How Is Starry Night a Piece of Realist Art

1889 painting by Vincent van Gogh

The Starry Dark
Artist	Vincent van Gogh
Yr	1889
Catalogue	F612 JH1731
Medium	Oil on canvas
Dimensions	73.7 cm × 92.i cm (29.01 in × 36.26 in)
Location	Museum of Modern Art, New York City

The Starry Night is an oil-on-sail painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village.^{[one] [ii] [3]} It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh'due south magnum opus,^{[four] [5]} The Starry Nighttime is one of the most recognized paintings in Western art.^{[6] [7]}

The asylum [edit]

The Monastery of Saint-Paul de Mausole

In the aftermath of the 23 Dec 1888 breakdown that resulted in the self-mutilation of his left ear,^{[8] [ix]} Van Gogh voluntarily admitted himself to the Saint-Paul-de-Mausole lunatic asylum on eight May 1889.^{[10] [11]} Housed in a former monastery, Saint-Paul-de-Mausole catered to the wealthy and was less than half full when Van Gogh arrived,^[12] allowing him to occupy not but a 2d-story bedchamber but too a ground-floor room for employ every bit a painting studio.^[13]

During the twelvemonth Van Gogh stayed at the aviary in Saint-Rémy-de-Provence, the prolific output of paintings he had begun in Arles continued.^[xiv] During this period, he produced some of the best-known works of his career, including the Irises from May 1889, at present in the J. Paul Getty Museum, and the bluish self-portrait from September, 1889, in the Musée d'Orsay. The Starry Night was painted mid-June by around 18 June, the date he wrote to his brother Theo to say he had a new written report of a starry sky.^{[1] [15] [16] [L 1]}

The painting [edit]

Van Gogh's bedroom in the asylum

Although The Starry Night was painted during the 24-hour interval in Van Gogh'southward ground-flooring studio, it would be inaccurate to land that the picture was painted from memory. The view has been identified every bit the one from his bedroom window, facing east,^{[ane] [2] [17] [xviii]} a view which Van Gogh painted variations of no fewer than twenty-one times,^{[ citation needed ]} including The Starry Night. "Through the fe-barred window," he wrote to his brother, Theo, around 23 May 1889, "I can see an enclosed square of wheat ... above which, in the morning, I lookout man the lord's day rise in all its glory."^{[ii] [L 2]}

Van Gogh depicted the view at different times of the twenty-four hour period and nether various weather conditions, such equally the sunrise, moonrise, sunshine-filled days, overcast days, windy days, and one twenty-four hours with rain. While the infirmary staff did not let Van Gogh to paint in his bedroom, he was able there to brand sketches in ink or charcoal on paper; eventually, he would base newer variations on previous versions. The pictorial element uniting all of these paintings is the diagonal line coming in from the right depicting the depression rolling hills of the Alpilles mountains. In fifteen of the twenty-one versions, cypress trees are visible beyond the far wall enclosing the wheat field. Van Gogh telescoped the view in half-dozen of these^{[ vague ]} paintings, near notably in F717 Wheat Field with Cypresses and The Starry Night, bringing the trees closer to the picture plane.^{[ citation needed ]}

1 of the first paintings of the view was F611 Mountainous Landscape Behind Saint-Rémy, now in Copenhagen. Van Gogh fabricated a number of sketches for the painting, of which F1547 The Enclosed Wheatfield After a Storm is typical. It is unclear whether the painting was made in his studio or outside. In his ix June letter describing it, he mentions he had been working outside for a few days.^{[19] [20] [L three] [fifteen]} Van Gogh described the second of the ii landscapes he mentions he was working on, in a letter to his sister Wil on 16 June 1889.^{[19] [L 4]} This is F719 Green Wheat Field with Cypress, at present in Prague, and the start painting at the asylum he definitely painted en plein air.^[19] F1548 Wheatfield, Saint-Rémy de Provence, at present in New York, is a study for information technology. Two days later, Vincent wrote to Theo stating that he had painted "a starry heaven".^{[21] [Fifty ane]}

The Starry Dark is the just nocturne in the series of views from his bedchamber window. In early on June, Vincent wrote to Theo, "This morning I saw the countryside from my window a long time before sunrise with nothing but the morning star, which looked very big".^{[50 five]} Researchers take determined that Venus (sometimes referred to as the "morning star") was indeed visible at dawn in Provence in the spring of 1889, and was at that time nearly every bit bright every bit possible. So the brightest "star" in the painting, just to the viewer'south right of the cypress tree, is actually Venus.^{[fifteen] [17]}

The Moon is stylized, as astronomical records signal that information technology actually was waning gibbous at the time Van Gogh painted the flick,^[15] and fifty-fifty if the stage of the Moon had been its waning crescent at the fourth dimension, Van Gogh's Moon would not have been astronomically right. (For other interpretations of the Moon, meet beneath.) The one pictorial element that was definitely non visible from Van Gogh's cell is the village,^[22] which is based on a sketch F1541v made from a hillside higher up the hamlet of Saint-Rémy.^[3] Pickvance idea F1541v was done later, and the steeple more Dutch than Provençal, a conflation of several Van Gogh had painted and drawn in his Nuenen flow, and thus the first of his "reminisces of the North" he was to pigment and draw early the following year.^[1] Hulsker thought a landscape on the reverse F1541r was too a report for the painting.^[23]

• 

Interpretations [edit]

Despite the big number of letters Van Gogh wrote, he said very piddling almost The Starry Night.^[1] Subsequently reporting that he had painted a starry sky in June, Van Gogh adjacent mentioned the painting in a letter to Theo on or about twenty September 1889, when he included information technology in a listing of paintings he was sending to his brother in Paris, referring to it every bit a "night study."^[24] Of this listing of paintings, he wrote, "All in all the only things I consider a piddling skillful in it are the Wheatfield, the Mount, the Orchard, the Olive trees with the blue hills and the Portrait and the Entrance to the quarry, and the rest says zilch to me"; "the rest" would include The Starry Dark. When he decided to hold dorsum three paintings from this batch in society to save money on postage, The Starry Nighttime was one of the paintings he did not send.^[25] Finally, in a letter of the alphabet to painter Émile Bernard from late November 1889, Van Gogh referred to the painting as a "failure."^[26]

Van Gogh argued with Bernard and specially Paul Gauguin as to whether one should pigment from nature, every bit Van Gogh preferred,^[27] or paint what Gauguin chosen "abstractions":^[28] paintings conceived in the imagination, or de tête.^[29] In the alphabetic character to Bernard, Van Gogh recounted his experiences when Gauguin lived with him for nine weeks in the fall and winter^{[ clarification needed ]} of 1888: "When Gauguin was in Arles, I one time or twice immune myself to be led off-target into abstraction, as you know. . . . But that was delusion, love friend, and ane before long comes up confronting a brick wall. . . And yet, once once more I allowed myself to exist led off-target into reaching for stars that are as well big—another failure—and I have had my fill of that."^[thirty] Van Gogh here is referring to the expressionistic swirls which dominate the upper middle portion of The Starry Night.^[31]

Theo referred to these pictorial elements in a letter to Vincent dated 22 Oct 1889: "I clearly sense what preoccupies you in the new canvases like the village in the moonlight [The Starry Dark] or the mountains, just I feel that the search for fashion takes away the real sentiment of things."^[26] Vincent responded in early November, "Despite what yous say in your previous letter, that the search for mode often harms other qualities, the fact is that I feel myself greatly driven to seek fashion, if you similar, merely I mean by that a more manly and more deliberate cartoon. If that volition make me more like Bernard or Gauguin, I tin't exercise anything about it. Simply am inclined to believe that in the long run you'd go used to it." And later in the same letter, he wrote, "I know very well that the studies drawn with long, sinuous lines from the concluding consignment weren't what they ought to go, however I dare urge y'all to believe that in landscapes one will continue to mass things by ways of a cartoon style that seeks to express the entanglement of the masses."^[32]

But although Van Gogh periodically defended the practices of Gauguin and Bernard, each time he inevitably repudiated them^[33] and continued with his preferred method of painting from nature.^[34] Like the impressionists he had met in Paris, especially Claude Monet, Van Gogh too favored working in series. He had painted his series of sunflowers in Arles, and he painted the serial of cypresses and wheat fields at Saint-Rémy. The Starry Night belongs to this latter series,^[35] as well as to a small series of nocturnes he initiated in Arles.

The nocturne series was limited by the difficulties posed by painting such scenes from nature, i.e., at nighttime.^[36] The get-go painting in the serial was Café Terrace at Night, painted in Arles in early September 1888, followed past Starry Night (Over the Rhône) afterward that same month. Van Gogh's written statements apropos these paintings provide further insight into his intentions for painting night studies in general and The Starry Nighttime in item.

Soon after his inflow in Arles in February 1888, Van Gogh wrote to Theo, "I need a starry night with cypresses or—possibly to a higher place a field of ripe wheat; there are some really beautiful nights here." That aforementioned week, he wrote to Bernard, "A starry sky is something I should similar to try to do, just equally in the daytime I am going to try to paint a green meadow spangled with dandelions."^[37] He compared the stars to dots on a map and mused that, equally ane takes a railroad train to travel on World, "nosotros have death to attain a star."^[38] Although at this signal in his life Van Gogh was disillusioned by religion,^{[39] [xl]} he appears not to have lost his belief in an afterlife. He voiced this ambivalence in a letter to Theo afterwards having painted Starry Night Over the Rhône, confessing to a "tremendous need for, shall I say the word—for religion—so I become outside at night to paint the stars."^[41]

He wrote about existing in another dimension after decease and associated this dimension with the night sky. "Information technology would be so simple and would account so much for the terrible things in life, which now amaze and wound us then, if life had yet another hemisphere, invisible information technology is true, but where one lands when one dies."^[42] "Hope is in the stars," he wrote, but he was quick to point out that "world is a planet too, and consequently a star, or celestial orb."^[37] And he stated flatly that The Starry Dark was "non a return to the romantic or to religious ideas."^[43]

Noted art historian Meyer Schapiro highlights the expressionistic aspects of The Starry Night, proverb it was created nether the "pressure level of feeling" and that it is a "visionary [painting] inspired by a religious mood."^[44] Schapiro theorizes that the "hidden content"^[44] of the work makes reference to the New Testament volume of Revelation, revealing an "apocalyptic theme of the adult female in pain of birth, girded with the lord's day and moon and crowned with stars, whose newborn child is threatened by the dragon."^[45] (Schapiro, in the same volume, also professes to see an image of a female parent and child in the clouds in Landscape with Olive Copse,^[46] painted at the aforementioned time and often regarded every bit a pendant to The Starry Nighttime.)^[47]

Fine art historian Sven Loevgren expands on Schapiro's approach, again calling The Starry Night a "visionary painting" which "was conceived in a state of great agitation."^[48] He writes of the "hallucinatory character of the painting and its violently expressive form," although he takes pains to note that the painting was not executed during 1 of Van Gogh's incapacitating breakdowns.^[49] Loevgren compares Van Gogh's "religiously inclined longing for the beyond" to the poetry of Walt Whitman.^[l] He calls The Starry Night "an infinitely expressive moving-picture show which symbolizes the last absorption of the artist by the cosmos" and which "gives a neverhoped-for-forgotten sensation of standing on the threshold of eternity."^[51] Loevgren praises Schapiro'due south "eloquent estimation" of the painting every bit an apocalyptic vision^[52] and advances his own symbolist theory with reference to the eleven stars in 1 of Joseph's dreams in the Old Testament volume of Genesis.^[53] Loevgren asserts that the pictorial elements of The Starry Night "are visualized in purely symbolic terms" and notes that "the cypress is the tree of death in the Mediterranean countries."^[54]

Art historian Lauren Soth also finds a symbolist subtext in The Starry Night, saying that the painting is a "traditional religious subject in disguise"^[57] and a "sublimated image of [Van Gogh's] deepest religious feelings."^[58] Citing Van Gogh's avowed admiration for the paintings of Eugène Delacroix, and peculiarly the before painter'due south use of Prussian blue and citron yellow in paintings of Christ, Soth theorizes that Van Gogh used these colors to correspond Christ in The Starry Nighttime.^[59] He criticizes Schapiro'southward and Loevgren's biblical interpretations, dependent as they are on a reading of the crescent moon as incorporating elements of the Sun. He says it is but a crescent moon, which, he writes, also had symbolic meaning for Van Gogh, representing "consolation."^[threescore]

It is in light of such symbolist interpretations of The Starry Dark that fine art historian Albert Boime presents his study of the painting. As noted above, Boime has proven that the painting depicts non only the topographical elements of Van Gogh'due south view from his asylum window but also the celestial elements, identifying not but Venus but besides the constellation Aries.^[17] He suggests that Van Gogh originally intended to paint a gibbous Moon but "reverted to a more traditional prototype" of the crescent moon, and theorizes that the bright aureole effectually the resulting crescent is a remnant of the original gibbous version.^[22] He recounts Van Gogh's interest in the writings of Victor Hugo and Jules Verne as possible inspiration for his conventionalities in an afterlife on stars or planets.^[61] And he provides a detailed word of the well-publicized advances in astronomy that took place during Van Gogh'due south lifetime.

Boime asserts that while Van Gogh never mentioned astronomer Camille Flammarion in his messages,^[62] he believes that Van Gogh must take been enlightened of Flammarion's popular illustrated publications, which included drawings of screw nebulae (equally galaxies were then called) as seen and photographed through telescopes. Boime interprets the swirling figure in the central portion of the heaven in The Starry Night to represent either a spiral galaxy or a comet, photographs of which had also been published in pop media.^[22] He asserts that the just non-realistic elements of the painting are the village and the swirls in the sky. These swirls represent Van Gogh'southward understanding of the creation as a living, dynamic place.^[63]

Harvard astronomer Charles A. Whitney conducted his own astronomical report of The Starry Dark contemporaneously with just independent of Boime (who spent near his entire career at U.C.L.A.).^[64] While Whitney does not share Boime's certainty with regard to the constellation Aries,^[65] he concurs with Boime on the visibility of Venus in Provence at the time the painting was executed.^[fifteen] He also sees the depiction of a spiral galaxy in the sky, although he gives credit for the original to Anglo-Irish astronomer William Parsons, Lord Rosse, whose work Flammarion reproduced.^[66]

Whitney also theorizes that the swirls in the sky could represent wind, evoking the mistral that had such a profound effect on Van Gogh during the twenty-7 months he spent in Provence.^[eighteen] (Information technology was the mistral which triggered his first breakup after entering the aviary, in July 1889, less than a month after painting The Starry Night.)^[67] Boime theorizes that the lighter shades of blueish just in a higher place the horizon evidence the beginning lite of forenoon.^[22]

The village has been variously identified as either a recollection of Van Gogh'south Dutch homeland,^{[1] [68]} or based on a sketch he fabricated of the town of Saint-Rémy.^{[iii] [22]} In either case, information technology is an imaginary component of the picture, non visible from the window of the asylum bedroom.

Cypress copse have long been associated with death in European culture, though the question of whether Van Gogh intended for them to have such a symbolic meaning in The Starry Night is the discipline of an open debate. In an April 1888 letter to Bernard, Van Gogh referred to "funereal cypresses,"^[69] though this is mayhap like to maxim "stately oaks" or "weeping willows." One week after painting The Starry Nighttime, he wrote to his brother Theo, "The cypresses are e'er occupying my thoughts. I should like to make something of them like the canvases of the sunflowers, because it astonishes me that they accept not yet been done every bit I see them."^[seventy] In the same letter he mentioned "two studies of cypresses of that hard shade of bottle green."^[71] These statements suggest that Van Gogh was interested in the trees more than for their formal qualities than for their symbolic connotation.

Schapiro refers to the cypress in the painting as a "vague symbol of a human striving."^[44] Boime calls information technology the "symbolic counterpart of Van Gogh's own striving for the Space through non-orthodox channels."^[62] Fine art historian Vojtech Jirat-Wasiutynski says that for Van Gogh the cypresses "function as rustic and natural obelisks" providing a "link between the heavens and the earth."^[72] (Some commentators see one tree, others see two or more.) Loevgren reminds the reader that "the cypress is the tree of death in the Mediterranean countries."^[54]

Fine art historian Ronald Pickvance says that with "its capricious collage of separate motifs," The Starry Night "is overtly stamped every bit an 'abstraction'."^[73] Pickvance claims that cypress trees were non visible facing east from Van Gogh's room, and he includes them with the hamlet and the swirls in the sky as products of Van Gogh'southward imagination.^[i] Boime asserts that the cypresses were visible in the e,^[17] as does Jirat-Wasiutyński.^[74] Van Gogh biographers Steven Naifeh and Gregory White Smith agree, saying that Van Gogh "telescoped" the view in sure of the pictures of the view from his window,^[21] and it stands to reason that Van Gogh would do this in a painting featuring the Morning Star. Such a compression of depth serves to enhance the brightness of the planet.

Soth uses Van Gogh'southward argument to his brother, that The Starry Night is "an exaggeration from the point of view of arrangement" to farther his argument that the painting is "an constructing of images."^[75] Yet, it is by no means sure that Van Gogh was using "arrangement" as a synonym for "composition." Van Gogh was, in fact, speaking of three paintings, i of which was The Starry Night, when he made this annotate: "The olive trees with white cloud and groundwork of mountains, as well as the Moonrise and the Night effect," as he called information technology, "these are exaggerations from the point of view of the arrangement, their lines are contorted like those of the ancient woodcuts." The outset 2 pictures are universally acknowledged to be realistic, non-composite views of their subjects. What the three pictures practise have in common is exaggerated color and brushwork of the type that Theo referred to when he criticized Van Gogh for his "search for style [that] takes away the existent sentiment of things" in The Starry Dark.

On 2 other occasions effectually this fourth dimension, Van Gogh used the word "arrangement" to refer to color, similar to the style James Abbott McNeill Whistler used the term. In a alphabetic character to Gauguin in January 1889, he wrote, "As an arrangement of colours: the reds moving through to pure oranges, intensifying even more in the flesh tones up to the chromes, passing into the pinks and marrying with the olive and Veronese greens. As an impressionist arrangement of colours, I've never devised annihilation better."^[76] (The painting he is referring to is La Berceuse, which is a realistic portrait of Augustine Roulin with an imaginative floral groundwork.) And to Bernard in late November 1889: "Just this is plenty for you to understand that I would long to see things of yours over again, similar the painting of yours that Gauguin has, those Breton women walking in a meadow, the arrangement of which is so cute, the colour then naively distinguished. Ah, y'all're exchanging that for something—must 1 say the give-and-take—something artificial—something affected."^{[77] [78]}

While stopping curt of calling the painting a hallucinatory vision, Naifeh and Smith discuss The Starry Night in the context of Van Gogh'due south mental illness, which they place as temporal lobe epilepsy, or latent epilepsy.^[79] "Not the kind," they write, "known since artifact, that caused the limbs to jerk and the trunk to plummet ('the falling sickness', every bit it was sometimes chosen), but a mental epilepsy—a seizing up of the mind: a collapse of idea, perception, reason, and emotion that manifested itself entirely in the brain and often prompted bizarre, dramatic beliefs."^[lxxx] Symptoms of the seizures "resembled fireworks of electrical impulses in the brain."^[31]

Van Gogh experienced his second breakup in 7 months in July 1889.^[67] Naifeh and Smith conjecture that the seeds of this breakdown were present when Van Gogh painted The Starry Nighttime, that in giving himself over to his imagination "his defenses had been breached."^[81] On that 24-hour interval in mid-June, in a "country of heightened reality," with all the other elements of the painting in place,^[82] Van Gogh threw himself into the painting of the stars, producing, they write, "a night sky unlike any other the world had always seen with ordinary eyes."^[31]

Provenance [edit]

After having initially held information technology dorsum, Van Gogh sent The Starry Night to Theo in Paris on 28 September 1889, along with 9 or x other paintings.^{[25] [73]} Theo died less than six months afterward Vincent, in January 1891. Theo'south widow Jo became the caretaker of Van Gogh's legacy. In Paris in 1900 she sold the painting to poet Julien Leclercq. In 1901 Leclercq sold it to Gauguin's old friend Émile Schuffenecker. Jo bought the painting back from Schuffenecker and in 1906 sold it to the Oldenzeel Gallery in Rotterdam. From 1906 to 1938 information technology was owned by Georgette P. van Stolk, of Rotterdam, who sold it to Paul Rosenberg, of Paris and New York. It was through Rosenberg that the Museum of Mod Art acquired the painting in 1941.^[83]

Painting materials [edit]

The painting was investigated past the scientists at the Rochester Found of Technology and the Museum of Modern Art in New York.^[84] The pigment analysis has shown that the sky was painted with ultramarine and cobalt blue, and for the stars and the moon, Van Gogh employed the rare pigment indian yellow together with zinc yellow.^[85]

• Details of Van Gogh'due south The Starry Nighttime exhibited at the Museum of Modern Art of New York.

• 

  Moon

• 

  Venus

• 

  Hills and sky

• 

  Left part of the canvas and frame

• 

  Stars in the sky

See also [edit]

• Baldin Collection
• "Vincent", 1971 song by Don McLean written equally a tribute to Vincent van Gogh
• Timbres, espace, mouvement: an orchestral piece of work (1978) by Henri Dutilleux inspired by the painting

References [edit]

Citations

1. ^ ^{a b c d e f g} Pickvance 1986, p. 103
2. ^ ^{a b c} Naifeh & Smith 2011, p. 747
3. ^ ^{a b c} Naifeh & Smith 2011, p. 760
4. ^ "Vincent van Gogh Biography, Art, and Analysis of Works". The Art Story . Retrieved 12 June 2015. Starry Night is often considered to be Van Gogh'southward pinnacle achievement.
5. ^ "Vincent van Gogh Paintings, 50 of his all-time works of art". Growth Skills. 8 March 2013. Retrieved eighteen August 2020. ^{[ permanent dead link ]}
6. ^ Moyer, Edward (14 February 2012). "Interactive canvas lets viewers stir Van Gogh's 'Starry Nighttime'". CNET News . Retrieved 12 June 2015. ...one of the Westward'southward most iconic paintings: Vincent van Gogh's 'The Starry Dark.'
7. ^ Kim, Hannah (27 May 2010). "Vincent van Gogh'due south The Starry Night, now pocket-sized!". MoMA . Retrieved 12 June 2015. Instantly recognizable and an iconic prototype in our civilisation, Vincent van Gogh's The Starry Night is a touchstone of modernistic fine art and one of the most beloved works...
8. ^ Naifeh & Smith 2011, pp. 701–seven
9. ^ Pickvance 1984, p. 159
10. ^ Naifeh & Smith 2011, pp. 741–3
11. ^ Pickvance 1986, pp. 25–6
12. ^ Naifeh & Smith 2011, p. 746
13. ^ Naifeh & Smith 2011, p. 754
14. ^ Naifeh & Smith 2011, pp. 592, 778
15. ^ ^{a b c d e} Whitney 1986, p. 356
16. ^ Naifeh & Smith 2011, pp. 759–61
17. ^ ^{a b c d} Boime 1984, p. 88
18. ^ ^{a b} Whitney 1986, p. 358
19. ^ ^{a b c} Hulsker 1986, p. 394
20. ^ Pickvance 1986, p. 93
21. ^ ^{a b} Naifeh & Smith 2011, p. 759
22. ^ ^{a b c d e} Boime 1984, p. 89
23. ^ Hulsker 1986, p. 396
24. ^ Van Gogh Letters Project, no. 805
25. ^ ^{a b} Van Gogh Messages Projection, no. 806
26. ^ ^{a b} Naifeh & Smith 2011, p. 784
27. ^ Naifeh & Smith 2011, p. 755
28. ^ Naifeh & Smith 2011, p. 625n
29. ^ Naifeh & Smith 2011, p. 674
30. ^ de Leeuw, Ronald (ed.) (1996). The Letters of Vincent van Gogh. London: Penguin Books. p. 469. ISBN978-0-140-44674-half-dozen.
31. ^ ^{a b c} Naifeh & Smith 2011, p. 762
32. ^ Van Gogh Messages Project, no. 816
33. ^ Naifeh & Smith 2011, pp. 626, 680
34. ^ Naifeh & Smith 2011, p. 778
35. ^ Schapiro, Meyer (1950). Vincent van Gogh. New York: H. Northward. Abrams. p. 110.
36. ^ Naifeh & Smith 2011, p. 650
37. ^ ^{a b} Naifeh & Smith 2011, p. 649
38. ^ Naifeh & Smith 2011, p. 611
39. ^ Soth 1986, p. 301
40. ^ Naifeh & Smith 2011, p. 766
41. ^ Naifeh & Smith 2011, p. 651
42. ^ Naifeh & Smith 2011, p. 858n
43. ^ Naifeh & Smith 2011, p. 767
44. ^ ^{a b c} Schapiro, p. 100
45. ^ Schapiro, p. 33
46. ^ Schapiro, p. 108
47. ^ Pickvance 1986, p. 101
48. ^ Loevgren 1971, p. 172
49. ^ Loevgren 1971, pp. 172–73
50. ^ Loevgren 1971, p. 181
51. ^ Loevgren 1971, p. 182
52. ^ Loevgren 1971, p. 183
53. ^ Loevgren 1971, p. 186
54. ^ ^{a b} Loevgren 1971, p. 184
55. ^ The Sterling and Francine Clark Art Establish: Cypresses in Starry Night Archived 10 Jan 2013 at annal.today in the Lost Fine art digital drove. Retrieved iii June 2012.
56. ^ Richard Boudreaux: "Ex-Soviet Officer Tried to Return Art Found in Cellar", Los Angeles Times 20 March 1995, retrieved 3 June 2012.
57. ^ Soth 1986, p. 308
58. ^ Soth 1986, p. 312
59. ^ Soth 1986, p. 307
60. ^ Soth 1986, p. 309
61. ^ Boime 1984, p. 95
62. ^ ^{a b} Boime 1984, p. 96
63. ^ Boime 1984, p. 92
64. ^ Rourke, Mary. "Art historian viewed works from social, political standpoints". Los Angeles Times . Retrieved xvi August 2014.
65. ^ Whitney 1986, p. 352
66. ^ Whitney 1986, p. 351
67. ^ ^{a b} Naifeh & Smith 2011, p. 771
68. ^ Schapiro, p. 34
69. ^ Pickvance 1984, p. 181
70. ^ Naifeh & Smith 2011, p. 758
71. ^ Van Gogh Letters Projection, no. 783
72. ^ Jirat-Wasiutynski, p. 657
73. ^ ^{a b} Pickvance 1986, p. 106
74. ^ Jirat-Wasiutynski, p. 667
75. ^ Soth 1986, p. 305
76. ^ Van Gogh Messages Project, no. 739
77. ^ Van Gogh Letters Project, no. 822
78. ^ Naifeh & Smith 2011, p. 675
79. ^ Naifeh & Smith 2011, pp. 762–763
80. ^ Naifeh & Smith 2011, p. 749; emphasis in the original
81. ^ Naifeh & Smith 2011, p. 763
82. ^ Naifeh & Smith 2011, p. 761
83. ^ "The Provenance Enquiry Projection". Museum of Modern Art . Retrieved 16 August 2014.
84. ^ Yonghui Zhao, Roy S. Berns, Lawrence A. Taplin, James Coddington, An Investigation of Multispectral Imaging for the Mapping of Pigments in Paintings, in Proc. SPIE 6810, Computer Prototype Assay in the Study of Art, 681007 (29 February 2008)
85. ^ Van Gogh, The Starry Dark, illustrated paint analysis, ColourLex

Messages

1. ^ ^{a b} "Letter 782:To Theo van Gogh. Saint-Rémy-de-Provence, on or about Tuesday, 18 June 1889". Vincent van Gogh: The Messages. Van Gogh Museum. 1v:2. At last I accept a landscape with olive copse, and also a new written report of a starry sky.
2. ^ "Letter 776: To Theo van Gogh. Saint-Rémy-de-Provence, on or about Thursday, 23 May 1889". Vincent van Gogh: The Messages. Van Gogh Museum. 1v:2. Through the iron-barred window I tin make out a square of wheat in an enclosure, a perspective in the way of Van Goyen, in a higher place which in the morn I meet the sun rise in its glory.
3. ^ "Letter 779: To Theo van Gogh. Saint-Rémy-de-Provence, Lord's day, 9 June 1889". Vincent van Gogh: The Messages. Van Gogh Museum. 1v:two. ... for a few days at present I've been going exterior to work in the neighbourhood... One is the countryside that I glimpse from the window of my sleeping accommodation. In the foreground, a field of wheat, ravaged and knocked to the ground afterward a tempest. A boundary wall and across, grey foliage of a few olive trees, huts and hills. Finally, at the top of the painting, a large white and gray cloud swamped by the azure. It's a mural of farthermost simplicity — in terms of colouration too.
4. ^ "Alphabetic character 780: To Willemien van Gogh. Saint-Rémy-de-Provence, Dominicus, 16 June 1889". Vincent van Gogh: The Letters. Van Gogh Museum. 1r:1. Then yet another that depicts a field of yellowing wheat surrounded by brambles and dark-green bushes. At the stop of the field a petty pink house with a alpine and night cypress tree that stands out confronting the distant purplish and bluish hills, and against a forget-me-not bluish sky streaked with pinkish whose pure tones dissimilarity with the already heavy, scorched ears, whose tones are as warm equally the crust of a loaf of bread.
5. ^ "Letter 777: To Theo van Gogh. Saint-Rémy-de-Provence, betwixt nearly Friday, 31 May and about Th, 6 June 1889". Vincent van Gogh: The Letters. Van Gogh Museum. 1v:ii. This morning time I saw the countryside from my window a long fourth dimension before sunrise with zero but the morning star, which looked very big.

Sources

• Boime, Albert (December 1984). "Van Gogh's Starry Night: A History of Thing and a Thing of History" (PDF). Arts Mag. 59 (iv): 86–103.
• De La Faille, Jacob Baart (1970). The works of Vincent van Gogh (3rd ed.). Amsterdam: Meulenhoff. OCLC 300160639.
• Ives, Colta; Stein, Susan Alyson; van Heugten, Sjraar; Vellekoop, Marije (2005). Vincent Van Gogh: The Drawings. New York: Metropolitan Museum of Art. ISBN978-1588391650.
• Hulsker, January (1986). The Complete Van Gogh: Paintings, Drawings, Sketches. New York, NY: Harrison House/Harry N. Abrams Distributed past Crown Publishers, Random House. ISBN0-517-44867-X.
• Jirat-Wasiutynski, Vojtech (December 1993). "Vincent van Gogh'due south Paintings of Olive Copse and Cypresses from St.-Remy". Fine art Bulletin. 75 (4). JSTOR 3045988.
• Loevgren, Sven (1971). The Genesis of Modernism: Seurat, Gauguin, Van Gogh, and French Symbolism in the 1880s . Bloomington: Indiana Academy Printing. ISBN978-0253325600.
• Naifeh, Steven and Gregory White Smith (2011). Van Gogh: The Life. New York: Random House. ISBN978-0-375-50748-ix.
• Pickvance, Ronald (1984). Van Gogh in Arles. New York: Metropolitan Museum of Fine art. ISBN0-87099-376-3.
• Pickvance, Ronald (1986). Van Gogh In Saint-Rémy and Auvers (exhibition catalog, Metropolitan Museum of Art) . New York: Metropolitan Museum of Art, Abrams. ISBN0-87099-477-eight.
• Soth, Lauren (June 1986). "Van Gogh's Agony". Art Bulletin. 68 (2): 301. doi:x.1080/00043079.1986.10788341.
• Whitney, Charles A. (September 1986). "The Skies of Vincent van Gogh". Fine art History. nine (3): 351–362. doi:x.1111/j.1467-8365.1986.tb00206.10.

External links [edit]

• The Starry Nighttime at the Museum of Modern Art
• The Starry Dark at Who is van Gogh
• Van Gogh, paintings and drawings: a special loan exhibition, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on this painting (see index)
• Aerial photo of monastery mark Vincent'due south bedroom Archived 24 Apr 2017 at the Wayback Car
• Vincent van Gogh, The Starry Nighttime, ColourLex
• "12 Virtually Famous Paintings in History", paintandpainting.com

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Source: https://en.wikipedia.org/wiki/The_Starry_Night

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