Now, perhaps, it is difficult to find the person for the name of whom Vincent Van Gogh name would be unfamiliar, the Dutch artist who created in the end of XIX century in France. He was not recognized by contemporaries, but he is greatly popular among descendants. Now his works decorate the assemblies of the most well-known galleries and museums of the world (the Museum Underground, New York; Art institute, Chicago; gallery Tate, London). The destiny of pictures by Van Gogh becomes the object of steadfast attention of admirers of painting from the entire world. Van Gogh, whose creativity is known as an example of postimpressionistic painting. It is an interesting fact that Van Gogh did not get a systematic education and began to create his works in the mature age. However, despite of this, owing to gift, constant efforts, work and own unique sight at the world, he has managed to create the original masterpieces.
The love to fine, possibly, has arisen in youth when the future master worked as the seller of cloths in interiors of firm Gupil. However the peripetias of private life, the experience which has been saved up for so small period and, that is important, an example of the father have led to ideas that it is necessary to bring a word of the Lord to the world and people. So, young preacher Vincent Van Gogh gets into the Belgian miner’s settlement under name Borinague. As the fine person he could not remain indifferent to the things he saw – to poverty and lawlessness. Here he begins his new profession.
Van Gogh’s first works were in many respects clumsy and not so successful, but they became the first step on a way of comprehension of a true vital calling. The first heroes of his works became miners. Greater support these hard years was rendered by his brother Theo who not simply helped Van Gogh financially, but also highly appreciated his creativity.
After the trip to Paris and acquaintance with impressionists in 1886 Van Gogh’s manner varies a little. His cloths become more emotional. The palette is enriched; it becomes more colorful, pictures change (Meier-Graefe, 1987).
As in nature the artist tries to find the spiritual beginning in every person. Van Gogh tried to find everything that is human, therefore it was so difficult to live and work in the world where the person was identified with machine and their importance was estimated only from the point of view of their utility. The spiritual life becomes demanded ever less, and former communications during development of a civilization and progress fall. This reason and subjective pessimistic moods lead the artist to illness (mental frustration). In 1889 he becomes the patient of psychic clinic. However these years do not pass for the master completely, after the crisis he continues to create. The last works of the artist admire with cleanliness and photogenic beauty of the world, they have been created in Oveur, a small village near Paris. Here one of the most esteemed in the XXth century artist died.
The analysis of a picture by Van Gogh “Night Cafe”
The Picture was written in Arl in 1888: Van Gogh already was mature artist. It was the heavy period: the artist lived in full loneliness, he drank much, and his mood was gloomy. The similar condition of spirit, probably, has found the reflection in the picture “Night cafe”.
It is a genre stage. The time is very late; it is the quarter past one at the clock. The visitors of cafe almost dispatched, the tables are not cleaned yet; the people have just left, but the character and a manner of their behavior are felt judging from how chairs are set aside. It is empty at billiards (Metzger, 2006).
Only at the separate little tables there are the figure sat up late: at the little table on the right there are two men, they almost lay on a table; at the little table on the left there is a man who the man sleeps frankly, behind him there is a couple: both are not so joyful, probably, there are having unpleasant conversation. At the center of the hall there is a waiter. It is a unique sober here. Quantity of figures on the left and on the right creates composite balance. The center of all composition is a billiard table. It is empty and looks like a coffin. Probably, it is a symbol empty soul.
The space of the cafe is shined by the uniform light of lamps. In spite of the fact that all occurs at night, it is a lot of light in cafe, here it is even too light, that is why it is uncomfortable here – light is unnatural. It arrests attention and irritates. The color which is used by Van Gogh, is also intensive, poisonous: the combination of green and red is especially sharp (Stone, 1995).
The walls in cafe are of red color, this color is disturbing, and it is a color of blood and danger. A ceiling and a billiard table is of green color, but it not such greens, as in Van Gogh’s landscapes. Here green color is unnatural, it is put very densely, as in a decorative fantastic picture, but this fairy tale is as a dreadful dream. Besides the artist uses also other complementary colors: for example, yellow and poisonous-yellow is a color of a tobacco smoke and wine steams. It seems, that everything is doubling. The main sensation from a picture is disturbing, as after sleepless night. It is loneliness. And it is possible to hear the sounds of the clock: they never stop and life flies.
The analysis of a picture by Van Gogh “Potato eaters”
Here the peasants are represented who spend all their time on the ground, on the field, live by constant work. Their faces remind the roots or tubers of potato, their forms, chubby and friable, are so ridiculous. The skirt of one of women (that is on the left) reminds the field by its folds, the peak-caps of men are similar to beaks.
The hands of each person at the table reach for meal. It is the thing that connects all these people. One of them has turned to us his back. He closes a circle; he does not care about anything any more.
It is close in this premise, and the low ceiling bends down the space even more.
The lamp (it is as though extended horizontally) light the space and something burns on a table but we do not see because of a back of the person. The ellipse of a lamp is halved into black and white. Anybody does not meet a sight of others. Everyone is separate. Their weariness and absorption of everyone in them separates them. So, the vertical prop to the left of the woman (it is probable, mistresses) separates her from the man – the worker(Meier-Graefe, 1987).
Van Gogh wished to show us the ordinary of a country life, the attitude of these people. In this picture we can see some limitation of their vision, underground life, and communication of peasants with the ground, with things, meal, and their simple life. What do they think about? It is obvious – not about something ennobled and not about beauty of the nature which constantly surrounds them. They do not see anything, and, apparently, at all do not hear each other; they have only one interest – meal. Existence of these people reminds the existence of plants (they as vegetables have grown from this ground) or animals – pigs, cows, geese (it is possible to see even similarity in the image of goals). Actually, who were peasants at that time? – Cattle that ploughs (Stone, 1995).
Van Gogh’s creativity has reflected a complex, turning-point in history of the European culture. It is got by passionate love by a life, to the simple labor person. From here Van Gogh’s creative obsession comes, his gusty expression and tragic pathos. They define Van Gogh’s special place in art of the postimpressionism.
In the beginning of the XX-th century Van Gogh’s “apostolic” way along the art of Europe and America has begun and is not ended until now. Van Gogh was not able to divide himself between life and creativity. His everyday acts, his passionate searches of the recognition, his intense spiritual life, hits arrival in the world of art – all this is painted and fastened by the same aspiration to true and full self-feedback, that is thirst of creativity.
“There is nothing more art than to love people”, – he considered. This getting humanity of art of Van Gogh allows to name him one of the most-sympathetic artists of the time if, certainly, to mean not only the subject party of art, but also his figurative maintenance. This genius who did not suspect about his genius and only shy hoped that his creative self-burning will not reach all for nothing.
References
Meier-Graefe Julius (1987) Vincent Van Gogh: A Biography, Dover Publications.
Metzger Rainer , Walther Ingo F. (2006) Van Gogh: The Complete Paintings (Klotz), Taschen; 25 Anv edition.
Stone Irving , Stone Jean (1995) Dear Theo: The Autobiography of Vincent Van Gogh, Plume.
Van Gogh Gallery. Web.