran Seni Lukis Vincent Van Gogh Aliran seni lukis Vincent Van Gogh yang paling dikenal adalah post-impressionism/paska impresionisme atau Neo Impresionism tepatnya. Ia adalah salah satu pionir yang memberikan pengaruh pada banyak aliran lain yang menyusul neo Impresionisme, fauvism, dll. Meskipun awal karirnya dimulai dengan mengusung aliran realisme. Van Gogh juga dapat dikatakan mengusung aliran Ekspresionisme, salah satu aliran yang dipayungi oleh Paska Impresionisme dan bersifat menonjolkan ungkapan dari dalam jiwa, bukan sekedar gambar representatif alam. Aliran Seni Post-Impresionism / Paska Impresionisme Aliran Post-Impressionism mencakup berbagai gaya artistik yang berbeda yang masih memiliki motivasi umum untuk merespon gerakan Impresionisme. Variasi ini berkisar dari Neo-Impresionisme yang berorientasi pada kajian ilmiah dari Georges Seurat sampai Simbolisme Paul Gauguin, namun semuanya masih terkonsentrasi pada visi subjektif senimannya sendiri. Gerakan ini mengantarkan pada era di mana lukisan melampaui peran tradisionalnya sebagai jendela dokumentasi dunia. Sebaliknya aliran Post-Impresionism menjadi jendela ke dalam pikiran dan jiwa seniman. Dampak estetika yang luas dari kaum Post-Impresionis mempengaruhi kelompok-kelompok yang muncul selama pergantian abad ke-20, seperti para Ekspresionis, serta aliran-aliran lain yang lebih kontemporer, seperti Seni Feminis yang masih mencakup perwujudan identitas. Ciri dan Gagasan Aliran Post Impressionism Makna simbolis dan ekspresi pribadi sangat penting bagi Post-Impressionists seperti Paul Gauguin dan Vincent van Gogh. Mereka menolak menggambarkan dunia berdasarkan pengamatan yang hanya kasat mata saja. Mereka lebih melihat ke ingatan, dan ekspresi emosi mereka sendiri untuk terhubung dengan pemirsa pada tingkat yang lebih dalam. Struktur, ketertiban, dan efek optis dari warna yang saling berderetan mendominasi visi estetika Post-Impresionis seperti Paul Cézanne, Georges Seurat, dan Paul Signac. Mereka mengandalkan keterkaitan warna dan bentuk untuk menggambarkan dunia di sekitar mereka. Meskipun diselimuti oleh berbagai gaya individual yang berbeda, sebagian besar Post-Impresionis berfokus pada bentuk dan pola marka kuas abstrak dalam aplikasi cat ke permukaan kanvas. Kecenderungan awal mereka menuju abstraksi membuka jalan bagi eksplorasi abstrak modern yang terjadi pada awal abad ke-20. Lukisan Van Gogh dan Analisisnya The Potato Eaters 1885 Analisis, Deskripsi & Penafsiran The Potato Eaters Pemakan Kentang oleh Vincent Van Gogh, kentang The Potato Eaters sering dianggap sebagai mahakarya pertama Van Gogh. Dilukis saat tinggal di antara para petani dan buruh di Nuenen di Belanda, Van Gogh berusaha untuk menggambarkan orang-orang dan kehidupan mereka dengan jujur. Vincent Van Gogh memperlihatkan kondisi hidup para petani yang kurang sejahtera dengan warna yang gelap. Dia menampilkan adegan itu dalam palet yang hampir monokrom, pucat dan kurang menggugah mata. Layaknya kehidupan petani yang hanya mampu untuk menyantap kentang saja untuk bertahan hidup dan menjalani kehidupannya. Potret mereka tampak sudah tua dan lemah lalu dibandingkan dengan hanya satu orang yang masih muda itupun wajahnya tidak tampak. Penggambaran tersebut di dramatisir lagi oleh penggambaran keluarga petani yang berkumpul di di meja makan dan satu sumber cahaya dari lentera kecil yang memberi penerangan minim. Kentang yang tersediapun terhitung sedikit untuk jumlah keluarga mereka. Meskipun lukisan ini adalah salah satu penciptaan terbaiknya, karya ini tidak dianggap berhasil atau diapresiasi sebagai mana mestinya hingga kematian Van Gogh. Pada saat karya ini dilukis, Impresionis telah mendominasi pasar seni dunia. Tidak mengherankan bahwa Theo, merasa tidak akan mampu untuk menjual lukisan ini pada periode penciptaannya. Namun, karya ini tidak hanya menunjukkan kehebatan Van Gogh membuat adegan yang emosional, tetapi juga mulai membangun gagasan yang akan Van Gogh gunakan sepanjang karirnya. Café Terrace At Night 1888 Analisis, Deskripsi & Penafsiran Café Terrace at Night, oleh Vincent van Gogh, ini merupakan salah satu pemandangan pertama yang dilukis oleh Vincent Van Gogh selama berada di Arles. Nightscene pemandangan berlatar malam hari ini menggunakan warna dan nada/tone yang kontras. Cahaya yang dilukiskan pada dinding kafe benar-benar kontras dengan latarnya. Komposisinya secara keseluruhan menunjuk pada satu point interest yang tidak hanya berada pada satu objek, melainkan sepanjang kafe dan trotoar jalan. Meskipun perspektif yang disusun tampak naif, Van Gogh membuat eye leading yang memberikan efek yang lebih dramatis dibandingkan dengan perspektif yang akurat. Pemerhati seakan diajak untuk berjalan-jalan sepanjang trotoar yang tampak mengagumkan di malam hari itu. Kafe tersebut masih ada hingga saat ini dan merupakan tujuan utama bagi penggemar van Gogh yang mengunjungi Prancis. Ia pernah menulis surat mengenai lukisan ini pada saudara perempuannya. Vincent menulis, “Aku melukis lukisan malam tanpa warna hitam yang digantikan oleh warna biru dan ungu yang indah. Warna hijau disekitarnya diterangi oleh sedikit warna kuning belerang dan hijau lemon. Sangat menyenangkan sekali untuk melukis malam hari di tempat…” Selain terpengaruh oleh palet impresionis ia juga dengan sengaja untuk melukis pemandangan malam tersebut tanpa cat hitam. Ia ingin menunjukan betapa indahnya tempat itu meskipun disaat malam yang gelap. Keramaian penduduk sekitar yang masih ramai meskipun di malam hari juga menjadi sorotan utama Van Gogh pada lukisan ini. Dilukis langsung di jalanan pada malam hari, Van Gogh menciptakan kembali gambar berdasarkan dari pengamatannya, praktik yang diwarisi dari para Impresionis. Namun, tidak seperti Impresionis, ia tidak merekam adegan hanya karena matanya mengamati, tetapi mengilhami gambar dengan nada spiritual dan psikologis yang menggemakan reaksi pribadinya. Sapuan kuasnya menunjukan kegembiraan dan kesenangan yang dialami Van Gogh saat melukis karya ini. Starry Night 1889 Analisis, Deskripsi & Penafsiran Lukisan Starry Night sering dianggap sebagai pencapaian puncak dari Van Gogh. Tidak seperti kebanyakan karyanya, Starry Night dilukis dari ingatan dan tidak berdasarkan referensi alam. Penekanan pada kehidupannya yang emosional sangat jelas dalam penggambaran langitnya yang bergolak dan liar. Meskipun begitu di karya ini, Van Gogh mengikuti prinsip seni dan komposisi yang sangat rapi. Berbagai bentuk dan marka kuas didistribusikan di seluruh permukaan kanvas dalam urutan yang tepat untuk menciptakan asas keseimbangan dan menghasilkan ketegangan dari kontras yang terjadi. Ia seakan menggabungkan praktis seniman yang berpendidikan formal namun mengemasnya dalam gaya yang naif. Di lukisan ini juga tampak jelas bahwa dia melukis menggunakan marka kuasnya, bukan menggunakan kuas untuk meniru-nirukan alam. Di bagian tengah lukisan, langit seakan meliuk-liuk mengikuti alunan kurva yang dinamis diterangi oleh bintang-bintang yang berpijar. Hasilnya adalah pemandangan malam yang sangat spiritual dan penuh dengan ekspresi emosi batin. Namun kekacauan yang tampak lagi-lagi dapat ditumbangkan oleh pengaturan formal yang apik dan rapi. Starry Night terkenal karena dianggap melampaui praktik melukis terhadap representasi dunia fisik. Referensi The Life of Vincent Van Gogh org. Vincent Van Gogh, Important Artworks of Vincent Van Gogh LukisanStarry Night Karya Vincent Van Gogh Starry Night yang dihasilkan oleh Van Gogh merupakan satu pencapaian yang tinggi dalam sesebuah karya. Basoeki menganggap bahwa ini lukisan bukan potret. Hendra Gunawan Biografi Analisis Teknik Gaya Dan Karya – Download. Potret tampak sedang menghisap pipa tembakau yang bisa jadi menunjukan
In this post, I will be taking a closer look at “The Starry Night” by Vincent van Gogh, which he painted in 1889. With swirling lines and dramatic colors, this dreamy depiction is one of van Gogh’s most iconic works. “I don’t know anything with certainty, but seeing the stars makes me dream.” Vincent van Gogh Interesting Facts About “The Starry Night” Swirling Brushwork Used to Create a Sense of Movement and Turbulence Color and Light Where Realism Meets Abstraction Key Takeaways Additional Readings Want to Learn More? Thanks for Reading! Vincent van Gogh, The Starry Night, 1889 Interesting Facts About “The Starry Night” The painting is based on van Gogh’s view from his room in the mental asylum at Saint-Rémy-de-Provence. It was painted from memory during the day, as he was not able to paint from his room. But he was able to create sketches in ink and charcoal. Vincent van Gogh, Starry Night Drawing, 1889 “The Starry Night” is one in a series of 21 versions based on the same subject. It is the only night version in the series. Letters from van Gogh to his brother Theo provide insights into van Gogh’s inspiration and fascination with the night. In 1889 he wrote, “Through the iron-barred window I can make out a square of wheat in an enclosure, above which in the morning I see the sun rise in its glory.”Although it is one of his most famous works, he initially considered the painting to be a failure based on his letters to suggests the moon was not actually in the crescent phase, as depicted in the painting. Rather, it would have been about three-quarters full, but van Gogh probably painted it this way for stylistic also suggests that the brightest “star” in the painting, just to the right of the large cypress tree pictured below, may actually be Venus which would have been visible at the time van Gogh was painting in the asylum. Swirling Brushwork Used to Create a Sense of Movement and Turbulence When I think of “The Starry Night”, the first thing which comes to mind is the swirling brushwork which creates a sense of movement and turbulence, especially in the sky. In fact, a physicist by the name of Jose Luis Aragon suggested that the swirling brushwork in paintings like “The Starry Night” have an uncanny resemblance to the mathematical expression of real turbulence shown in natural occurrences like whirlpools and air streams. You can read more on this here. Van Gogh used a loaded brush to build up a thick, impasto texture which you can see in the close-ups below. This impasto texture is a key feature in many of van Gogh’s works. Color and Light In a letter to his brother Theo, van Gogh wrote that the “starry night is more alive and more richly colored than the day”. This may explain his exaggerated use of of color. Van Gogh used rich blues and yellows to paint the night sky, with light greens scattered throughout. His lack of blending creates a broken color effect, which seems to reiterate the sense of movement and turbulence in the painting. The colors appear to vibrate as your eyes bounce between all the distinct colors. He painted the light of the stars, moon and houses by contrasting vivid yellows and oranges against the blues and greens in the rest of the painting. If you look closely, you will see that in most cases he used a saturated yellow or orange in the centre, then used lighter but less saturated colors around the outside. He used a light green almost as an interim color to transition from the bright yellows and oranges to the deep blues. Green being what you get when you mix yellow and blue together. By doing that, there appears to be some kind of color gradation even though he did not use any blending. Where Realism Meets Abstraction To me, this painting marks an interesting area somewhere between realism and complete abstraction. Van Gogh pushed the colors and style in order to depict his unique interpretation of the world, but not so much as to lose all qualities of realism and representation. You know exactly what the subject is, but it is far from what you would see in life. I enjoy this area in painting as I think it allows for some personal expression, without departing too far from representational art standards. But of course, this is all just personal commentary which does not really matter. There is no right answer with this kind of stuff. Some admire van Gogh for his unique interpretations, whilst others criticise him for stepping too far away from the boundaries of reality. It is just interesting to ponder over. Key Takeaways Here are some of the key takeaways of “The Starry Night” which you could incorporate into your own paintings Exaggerating certain elements like color and perspective can really help you depict the emotions and feelings you have about a subject. In this case, van Gogh exaggerated the colors, form and perspective to create a very dreamy paint light, you could use a strong color contrast, like yellow and orange against brushwork can be used to create a sense of movement and turbulence in your repeating similar techniques and processes, you end up creating a strong style which people can remember you by. Additional Readings 11 Interesting Facts About Vincent van Gogh Inspirational Quotes by Vincent van Gogh How Vincent van Gogh Used Complementary Colors Want to Learn More? You might be interested in my Painting Academy course. I’ll walk you through the time-tested fundamentals of painting. It’s perfect for absolute beginner to intermediate painters. Thanks for Reading! I appreciate you taking the time to read this post and I hope you found it helpful. Feel free to share it with friends. Happy painting! Dan Scott Draw Paint Academy About Supply List Featured Posts Products Enjoyed this post? Join over 123,000 artists who subscribe to the Draw Paint Academy newsletter.
3 "Irises" was the first painting Van Gogh started after arriving at the asylum. The flowers were growing in a garden in the small outdoor area where the artist was allowed to stroll and sit. 4. In all, the artist did four studies of the iris. The first, "Irises," showed a bed of purple irises with a single white blossom, and the second, "The Photo Kelly Richman-Abdou / My Modern Met During his short career, Post-Impressionist pioneer Vincent van Gogh painted an eclectic array of subject matter. As evident in his prolific body of work, he often reworked and revisited several different themes, including still-life depictions of flowers, revealing self-portraits, and gleaming nocturnes, including Starry Night Over the Rhône, a lustrous landscape painting completed in 1888. Like many of his most celebrated paintings, Starry Night Over the Rhone was inspired by Van Gogh's time spent in the South of France. Though this piece is not as well-known as the swirling Starry Night he would later complete, it remains an important part of his portfolio; in addition to illustrating his distinctive approach to painting “night effects,” Starry Night Over the Rhône captures a rare moment of calm in the chaotic final years of his life. Van Gogh's Time in Arles In 1853, Van Gogh was born in the Netherlands. Though he expressed an interest in art as a child, he pursued several different careers before seriously considering painting full-time at the age of 27. After seeing no artistic success in the Netherlands, he decided to join his art dealer brother Theo in Paris in 1886. Unfortunately, Van Gogh's time in the French capital was equally futile. “It seems to me almost impossible to be able to work in Paris, unless you have a refuge in which to recover and regain your peace of mind and self-composure,” he wrote in a letter to Theo in 1888. “Without that, you’d be bound to get utterly numbed.” In pursuit of this “peace of mind,” Van Gogh headed south, landing in the idyllic commune of Arles. Vincent van Gogh, “Café Terrace at Night,” 1888 Photo Wikimedia Commons Public Domain While in Arles, Van Gogh developed his signature style, characterized by a vivid color palette and expressive brushwork. This approach is increasingly evident in all of his work completed in 1888, including his Bedroom at Arles series, Café Terrace at Night, and Starry Night Over the Rhône. Starry Night Over the Rhone Vincent van Gogh “Starry Night Over the Rhone,” 1888Photo Wikimedia Commons Public Domain Van Gogh painted Starry Night Over the Rhône from the bank of the Rhône, a major river that runs through Europe. This spot proved ideal for Van Gogh, as he had grown increasingly interested in the effects of light—particularly, the artificial illumination of gas lamps—at night. To evoke the movement of the stars' energetic twinkling and glimmering reflections, he employed his characteristically energetic brushstrokes. When painting Starry Night Over the Rhône, however, it was not brushwork that preoccupied the artist; it was color. Van Gogh explains the extent of his tonal attention in a letter to Theo. “The sky is aquamarine, the water is royal blue, the ground is mauve.” He continues, “The town is blue and purple. The gas is yellow and the reflections are russet gold descending down to green-bronze.” Though full of vibrant energy, the scene is calm; the only people present in the composition are “two colorful figurines of lovers in the foreground,” and, despite its sparkling stars, the sky elicits a sense of tranquility. Ultimately, this atmosphere is what sets Starry Night Over the Rhône apart from its more famous counterpart The Starry Night. The Other Starry Night Van Gogh painted Starry Night Over the Rhône while living in Arles. During this period, he was becoming increasingly mentally ill. His canvases, however, did not yet reveal his inner turmoil, as evident in the serene scene explored in Starry Night Over the Rhône. Toward the end of his stay in Arles, however, Van Gogh reached a tragic turning point. Following an emotionally-charged confrontation with fellow artist Paul Gauguin, Van Gogh cut off part of his own ear. The next morning, he was admitted to a hospital in Arles, only to be discharged a few days later. Realizing the severity of his mental health issues, he opted to leave Arles and check himself into a mental health facility in the nearby Saint-Rémy-de-Provence. During his stay at the asylum, Van Gogh adopted an extra room as an artist’s studio and completed 150 paintings, including The Starry Night, a piece poignantly painted through his room's “iron-barred window.” Painted just a few months apart, The Starry Night and Starry Night Over the Rhône are strikingly similar in both style and subject matter. However, there is a drastic divergence in their undertones, as, in the later painting, “the violence of his troubled psyche is fully expressed.” Left Detail of “Starry Night Over the Rhone,” Right Detail of “The Starry Night” On July 27, 1890, just over a year after he completed The Starry Night, Van Gogh shot himself in a wheat field. Two days later, he succumbed to his injuries. The Legacy of Starry Night Over the Rhône Though less famous than the later rendition, Starry Night Over the Rhône is still considered one of Van Gogh's major masterpieces. A gem of the Musée d'Orsays permanent collection, the painting continues to captivate viewers with its mesmerizing brushwork, radiant color palette, and serene subject matter. What makes this work even more special is the significance it held to Van Gogh. Noting that the nights in Arles were “even more richly colored than day,” he became obsessed with the idea of replicating the South of France's starry sky. Finally, with Starry Night Over the Rhône, the artist was able to achieve this dream with flying colors. Related Articles Handmade Candles Capture the Enchanting Glow of Van Gogh’s Famous Paintings This Exhibit Gives Visitors the Experience of Stepping Inside Van Gogh’s Paintings Van Gogh Museum Puts Nearly 1,000 Paintings and Drawings Online Lukisanvan Gogh berjudul The Starry Night yang disimpan di Museum of Modern Art, New York saat ini mengandung gambar pusaran angin yang secara matematis sesuai dengan skala Kolmogrov. Pusaran Angin Sempurna dalam Lukisan van Gogh. Beberapa lukisan Vincent van Gogh berisi gambar-gambar misterius yang mungkin menggambarkan kerumitan otaknya. When one experiences the stars and infinity with great vividness, then despite the routine, life becomes almost enchanted. When I have a terrible need of—shall I say the word?—religion, then I go out at night to paint the stars.—Vincent van Gogh1 ON APRIL 24, 1889, Theo van Gogh2 made the following request to the director of the Hospital of Saint-Paul–de-Mausole in Saint-Rémy-de-Provence, France With the consent of the person concerned, who is my brother, I would like to ask you to admit to your establishment Vincent Willem van Gogh, artist, age 36, born at Groot-Sundert Netherlands, at present living in Arles. . . . As his confinement is required more to prevent a recurrence of previous attacks rather than because his mental condition is at present affected, I hope that you will find no inconvenience in granting him the liberty to paint outside the establishment when he wishes to do so. On May 8, 1889, Vincent was admitted to the hospital asylum and, on admission, was "perfectly calm and explained his case himself to the director as a man fully conscious of his condition."2 The following month, in mid June, asymptomatic, and supported by the structured life of the asylum, he painted The Starry Night. Vincent van Gogh 1853-1890, Dutch, The Starry Night, 1889. Oil on canvas. 29 × 36¼ in. Courtesy of the Museum of Modern Art, New York, NY; acquired through the Lillie P. Bliss Bequest. Vincent was initially hospitalized in Arles on December 24, 1888, after the notorious episode when he apparently threatened Gauguin with a razor and, later that night, cut off the lower part of his own left ear. He presented the ear fragment to a prostitute; much as a matador does to his lady after the death of the bull, although he had no recollection of these events. Vincent suffered 3 attacks in Arles, from December 24, 1888, to January 19, 1889, from February 4 to February 18, 1899, and February 26 to mid April 1889. Although he seemed fully recovered between episodes and was treated by a local physician, 30 citizens of Arles petitioned the mayor asking that Vincent be returned to his family or committed to an asylum stating that "he does not dispose of his full mental faculties, that he indulges in excessive drinking after which he finds himself in such a state of excitement that he does not know what he says or does and that his instability inspires public fear."2 His friend Signac reported that Vincent ate hardly anything and what he drank was always too much. After spending a day in the blazing sun he would "take his seat on the terrace of a café. And the absinthes and brandies would follow each other in quick succession."2 During his episodes he reported both visual and auditory hallucinations, writing to his sister that he "didn't in the least know what I said, what I wanted, and what I did."1 When confronted with his neglect and alcohol use, he wrote to Theo "I admit all that, but at the same time it is true that to attain the high yellow note that I attained last summer, I had to be pretty well keyed up."1 His home in Arles was the famed "Yellow House" that he and Gauguin shared for 2 months in an aborted attempt to establish the Studio of the South. This was to be an art colony that would promulgate a new postimpressionist movement in art that would express the religious impulse with an authentic emotional immediacy and directness that they felt must be restored in the modern era. Vincent's father and grandfather were ministers in the Dutch Reform Church and, after initially failing as an art dealer he, too, had pursued the ministry and lived for a time as an evangelist until his efforts to identify with the poor and lead a Christ-like life proved too much for the authorities of the church. Subsequently, he turned away from traditional religion, preferring a religion of nature. Although stimulated toward a religious vocation by his family, Blumer3,4 suggests that his heightened religiosity might also have been linked to underlying temporal lobe epilepsy. The painting is the culmination of his examination of the night sky initiated a year earlier with Starry Night Over the Rhône. An avid reader, he had written1 to his sister Anna then that he sought to reproduce in his painting the feeling that Walt Whitman elicited in him in his poetry when Whitman wrote of "the great starlit vault of heaven." The Starry Night is an imaginative reconstruction of natural images. Vincent wrote that the "imagination alone can lead us to the creation of a more exalting and consoling nature than a single brief glance at reality."5 Yet he preferred to accurately reflect nature, noting that he may "exaggerate and sometimes change a motif but in the end I never invent."5 Thus, The Starry Night depicts the eastern predawn sky as Vincent saw it from his room at Saint-Rémy at about 4 AM in mid June. The position of the morning star, Venus near the cyprus tree on the left, and the waning moon, with its aureole, are astronomically consistent6 with the early morning sky of June 19, 1889, the day he said he completed the The central image of interlocking clouds may be drawn from his knowledge of popular depictions of the whirlpool galaxy M51. Out of these elements, with the intervention of his imaginative genius, The Starry Night has become a visionary image with its network of pulsating white, orange, and blue stars above the village surrounded by wheat fields and an olive grove. Although the sky is in turmoil, the overall effect of the painting is an invigorating calmness. For Vincent, this may be an image of psychological mastery following the suffering that he had experienced. The cloudlike images in the center of the sky assume the archetypal form of a mandala, a symmetrical form that frequently emerges as psychological conflicts come into balance. The flaming cyprus tree dwarfs the traditional church steeple on the right. The olive trees seem to echo the undulating currents in the sky. It is as if the tidal wave of his illness represented by the turbulence in the sky and the flowing lines on earth have now been sublimated into a composition that documents his newfound stability. Yet despite the balance found here, the looming dark cypress, which is on the viewer's left, the funeral tree and symbol of death in this region of France, may portend another episode of illness. Indeed, in July, a month after completing this painting, van Gogh suffered another attack. His temperamental difficulties were a lifelong problem in his relationships with others. He was exquisitely sensitive to loss and rejection and responded with depressed moods. Epilepsy was the diagnosis he was given at the time in both Arles and Saint-Rémy. Blumer reviews3,4 the psychiatric aspects of temporal lobe epilepsy and applies diagnostic criteria to Vincent's illness, arguing convincingly that Vincent's presentation is consistent with the psychosis of epilepsy and interictal dysphoric disorder. It is proposed that Vincent's facial asymmetry may have resulted from a birth injury that led to mesial temporal sclerosis. The cylothymic quality of his moods has led Jamison7 to a diagnosis of bipolar disorder, or at least, periods of major depression and hypomania. Arnold8 has proposed the diagnosis of acute intermittent porphyria with attacks initiated by his poor nutrition and use of absinthe, alcohol, turpentine to mix paints and clean brushes, pinene, and camphor for insomnia. Regardless of the diagnosis he received, all authors agree that his use of absinthe,8 the "cocaine of the artists of the last century,"9 may have contributed to his attacks. Because of its toxicity, absinthe was subsequently banned in France and throughout the world. A major ingredient in absinthe is alpha thujone a convulsant that blocks the γ-aminobutyric acid type A GABAA receptor chloride It is proposed that when Vincent was released from the hospital in Arles, his return to the use of alcohol and absinthe precipitated the recurrence of his attacks. After diagnosing his condition as epilepsy, Dr Ray, his physician in Arles, used a bromide salt, the standard medication available at the time for treatment. Vincent seemed to respond and wrote to Theo that "the unbearable hallucinations have ceased, and are now reduced to simple nightmares, in consequence of taking bromide of potassium, I think."1 Potassium bromide may well have benefited him, as it functions as an anticonvulsant that also affects the GABAergic Yet when he entered the asylum in Saint-Rémy, his custodian physician discontinued its use. Vincent probably suffered from partial complex seizures temporal lobe epilepsy as well as a mood disorder aggravated by stress and his concerns about continued support from Theo. His illness may have been exacerbated by his chronic use of absinthe, brandy, turpentine, and camphor. Ironically, an ornamental tree, the thuja tree, Thuja occidentalis, a source for alpha thujone was planted over his grave where it remained for 15 years. When his coffin was disinterred for reburial next to that of his brother Theo, the roots of the thuja tree entwined Alpha thujone, the most toxic compound in absinthe, the drink that may have a played a major role in his psychosis, accompanied him to his grave. The image is copyrighted by The Museum of ModernArt/Licensed by SCALA/Art Resource, New York, NY. Complete Letters of Vincent van Gogh. 3 Boston, Mass Bullfinch Press of Little Brown &Co2000; ME Vincent van Gogh. New York, NY The Alpine Fine Arts Collection Ltd1981; D Dysphoric disorders and paroxysmal affects recognition and treatment of epilepsy-related psychiatric disorders. Harv Rev Psychiatry. 2000;88- 17Google ScholarCrossref A Van Gogh's Starry Night a history of matter and a matter of history. Arts Magazine. 1984;5986- 103Google KR Touched With Fire Manic-Depressive Illness and the Artistic Temperament. New York, NY Simon & Schuster1993; WN Vincent van Gogh Chemicals, Crises, and Creativity. Boston, Mass Birkhauser1992; D Absinthe The Cocaine of the Nineteenth Century. Jefferson, NC McFarland & Co1995; KMSirisoma NSIkeda TNarahashi TCasida JE Alpha-thujone the active component of absinthe gamma-aminobutyric acid type A receptor modulation and metabolic detoxification. Proc Natl Acad Sci U S A. 2000;973826- 3831Google ScholarCrossref HGrunig FGutschmidt UGutierrez RPfeiffer MDraguhn ABruckner CHeinemann U Sodium bromide effects on different patterns of epileptiform activity, extracellular pH changes and GABAergic inhibition. Naunyn Schmiedebergs Arch Pharmacol. 2000;36125- 32Google ScholarCrossref

Youcan see five such self-portraits in the Van Gogh Museum's online collection. In July 2022 a hidden self-portrait was discovered in the collection of The National Galleries of Scotland in Edinburgh. Vincent van Gogh, Self-Portrait, 1887. Vincent van Gogh, Self-Portrait with Grey Felt Hat, 1887. Vincent van Gogh, Self-Portrait, 1887.

Kritiksastra, terkadang disebut analisis sastra atau analisis kritis sastra, merupakan penelaahan terhadap karya sastra. Misalnya, unsur apa yang ada dalam lukisan 'Starry Night' karya Van Gogh? Jangan berpikir tentang apa yang ingin dia sampaikan dalam lukisan ini; pikirkan bintang-bintang, langit malam yang berputar, dan rumah-rumah di 2 Van Gogh completed the painting in September 1888 while in Arles but before entering the mental asylum at Saint-Remy where he would paint Starry Night . 3. Unlike Starry Night and CafĂŠ Terrace at Night, "Starry Night Over the Rhone" was inaccurate in its placement of the Big Bear constellation in the heavens. 4. uzLdv.
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    • analisis lukisan the starry night