Monday, August 20, 2012
Van Gogh in Ottawa IV
The up close view that Vincent enjoyed from early in his painting career continued as part of still life studies, portraits, and cropped landscapes, and as part of his more integrated pieces. In 1889 Van Gogh moved into the asylum at St. Remy just north of Arles. Once settled he was very prolific. The quiet allowed him the peace to focus. Along with his compositional directions he worked on his brush strokes and his unique place amongst avant-garde artists of the time.
Iris, 1889, St. Remy
A garden close up with no horizon. Note the black outlines and the vigorous brush work. Mostly mid values.
Butterflys and Poppies
This up close garden scene feels very Japanese.
From the Window at St. Remy
Here we see the high horizon and the directional brush stroke alongside up close detail. Balancing the up close with the distant is tricky and creates tension in this flattened scene. The tilting of the planes is vigorous and multidirectional as a Cezanne. More interest (maybe) and more tension.
This Cyprus portrait demonstrates organic brush strokes. Here the sky competes with the foreground in the flattened, local tone painting. Patterns on shapes.
Front and Back
Notice the value of the sky in this front and back image.
Trunks and Ivey
The Japanese print influence is apparent here as Van Gogh applied the cropped tree trunk as a veil. There is a hint of a horizon in the upper tenth of this painting that is otherwise a tapestry of colour, brush strokes, and texture.
Cropped Tree Trunks
Trees and Dandelions
The use of cropped and exaggerated tree trunks became more prevalent along with the vigorous brushing and colour in a short picture box.