Impressionist Oil Painting

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Impressionism Paintings - Oil Paintings

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Impressionism Paintings - Oil Paintings

Impressionist Painting Demonstration - YouTube

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50 Impressionist paintings - the Impressionism seen through 50 works

through G. Fernández - theartwolf.com No creative duration has been as commented or discussed as Impressionism. But, as a picture is price one thousand phrases, theartwolf.com has made up our minds to showcase 50 art work to resume the easiest of this fascinating Art motion

When talking about Impressionism, an error is continuously committed when assigning to this movement a chain of painters who not anything or virtually nothing had in common with it -Rousseau, Redon-, or others who, despite having felt an early enchantment to the brand new motion, quickly separated from it -Paul Gauguin, Paul Cézanne- and even others who, though being usually regarded as as representative individuals of this movement, cannot be known as "pure impressionists"

 

FRÉDERIC BAZILLE: "The artist's studio - Bazille's Studio; 9 rue de la Condamine" - 1870 - oil on canvas, 98 - 128.5 cm. - Paris, Musée d'Orsay - view high answer image

Friend of Monet, Sisley and Manet, and born in a wealthy family, Bazille is the tragic determine of Impressionism, dead at the Franco-Prussian War when he was best 28 years previous. "The artist's studio" is widely thought to be his masterpiece, in which we will find some important names in the Impressionist movement: painters like Monet, Renoir and Manet; and buddies like Emile Zola or Edmond Maître.

 

EUGÈNE BOUDIN: "Dock at Deauville" - 1869 - oil on canvas, 23 - 32 cm. - Paris, Musée d'Orsay - view high resolution symbol

Boudin used to be one of the most first French landscape painters to paint outdoor, and he is widely known as one of the most vital influences to the primary Impressionist painters. When he moved to Saint-Siméon in 1862, some younger painters began to imitate his vigorous brushstroke, starting the "Saint-Siméon School", regarded as these days one of the origins of Impressionism.

 

GUSTAVE CAILLEBOTTE: "Les raboteurs (The floor scrapers)", 1876 - oil on canvas, 102 - 146.5 cm. - Paris, Musée d'Orsay - view high resolution image

The vertiginous attitude and the almost photographic focus are feature of Caillebotte's first works. This paintings exemplifies as no other the stupor that Caillebotte may reason between the assistants to the primary impressionist exhibitions. Zola, who really favored Caillebotte, described it like "an antiartistic, clean painting, frost and bourgeois, by force of exactitude."

 

GUSTAVE CAILLEBOTTE: "Paris Street, rainy day" 1877 - oil on canvas, 212.2 - 276.2 cm. - The Art Institute of Chicago - view high answer image

This is Caillebotte's most renowned and bold painting, exhibited on the Third Impressionist Exhibition on the Rue Le Peletier, the place it was no longer well approved by the critic. L'Évenement wrote about this painting: "the drawing is of good quality, but Caillebotte has forgotten to include the rain". Anyways, this is among the best representations of nineteenth century Paris ever painted.

 

MARY CASSATT: "Summertime", 1894 - oil on canvas, 100.7-81.3 cm. - Terra Foundation for American Art, Chicago - view prime solution image

Mary Cassatt used to be born in Pennsylvania, but lived a lot of her grownup life in France, the place she was once invited through Edgar Degas to show her works with the Impressionists. The works created within the Nineties are by way of a ways the most fascinating of her occupation, and regardless that the Impressionist team used to be soon disbanded, Cassatt still had contact with probably the most contributors, enriching her ability to the point of changing into a task type for younger American artists.

  PAUL CÉZANNE: “The Hanged Man's House in Auvers-sur-Oise" - 1873 - Oil on canvas, 55 x Sixty six cm - Paris, Musée d'Orsay - view top solution symbol

This unusual landscape is arguably Cézanne's first masterpiece, and it was one of the vital 3 works exhibited by way of the artist at the Impressionist exhibition in Paris in 1874, the place it was once purchased via Count Armand Doria. While "The Hanged Man's House" can still be considered a Impressionist painting, the paintings is done in Cézanne's early and really private style, operating the surface of the canvas with a palette knife.

  PAUL CÉZANNE: “Still existence with fruit basket (the kitchen desk)", 1880-1890 - Paris, Musée d'Orsay - view high resolution image

Cézanne is arguably the greatest master of still life painting of any era, and this shining painting constitutes certainly one of his maximum formidable compositions. Where is that this basket? Placed in an overly unstable place in the upper correct nook of the table, or -thanks to a complex perspective- is at the flooring along side the wood piece partly depicted on the correct of the painting? Here Cézanne has created a double perspective to color a sensational paintings wherein the cubism begins to look.

 

This is the smallest of the 3 versions of this matter painted through Paul Cézanne, but it's relatively possible that it was also the remaining of them, and the most elaborated. While the composition is really easy (two avid gamers going through every different, with a black bottle silently dividing the composition in two portions) the fabulous mental depth within the faces of the gamers make this painting a masterpiece of post-impressionist art.

  PAUL CÉZANNE: “Mount Sainte-Victoire view from Lauves”, 1904-06 - oil on canvas, 60- seventy two cm. - Basel, Kunstmuseum - view top resolution image

Paul Cézanne painted many perspectives of the Mount Sainte-Victoire within the outskirts of Aix-en-Provence, and this beautiful work is without doubt one of the most developed variations of all them. We can say about this work that it is “cubist ahead of the cubism”: the triangular mountain and the prairie parts -geographic or edificatory- gain quantity by way of the superposition of many chromatic planes.

 

This is the biggest canvas Cézanne ever painted, and the fabulous fruits of the "Bathers" sequence. The painting is reminiscent of some Titian's best artwork, such as the "Bacchanal of the Andrians", whilst the just about sculptorical illustration of the human body hyperlink this canvas with some of Michelangelo's frescoes on the Vatican. Two different "finished" "Bathers" paintings exist, one within the Museum of Modern Art in New York City and the other in the National Gallery, London.

 

CHARLES CONDER: “A vacation in Mentone”, c.1888 - oil on canvas, 46.2-60.Eight cm. - Art Gallery of South Australia, Adelaide - view high answer symbol

An English-born painter, Conder (1868-1909) emigrated to Australia when he used to be twenty years outdated, and is now thought to be a key figure in Australian painting. While his Art used to be no longer well gained in Australia in his period, he was praised via artists like Pissarro or Degas, and Toulouse-Lautrect even painted a portrait of Conder in 1892.

 

EDGAR DEGAS: “The dance elegance", c.1874 - oil on canvas, 83.2 x 76.Eight cm - Musée d’Orsay, Paris - view high answer image

Degas artwork of younger dancers or ballerinas are among his biggest -and in fact maximum famous- achievements. Degas depicted those younger ladies as true pros, training all day long beneath the stern tutelage of the master. In this canvas, the dance grasp seems at the center-right of the composition, supervising the scene like an authority at the top of his powers.

 

EDGAR DEGAS: “L'absinthe (absinthe drinkers)", 1876 - oil on canvas, 92-68 cm. - Musée d’Orsay, Paris - view prime solution image

"What a slut!", George Moore commented in regards to the woman on this painting, including that "the tale is not a pleasant one, but it is a lesson", and likewise that "no one has said so much in so little space, and no one has expressed in such a simple way (...) thanks to the science of the drawing, invisible but omnipresent, almost impersonal". The unhappy and melancholic "Absinthe drinkers" appears to have influenced works of later artists, comparable to Picasso's interiors from the Blue Period, or Edward Hopper's city scenes.

 

PAUL GAUGUIN - "Le Christ jaune (The Yellow Christ)", 1889 - oil on canvas, 91.1-73.Four cm. - Albright-Knox Art Gallery, Buffalo - view high answer image

This paintings is regarded as one of the crucial origins of symbolist painting, along with "The Green Christ", and can also be seen as a precedent to the religious artwork created by way of Gauguin in the Polynesia ("Ia Orana Maria", "Maternity"), but depicting Breton ladies instead of Polynesian girls. The yellow Christ also appears in a self-portrait by means of the artist now within the Musée d'Orsay in Paris.

 

PAUL GAUGUIN - "Mata Mua (in olden times)", 1892 - oil on canvas, 91-Sixty nine cm. - Madrid, Thyssen Museum - view top solution image

Gauguin travelled to the tropics searching a creative redemption, a comeback to the 'primitive' and the 'unique' that could lend a hand him to seek out some way during which his Art may well be 'purified'. "Mata Mua (in olden times)" is a powerful and fascinating composition divided in two parts by means of a giant tree that majestically stands over a purple and pink river. The two girls on the appropriate constitute the present of Tahiti, whilst the crowd of ladies in front of a big statue of an idol constitute the past, the "primitive" Tahitian way of living.

 

PAUL GAUGUIN - "Where do we come from? What are we? Where are we going?", 1897 - oil on canvas, 139- 375 cm. - Boston, Museum of Fine Arts - view prime resolution symbol

This work is not only probably the most colossal canvas that Gauguin painted in his complete lifestyles, but it's also the work that expound all the philosophical and pictorial doctrine of the artist. Structuring the canvas in an inverted chronological order, Gauguin turns out to level the primitive, the blameless, as the only one way to the artist.

 

ARMAND GUILLAUMIN: "Soleil couchant à Ivry (sunset at Ivry)", 1873 - oil on canvas, 81-Sixty five cm. - Musée d’Orsay, Paris - view prime resolution symbol

Though not as famous as Monet, Renoir, and others top notch Impressionist painters, Armand Guillaumin (1841-1927) was a very powerful figure in the Impressionist movement. Friend of Renoir, Cézanne and van Gogh, Guillaumin is arguably probably the most colorist of all of the Impressionist team, which may also be easily appreciated in his landscapes of Paris, the Provence and the Mediterranean coast.

 

CHILDE HASSAM: "The Avenue in the rain" - 1917. Oil on canvas - White House Museum - view prime solution symbol

Childe Hassam (1859-1935) used to be a key determine in the American Impressionism, although his best contact with a French Impressionist artist used to be when he took over Pierre Auguste Renoir’s former studio and located one of the most painter’s oil sketches left behind. His most famed works are the “Flag” artwork, finished all through World War I, and the lovely "The Avenue in the rain" is his maximum 'impressionistic' painting in the sequence.

 

KONSTANTIN KOROVIN: “Spring” - 1917 - oil on canvas, - The Russian Museum, St. Petersburg, Russia - view top solution image

"Paris was a shock for me … Impressionists… in them I found everything for what I was scolded back at home, in Moscow". Korovin (1861-1939) was once, along side his pal Valentin Serov, the principle determine of Russian Impressionist painters. Highly influenced by the French Impressionists, he advanced, on the other hand, an overly personal style that mixes the everyday components of French Impressionism with the rich colours of Russian Art of his era.

 

WINSLOW HOMER: “Summer evening” - 1890 - oil on canvas, 76.7- 102 cm. - Paris, Musée d' Orsay - view top solution symbol

When talking about Impressionism, an error is continuously committed when bearing in mind it an solely French movement, when a couple of North American painters should seem no longer some distance from Monet, Degas, Pisarro… Among all them, crucial is, with surely, Winslow Homer, and "Summer Night" is one in every of his undisputed masterpieces. The spontaneity with which the artist represents the allure and magic of a summer time night makes of this painting probably the most masterworks of American painting.

 

EDOUARD MANET: "Le Déjeuner sur l'Herbe (Luncheon on the grass)", 1862/63 - Paris, Musée d'Orsay - view prime resolution symbol

Some experts have referred to as this paintings "the origin of Impressionism". Manet surprised the Art global when he exhibited the painting on the Salon des Refusés in 1863. Émile Zola wrote about this enormous canvas: "It is, in short, this vast ensemble, full of atmosphere, this corner of nature rendered with a simplicity so just, all of this admirable page in which an artist has placed all the particular and rare elements which are in him".

 

EDOUARD MANET: "Olympia", 1863 - oil on canvas, 130.5 - One hundred ninety cm. - Paris, Musée d'Orsay - view prime solution symbol

We can say that this is likely one of the most arguable paintings of all time, and it was not well gained by means of the critics when it was once first exhibited in 1865. "Who is that yellow odalisque?", requested Jules Claretie from L'Artiste, while Antonin Proust declared that "If the canvas of the Olympia was not destroyed, it is only because of the precautions that were taken by the administration". The painting was once, on the other hand, admired by Émile Zola.

 

EDOUARD MANET: "Bar at the Folies Bergere", 1882 - London, Courtald Institute Galleries - view top solution image

Manet's artwork of cafe scenes are direct observations of social lifestyles in nineteenth century Paris, and this stunning and complex canvas is certainly one of his most renowned masterpieces. Note that the lady within the reflection will have to seem at once at the back of the picture of the lady who is facing us. Is this a terrible mistake via Manet, or is the artist expressing a kind of "double reality" on this noted work?

 

CLAUDE MONET – "The Terrace at Sainte Adresse" (1867) - New York, Metropolitan - view prime solution image

"The Terrace at Sainte Adresse" is arguably Monet's first masterpiece, and nonetheless one of the famous artwork from early Impressionism. The bourgeois scene is developed underneath a powerful "plein air" mild. The clear limits between land, sea and sky divide and hierarchies the composition, vertically organized by way of the 2 flags fluttered by way of the sea breeze.

 

CLAUDE MONET – "Impression, sunrise" (1873) - Paris, Musée Marmottan - view prime resolution symbol

“Wallpaper in its embryonic state is more completed than that seascape", said of this canvas Louis Leroy, an Art critic, when the painted was once exhibited on the first Impressionist exhibition in 1877. And this is simply an example of how lots of the critics of the time reacted to this painting, and, via extension, to the entire Impressionist movement (a movement that if truth be told owes its title to this painting) It is no surprise, then, that nobody presented 1,000 francs, the asking worth for this painting.

 

CLAUDE MONET – “Le gare Saint Lazare (Saint Lazare Station)”, 1877 – oil on canvas, 75-A hundred cm. - Paris, Musée d'Orsay - view high solution symbol

"It's a pictorical symphony", seen the magazine L'homme libre when this painting was exhibited on the Third Impressionist Exhibition in 1877, some of the few sure critics to a painting in that show. "Monet likes this station, and he has already depicted it with less success. This time it is really wonderful. He has painted not only the movement, the colour and the activity, but also the noise. It's unforgettable".

 

CLAUDE MONET – “Meules (Haystacks, white frost)” - 1889 - oil on canvas - Hill-Stead Museum, Farmington - view high solution symbol

Between 1889 and 1891, Monet created a series of 15 canvases representing a workforce of haystacks within the outskirts of Giverny. Wassily Kandinsky had the potential of seeing one of these haystacks in an exhibition in Moscow in 1895, and he used to be impressed to the point of suggesting it as the first summary painting in the history of Art: "And suddenly, for the first time, I saw a picture. It was a haystack [or rather, a grain stack], the catalogue informed me, but I could not recognize it (.) I realized that there the object of the picture was missed (.) What I had perfectly present was the unsuspected -and until then hidden- power of the palette".

 

CLAUDE MONET – “Poplars au bord de l'Epte, view from the marshes” - 1891 – oil on canvas, 88- Ninety three cm. - USA, non-public collection - view high solution symbol

Claude Monet is the Impressionist painter par excellence. His biggest lyrical fulfillment is reached in this unusually impossible to resist image. The composition so beautifully resembles the wonderful thing about a Japanese haiku, uneven and touching, while the poplars' leaves sing in purple, pink, and after all in a blue that will make Yves Klein green with envy. It's Monet in his complete bloom, the artist who once instructed his family that he sought after “to paint because the bird sings”.

 

CLAUDE MONET – “The Portal of Rouen Cathedral (soleil), unity in blue and gold" - oil on canvas, 101 - Sixty five cm. - 1893. Paris, Musée d'Orsay - view top solution image

"The climax of Impressionism". That's how the series of perspectives of Rouen Cathedral painted by way of Monet between 1892 and 1894 has been absolute best described. The sequence - consisting of 31 canvases appearing the facade of Rouen's Gothic Cathedral beneath other stipulations of light and weather- caused an immediate admiration among the critics of his time, and so they were praised via many later masters, from Wassily Kandinsky to Roy Lichtenstein. The election of the palette reflects the different sun shades wherein the day-to-day gentle was dyeing the facade: from the graceful blues of the morning to the shiny ochre and golden sun shades within the plein soleil footage, as this one

 

CLAUDE MONET – “Nympheas (water lilies)" - oil on canvas, 219-602 cm. - 1920-1926 - Paris, Musée de l'Orangerie- view prime answer image

Monet's series of the "Nympheas" were described as "The Sixtine Chapel of Impressionism".

 

BERTHE MORISOT – “Summer day", 1879 - London, National Gallery - oil on canvas, 45-Seventy five cm. - view prime solution image

Granddaughter of Fragonard, the famous 18th century French painter, and raised in a rich circle of relatives, Morisot was an energetic member of the Impressionist movement, and even Manet admired her creative style. In his last works, the affect of Renoir is clear.

 

CAMILLE PISSARRO: "Landscape at Pontoise", 1874 - oil on canvas, 61-81 cm. - Winterthur, Oskar Reinhart Collection - view top answer image

Known as "The Father of Impressionism", Pissarro is, together with Monet and Sisley, essentially the most "pure" of all Impressionist painters, displaying in all 8 of the Impressionist exhibitions. He is particulary noted for his depictions of rural lifetime of Northern France, specifically the town of Pontoise, through which the affect of the naturalism of Jean-Baptiste Corot and Gustave Courbet is evident.

 

CAMILLE PISSARRO: "Le Boulevard Montmartre, effet de nuit (The Boulevard Montmartre at Night)", 1897 - Oil on canvas, 53.3 x 64.8 cm - London, National Gallery - view prime resolution symbol

While Pissarro is extra noted for his depictions of the rural life, he additionally created a great choice of fabulous urban scenes of 19th century Paris. In 1897, he took a room in Boulevard Montmartre and depicted it at different hours of the day, being this canvas the only night time scene of the collection. "The Boulevard Montmartre at Night" is a sensational impressionist painting, although Pissarro by no means exhibited it all through his lifetime.

 

PIERRE-AUGUSTE RENOIR: "Moulin de la Galette", 1876 - oil on canvas, 131-One hundred seventy five cm. - Paris, Musée d'Orsay - view prime resolution symbol

This masterwork has been described as “probably the most stunning painting of the nineteenth century”. The painting depicts one of the vital a lot of dances that took place in the Moulin de la Galette, one of the most frequented clubs in 19th century Montmartre, a paradise for bohemians and artists like Toulouse-Lautrec, van Gogh or Renoir himself. One of the best masterworks from early Impressionism.

 

PIERRE-AUGUSTE RENOIR: "Le déjeuner des canotiers (Luncheon of the boating party)", 1880-81 - oil on canvas, 129.5 × 172.7 cm - Washington, Phillips Collection - view high answer symbol

The light is the primary protagonist of this famous painting, in wich Renoir has depicted a bunch of his friends relaxing on a balcony alongside the Seine river (amongst them, every other famous Impressionist painter, Gustave Caillebotte, who can be observed in the decrease correct of the canvas).

 

PIERRE-AUGUSTE RENOIR: "The Umbrellas", 1881-86 - oil on canvas, 180 - 114 cm. - London, National Gallery - view prime resolution symbol

"About 1883, a rupture occurred in my work. I had come to the end of Impressionism, and I arrived at the conclusion that I could neither paint nor to draw. In one word, I was at a dead end". "The Umbrellas" is a posh work wherein we will be able to to find Renoir in two different classes of his profession. While the proper drawing of the woman at the left will also be simply ascribed to his 'Impressionist' duration, some figures on the appropriate should be identificated with his "dry" or "Ingres" length, started in 1883.

 

THEODORE ROBINSON: "La débâcle", 1892 - oil on canvas - Scripps College, Claremont, California - view top solution image

Theodore Robinson (1852-1896) is with out query one of the vital key figures in the American Impressionism. An in depth buddy of Claude Monet, he created some of his very best works while living in Giverny, just few months prior to returning to America. "La dèbâcle" is a normal paintings via Robinson, accomplished au plein air, and depicting a young girl in a recreational activity

 

GEORGES SEURAT: "Une baignade à Asnières (Bathers at Asnieres)", 1883/84 - oil on canvas, 201-Three hundred cm. - London, National gallery - view prime answer symbol

Georges Seurat is among the maximum important post-impressionist painters, frequently considered the author of the "pointillism", a mode of painting wherein small distinct issues of primary colors create the influence of a wide array of secondary and intermediate colours. "Bathers at Asnieres" is the primary of Seurat's large-scale canvases.

  GEORGES SEURAT: "Sunday afternoon on the island of La Grande-Jatte", 1884-86 - oil on canvas, 207.6 - 308 cm. - Chicago, Art institute - view high solution symbol

"Sunday afternoon on the island of La Grande Jatte" is Seurat's most essential masterpiece (he spent greater than two years painting this massive canvas, developing greater than 50 preliminary sketches and drawings), the best example of "pointillism" painting and a milestone of past due 19th century Art.

 

PAUL SIGNAC: "Le Palais des Papes, Avignon (The Papal Palace, Avignon)", c.1900 - oil on canvas, 73.5-92.5 cm. - Paris, Musée d'Orsay - view prime answer image

Along along with his mentor Georges Seurat, Paul Signac (1863-1925) is the key figure of the pointillism. Signac cherished crusing, and he traveled to almost the entire French Coast, specially the Mediterranean Coast, where he created some of his maximum brilliant and colourful compositions, akin to the example illustrated right here. Signac was also a very powerful affect to later artists like Henri Matisse.

 

ALFRED SISLEY: "Chemin de la Machine, Louveciennes", 1873 - Paris, Musée d'Orsay - oil on canvas - view top resolution symbol

If we wish to search for the "pure", very important impressionist painters, such list would be reduced to only three names: Claude Monet -the actual Michelangelo of the impressionist era-, Camille Pissarro -the great chronicler of the rural life- and Alfred Sisley. Sisley's paintings of the small town of Louveciennes are arguably his largest achievements, and this simple but powerful canvas is perhaps the most efficient of all them.

 

ALFRED SISLEY: "L'inondation à Port-Marly", 1876 - Paris, Musée d'Orsay - oil on canvas - view top answer image

Sisley painted several canvases depicting these floods in Port-Marly, however the two more outstanding examples are those that show the river's waters round a wine shop at Rue Paris. We can counsel a hyperlink between these art work and the turbulent biography of their creator: it's conceivable that Sisley noticed the floods in the quiet the city of Port-Marly as a reflection of his own existence: and overflowed after several events as unforeseeable and inevitable as the floods of the Seine River.

 

JOAQUÍN SOROLLA: "La hora del baño (The Bathing hour)", 1904 - oil on canvas, 84-119 cm. - Private collection - view prime answer symbol

Impressionism had virtually no presence in Spanish painting. In fact, the person who's ceaselessly thought to be as the most efficient impressionist painter in Spain -Joaquín Sorolla- was no longer a "pure" impressionist painter, although in his mature works his style was obviously influenced via that Art movement. This painting was once sold for .2 million in 2003, an auction file for a work by means of Sorolla.

 

HENRI DE TOULOUSE-LAUTREC: "At the Moulin Rouge", 1890 - oil on canvas, 115-One hundred fifty cm. - Paris, Musée d'Orsay - view top resolution image

Born in an aristocratic circle of relatives, and physically not able due to a genetic disorder that made his legs extraordinarily short, Toulouse-Lautrec is referred to as the great chronist of the 19th century Paris nightlife. This painting, depicting a night in probably the most famous cabarets in Paris -the Moulin Rouge- is regarded as as considered one of his masterpieces, and, along side Renoir's "Moulin de la Galette" (see above), an unforgettable depiction of nineteenth century Paris nightlife.

 

HENRI DE TOULOUSE-LAUTREC: “Dans le lit (In mattress)", 1893 - oil on canvas, 54-70.5 cm. - Paris, Musée d'Orsay - view prime answer image

This is one (and arguably the most productive) of the different scenes of a pair in mattress painted by Toulouse-Lautrec, that have often been described as "dispassionate" despite the intimacy of the subject. While the composition seems in reality simple, the artist has used a very interesting attitude remarked by means of the putting colours.

  VINCENT VAN GOGH: “Sunflowers (vase with fifteen sunflowers)”, 1888 - oil on canvas - London, National Gallery of Art - view top resolution image

Van Gogh's "sunflowers" don't seem to be most effective some of the artist's favourite subjects (seven canvases of vases with sunflowers, plus three earlier works depicting the sunflowers on my own), but in addition they rank among the most renowned paitings ever created. "The sunflower is mine in a way", mentioned van Gogh to his brother Theo. The work illustrated here is one of the brightest of all of the collection, with a marvelous spectrum of yellow pigments. One of these 'sunflowers' smashed the public sale document for a painting when it used to be sold to a Japanese investor for almost million in March 1987. Recent rumors have recommend that the work may no longer be a real van Gogh, but a replica by way of Emile Schuffenecker.

 

VINCENT VAN GOGH: “La chambre de Van Gogh à Arles (Van Gogh's room at Arles)”, 1889 - oil on canvas, 73-92 cm. - Chicago, Art Institute - view prime resolution image

Van Gogh first painted his room in Arles in October 1888 (Amsterdam, Rijksmuseum Van Gogh), and, three hundred and sixty five days later, he painted two extra variations while dwelling in Saint-Rémy, being the work illustrated here essentially the most ellaborated of the three. "This time is simply my bedroom" -commented Van Gogh in a letter - "only here color is to do everything, and giving by its simplification a grander style to things".

  VINCENT VAN GOGH: “Starry night”, 1889 - oil on canvas, 73,7 - 92,1 cm. - New York, Museum of Modern Art (MOMA) - view high resolution image

One of the artist's maximum good and famous works, usually associated to his increasing madness, and that in reality was once the results of van Gogh's pastime for the astronomical investigations. In reality, on this painting we will be able to follow either real or improbable components. On the primary hand, a study made by means of the Griffith Park Observatory demonstrated that Vincent represented the Moon, Venus, and a number of other stars in the actual place they occupied that transparent evening. On the other hand, the showy spiral that occupies great part of the work is obviously an incredible part.

 

VINCENT VAN GOGH: “Irises”, 1889 - oil on canvas, 73,5 - 92 cm. - Jean Paul Getty Museum, Malibu - view prime answer symbol

Van Goh painted this noted canvas when he used to be residing at the psychological asylum of Saint-Rémy, the place he was sometimes allowed to color "au plein air". The entire canvas is full of the splendor and charm of the character. Curiously, the crimson plant life on the top of the painting seem like an echo of the pink flooring, whilst the white flower of the left is "reflected" in a faded blue one at the appropriate. This painting used to be bought in Sotheby's New York for .Nine million, then the perfect value ever paid for a piece of Art.

 

VINCENT VAN GOGH: “Self-portrait with bandaged ear”, 1889 - oil on canvas, 60-Forty nine cm., London, Courtald Institute Galleries - view prime resolution image

This is likely one of the two self-portraits that van Gogh painted after reducing off his ear (the other, previously in the selection of Leigh B. Block in Chicago, was once bought later via the Niarchos circle of relatives). The expression of the artist's face is, sarcastically, calmer than in many different self-portraits via the artist; which may also be interpreted as an effort of the painter to seek out in the painting his specific salvation. It could also be outstanding the presence of a Japanese stamp in a self-portrait. In a letter to his brother Theo, Vincent affirmed that he envied the Japanese painters for “his taste, so simple as breathing”.

   

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