Comparison Of Vincent Van Gogh And Paul Gauguin And Post-Impressionism

While Self Portrait (dedicated to Gauguin) clearly shows van Gogh’s spontaneous style, it also reveals van Gogh’s experimentation with Gauguin’s use of symbolic apparatuses. Van Gogh sent Gauguin this self-portrait in hopes of convincing Gauguin to visit van Gogh in Arles; in borrowing from Gauguin’s approach of using symbolic apparatuses, van Gogh attempted to strengthen his appeal by bringing up common interests the two painters held. For example, van Gogh identifies himself as a humble Japanese monk. He paints his eyes as if he were Japanese, and puts himself in humble, rusty-colored clothing. This, in combination with the enhanced gauntness and skull-like appearance of his face, likens van Gogh to a Japanese monk. Van Gogh’s representation of himself as a Japanese monk symbolizes his and Gauguin’s shared passion for and the influence of Japanese woodblock

     Vincent Van Gogh; a well known name by most and a highly reputable figure amongst painters and other artists, he showed his true talent and passion for the arts in his short career, a career which only lasted ten years (Preble 117). As we know, it takes a tremendous amount of effort, awareness and creativity to convey your emotions, thoughts and feelings through your work. Here, we will attempt to construe his feelings through his work and also begin to view and understand things the way Van Gogh did. The painting, from the 1880’s is that of a night’s sky composed of oil on canvas. At a first glance Van Gogh’s painting seems to be composed entirely abstract, but with a closer look and more

He did this because he saw life and nature in a different way than Monet. Monet saw the beauty and realism of life, but van Gogh saw the jarring and abominable aspects of life. In his many works, he depicted life as it truly is, bringing out the cruel and wicked realities of life. We see this in his work The Potato Eaters where he exhibits an African American family subjected to the world’s prejudices against this racial group. Also in his work The Night Café, we are introduced to his attempt to let us see the world through his eyes. What we see is a room of blood red and dark yellow with a green billiard table. Van Gogh is trying to create a hypothetical atmosphere full of psychotic and mad

In 1901 he went to Paris to study and experiment with new art forms. He began his work in surrealism and cubism style. He then became the founder of, and created many distinct pieces that were influenced by the style of cubism.

Vincent Van Gogh and Paul Gauguin produced many artistic creations during the nine weeks they lived together in the Yellow House. Independently creating similar pieces that reflected the work of the each other. In color, style and theme there are three specific pieces of each artist in which similarity is relevant throughout the image. Vincent Van Gogh's unique brushstrokes and Paul Gauguin's usage of geometric shapes proved to be a very mutually influential collaboration. The two artists have similar themed paintings individually depicting Madame Augustine Roulin, Haystack fields, and two sad women of Breton.

In this essay I am going to discuss Vincent Van Gogh and post-Impressionism. Vincent Willem van Gogh (March 1853 – 29 July 1890) was a Dutch post-Impressionist painter whose work, notable for its rough beauty, emotional honesty and bold color, had a far-reaching influence on 20th-century art. After years of painful anxiety and frequent bouts of mental illness, he died aged 37 from a gunshot wound, generally accepted to be self-inflicted (although no gun was ever found). His work was then known to only a handful of people and appreciated by fewer still.

Claude Monet work throughout the 19th century is highly recognized to be one of the key founders of Impressionism. Monets interlocking history of Impressionism cannot be dissociated by that of the Official Salon. It is here where Monet begins to make an appearance into the art world and it is here that we see the birth of the “ Impressionist Monet” we all know today.

Impressionist painter Claude Monet once said, “if you insist on forcing me into affiliation with anyone else…then compare me with the old Japanese masters; their exquisite taste has always delighted me, and I like the suggestive quality of their aesthetic, which evokes presence by a shadow and the whole by the part.” Claude Monet was French and Vincent Van Gogh was Dutch, both were inspired by a different culture in Japanese artwork. I attended the Asian Art Museum in San Francisco for an exhibit called Looking East: How Japan Inspired Monet, Van Gogh, and other Western Artists. In the paintings shows how Japanese artwork and Japanese painters influenced these artists by using similar techniques.

The relationship between Impressionism and Expressionism can be considered by examining the works of Jozef Israels (1824-1911) and Vincent van Gogh (1853-1890). These coexisting and overlapping artist’s lives and compositions, display the evolution and transition of artistic styles in the second half of the nineteenth century.

Impressionism initiated in the 19th century. Characteristics of this movement included small brush strokes and emphasis on light’s changing qualities (Impressionism). An artist known to many for his Impressionism work was Claude Monet. Post-Impressionism also developed in the 19th century. This French movement primarily concentrated on capturing naturalistic lights and colors (Post-Impressionism). Not only did Post-Impressionist paintings focus on light, but they also sought to capture the essence of the portrayed subject (Sayre 1094). Paul Gauguin and Vincent van Gogh were some of the artists who conducted this Post-Impressionism crusade. There are some similarities between these two types of art. They both distinctly use vivid colors and

In 1874, an exhibition by members of the Private Company of Artists that consisted of Claude Monet (1840 -1926), Camille Pissarro (1830-1903), Pierre-Auguste Renoir (1841-1919), Berthe Morisot (1841-1895), Edgar Degas (1834 -1917), and Alfred Sisley (1839 -1899) perplexed society with the dematerialization of reality in their paintings and signaled the birth of Impressionism as a new movement. However, a decade later, the concept of capturing the immediate illusion had exhausted itself. The crisis of Impressionism appeared with changes in Renoir’s painterly manner, Degas’s interest in three-dimensionality, and Monet’s involvement with the subjectivity of perception. New tendencies emerged: Paul Cezanne (1839-1906) experimented with perspective, color, and visual mass, and Georges Seurat (1859 -1891) and Paul Signac (1863 -1935) worked on color theory in its application to divisionism, leading the course of Neo-Impressionism. These developments in painting were innovative and even revolutionary, but they still emphasized visual representation as a goal, thus continuing the ultimate tradition in art. The artist who shifted this focus towards emotional manifestation was Vincent Van Gogh (1853 -1890). Conveyed through colors and lines, Van Gogh’s paintings delivered raw, almost visceral emotions. In the art arena of the last decades of the 19th century, his visually distorted and emotionally charged reality remained unique and unappreciated. At 37, after 10 years of

Van Gogh filled Gauguin with a confidence that he had never before portrayed in his art. It is through his new found mentor that Gauguin was able to “develop beyond impressionism” and find inspiration in “literature, non-western forms of art, and new models and locations” (Marijke, Meer). Although separated when Van Gogh set out for Arles, their frequent contact eventually led Gauguin to move to Arles and work with Van Gogh. It is there that the “Studio of the South” was

Van Gogh moved to Arles in 1888, where he wanted to start a colony of artists who would all live and create together (Department of European Paintings). This community did not actually come together because no one went to work with van Gogh. However, Vincent’s hero Paul Gauguin did visit and work with him. When van Gogh heard of this news, he became excited and optimistic. In preparation for Gauguin’s visit, he created a series of bright yellow sunflower paintings. It was his intention to decorate Gauguin’s room in the Yellow House which he had rented with the paintings (Sooke; Wiggins). The blue lines separating the different shades of yellow in the painting might be a reference to Gauguin’s work as this is similar to a technique he sometimes used (Sooke). Gauguin did stay and work with van Gogh for several months (Wiggins). He loved the paintings of sunflowers. These works impressed him and even asked Vincent if he could keep one (Van Gogh Museum). However, the two did not work well together, nor did they get along. Gauguin worked from his imagination and tried to convince van Gogh to paint this way too. However, van Gogh needed a reference to base his works off of and could not simply use his imagination. Van Gogh made paintings of sunflowers in vases in total, though three are copies of his own work (Wiggins). Of the four original paintings, one is in the Neue Pinakothek in Germany, the one featured here is from the National Gallery in London, one was destroyed in World

effects of light and shadow but neglect the importance of subject matters. Some young artists and critics demanded a shift in the focus of representational arts. Paul Cézanne, Georges Seurat, Paul Gauguin and Vincent Van Gogh were the four giants of Post-impressionism.

“Symbolic and highly personal meanings were particularly important to Post-Impressionists such as Paul Gauguin and Vincent Van Gogh. Rejecting interest in