Klik disini -> 🎆 Analisis Lukisan The Starry Night

SELAINlukisan "Mona Lisa" karya Leonardo da Vinci, lukisan berjudul "The Scream" karya Edvard Munch juga menjadi karya seni lukis yang paling mudah dikenali di dunia. The Scream sering disebut sebagai ikon seni modern serta maha karya dari gaya melukis ekspresionis. The Scream adalah salah satu dari empat lukisan berseri Munch yang diberi

Vincent van Gogh Emotion, Vision, and A Singular Style Mention Vincent van Gogh Dutch, 1853–1890 and one of the first things likely to come to many people’s minds is the fact that he cut off his own ear. This stark act, committed in 1888, marked the beginning of the depression that would plague him until the end of his life. But to know van Gogh is to get past the caricature of the tortured, misunderstood artist and to become acquainted instead with the hardworking, deeply religious, and difficult man. Van Gogh found his place in art and produced emotional, visually arresting paintings over the course of a career that lasted only a decade. Largely self-taught, van Gogh produced more than 2,000 oil paintings, watercolors, drawings, and sketches, which became in demand only after his death. He also wrote scores of letters, especially to his brother Theo, in which he worked out his thoughts about art. “Always continue walking a lot and loving nature, for that’s the real way to learn to understand art better and better,” he wrote in 1874. “Painters understand nature and love it, and teach us to see.”1 It was nature, and the people living closely to it, that first stirred van Gogh’s artistic inclinations. In this he was not alone. Landscapes remained a popular subject in late-nineteenth-century art. Driven in part by their dissatisfaction with the modern city, many artists sought out places resembling earthly paradises, where they could observe nature firsthand, feeding its psychological and spiritual resonances into their work. Van Gogh was particularly taken with the peasants he saw working the countryside; his early compositions featured portraits of Dutch peasants and rural landscapes, rendered in dark, moody tones. In 1886, van Gogh moved to Paris, where he encountered the works of the Impressionists and Neo-Impressionists, and the Pointillist compositions of Georges Seurat. Inspired by these artists’ harmonious matching of colors, shorter brushstrokes, and liberal use of paint, he brightened his own palette and loosened his brushwork, emphasizing the physical application of paint on the canvas. The style he developed in Paris and carried through to the end of his life became known as Post-Impressionism, a term encompassing works made by artists unified by their interest in expressing their emotional and psychological responses to the world through bold colors and expressive, often symbolic images. In a letter to his sister Willemien, touching upon the mind and temperament of artists, van Gogh once wrote that he was “very sensitive to color and its particular language, its effects of complementaries, contrasts, harmony.”2 By 1888, van Gogh had returned to the French countryside, where he would remain until his death. There, close once again to the peasants who had inspired him early on, he concentrated on painting landscapes, portraits of himself and others, domestic interiors, and still lifes full of personal symbolism. Observation and Imagination in The Starry Night 1889 “This morning I saw the countryside from my window a long time before sunrise, with nothing but the morning star, which looked very big,” wrote van Gogh to his brother Theo, describing his inspiration for one of his best-known paintings, The Starry Night 1889.3 The window to which he refers was in the Saint-Paul asylum in Saint-Rémy, in southern France, where he sought respite from his emotional suffering while continuing to make art. This mid-scale, oil-on-canvas painting is dominated by a moon- and star-filled night sky. It takes up three-quarters of the picture plane and appears turbulent, even agitated, with intensely swirling patterns that seem to roll across its surface like waves. It is pocked with bright orbs—including the crescent moon to the far right, and Venus, the morning star, to the left of center—surrounded by concentric circles of radiant white and yellow light. Beneath this expressive sky sits a hushed village of humble houses surrounding a church, whose steeple rises sharply above the undulating blue-black mountains in the background. A cypress tree sits at the foreground of this night scene. Flame-like, it reaches almost to the top edge of the canvas, serving as a visual link between land and sky. Considered symbolically, the cypress could be seen as a bridge between life, as represented by the earth, and death, as represented by the sky, commonly associated with heaven. Cypresses were also regarded as trees of the graveyard and mourning. “But the sight of the stars always makes me dream,” van Gogh once wrote. “Why, I say to myself, should the spots of light in the firmament be less accessible to us than the black spots on the map of France? Just as we take the train to go to Tarascon or Rouen, we take death to go to a star.”4 The Starry Night is based on van Gogh’s direct observations as well as his imagination, memories, and emotions. The steeple of the church, for example, resembles those common in his native Holland, not in France. The whirling forms in the sky, on the other hand, match published astronomical observations of clouds of dust and gas known as nebulae. At once balanced and expressive, the composition is structured by his ordered placement of the cypress, steeple, and central nebulae, while his countless short brushstrokes and thickly applied paint set its surface in roiling motion. Such a combination of visual contrasts was generated by an artist who found beauty and interest in the night, which, for him, was “much more alive and richly colored than the day.”5 Vincent van Gogh, Letter to Theo van Gogh, London, beginning of January 1874, Vincent van Gogh, Letter to Willemien van Gogh, Saint-Rémy-de-Provence, Wednesday, 19 February 1890, Vincent van Gogh, Letter to Theo van Gogh, Saint-Rémy-de-Provence, between about Friday, 31 May and about Thursday, 6 June 1889, Vincent van Gogh, Letter to Theo van Gogh, Arles, Monday, 9 or Tuesday, 10 July 1888, Vincent van Gogh, Letter to Theo van Gogh, Arles, Saturday, 8 September 1888, Vincent van Gogh, Letter to Theo van Gogh, Saint-Rémy-de-Provence, on or about Friday, 20 September 1889, The virtual, illusionary plane created by the artist, parallel to the physical surface of a two-dimensional work of art; the physical surface of a two-dimensional work of art, a painting, drawing, or print. One who applies paint to canvas, wood, paper, or another support to produce a picture. Paints composed of pigments ground to an extremely fine texture in an aqueous solution of gum Arabic or gum tragacanth. The absence of white fillers, such as those in gouache, creates a medium with luminous transparency. A term coined in 1910 by the English art critic and painter Roger Fry and applied to the reaction against the naturalistic depiction of light and color in Impressionism, led by Paul Cézanne, Paul Gauguin, Vincent van Gogh, and Georges Seurat. Though each of these artists developed his own, distinctive style, they were unified by their interest in expressing their emotional and psychological responses to the world through bold colors and expressive, often symbolic images. Post-Impressionism can be roughly dated from 1886 to 1905. A paint in which pigment is suspended in oil, which dries on exposure to air. A term coined by French art critic Fénéon in 1886, applied to an avant-garde art movement that flourished principally in France from 1886 to 1906. Led by the example of Georges Seurat, the Neo-Impressionists renounced the spontaneity of Impressionism in favor of a measured painting technique grounded in science and the study of optics. Neo-Impressionists came to believe that separate touches of pigment result in a greater vibrancy of color than is achieved by the conventional mixing of pigments on the palette. Two or more things having a common center. A rendering of the basic elements of a composition, often made in a loosely detailed or quick manner. Sketches can be both finished works of art or studies for another composition. 1. The range of colors used by an artist in making a work of art; 2. A thin wooden or plastic board on which an artist holds and mixes paint. A representation of a person or thing in a work of art. A setting for or a part of a story or narrative. A work of art made from paint applied to canvas, wood, paper, or another support noun. A work of art made with a pencil, pen, crayon, charcoal, or other implements, often consisting of lines and marks noun; the act of producing a picture with pencil, pen, crayon, charcoal, or other implements verb, gerund. The manner in which a painter applies paint with a brush. A closely woven, sturdy cloth of hemp, cotton, linen, or a similar fiber, frequently stretched over a frame and used as a surface for painting. A painting technique developed by French artists Georges-Pierre Seurat and Paul Signac in which small, distinct points of unmixed color are applied in patterns to form an image. The lightness or darkness of a color. In painting, a color plus gray. A form, sign, or emblem that represents something else, often something immaterial, such as an idea or emotion. The visual or narrative focus of a work of art. A combination of pigment, binder, and solvent noun; the act of producing a picture using paint verb, gerund. A distinctive or characteristic manner of expression. A representation of inanimate objects, as a painting of a bowl of fruit. A representation of a particular individual, usually intended to capture their likeness or personality. A series of events, objects, or compositional elements that repeat in a predictable manner. The natural landforms of a region; also, an image that has natural scenery as its primary focus. A label applied to a loose group of mostly French artists who positioned themselves outside of the official Salon exhibitions organized by the Académie des Beaux-Arts. Rejecting established styles, the Impressionists began experimenting in the early 1860s with a brighter palette of pure unblended colors, synthetic paints, sketchy brushwork, and subject matter drawn from their direct observations of nature and of everyday life in and around Paris. They worked out of doors, the better to capture the transient effects of sunlight on the scenes before them. With their increased attention to the shifting patterns of light and color, their brushwork became rapid, broken into separate dabs that better conveyed the fleeting quality of light. In 1874, they held their first group exhibition in Paris. Most critics derided their work, especially Claude Monet’s Impression, Sunrise 1872, which was called a sketch or impression, rather than a finished painting. From this criticism, they were mockingly labeled Impressionists. They continued exhibiting together until 1886, at which point many of the core artists were taking their work in new directions. The shape or structure of an object. The area of an image—usually a photograph, drawing, or painting—that appears closest to the viewer. A facial aspect indicating an emotion; also, the means by which an artist communicates ideas and emotions. The arrangement of the individual elements within a work of art so as to form a unified whole; also used to refer to a work of art, music, or literature, or its structure or organization. Colors located opposite one another on the color wheel. When mixed together, complementary colors produce a shade of gray or brown. When one stares at a color for a sustained period of time then looks at a white surface, an afterimage of the complementary color will appear. The perceived hue of an object, produced by the manner in which it reflects or emits light into the eye. Also, a substance, such as a dye, pigment, or paint, that imparts a hue. A rendering, usually a drawing, of a person or thing with exaggerated or distorted features, meant to satirize the subject. The area of an artwork that appears farthest away from the viewer; also, the area against which a figure or scene is placed. Welcometo Artble. The Home of Passionate Art Lovers. Artble is an encyclopedic webpage where you can find unique information about artists from many different art periods. Please take your time to view and appreciate the art whilst navigating through the pages, reading about history's greatest art works and the fascinating lives of their 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 MalamBerbintang adalah sebuah lukisan minyak di kanvas karya pelukis pasca-Impresionis Belanda Vincent van Gogh. Wikimedia Commons memiliki media mengenai The Starry Night by van Gogh Halaman ini terakhir diubah pada 10 November 2021, pukul 23.20. Teks tersedia di bawah Lisensi Creative Commons 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 nUuC.

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analisis lukisan the starry night