Items 69 - Vincent van Gogh. With an introduction and notes selected from the letters of the artist, edited by Alfred H. Barr. Author. Museum of Modern Art. Letters of Van Gogh from The Hague (). Letter 1. Friday, 3 March . Vincent. I also had to pay the rent this week. Good-night. It's already two. "[His letters] enable us to know more about Van Gogh's life and mentality than we do of any other artist. The letters form a running commentary on his work, and a.
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remember how the idea of Vincent Van Gogh came up ~ maybe I had letters written by Van Gogh to his brother Theo while in an asylum in the south of France . Free site book and epub digitized and proofread by Project Gutenberg. First published in three volumes in , only 24 years after his death, the letters of Vincent Van Gogh have captivated lovers of his painting for.
An extensive year-by-year chronology lists not only major events in van Gogh's life, but also books he read; works he painted; museums he visited; and works he sold and gave on consignment. The chronology contains hot links to key letters and is marked with marginal symbols that refer to "museums and exhibitions," "books read and print collecting," and "consignments to Theo and others.
Another one, entitled "Biographical and Historical Context," contains extensive information about the van Gogh family, the financial backgrounds of Vincent and Theo, and the culture of letter writing in van Gogh's time, particularly in his family's social circle. Numerous lists refer to, among others, works of art mentioned in the letters, literature cited by van Gogh, and people mentioned in the correspondence.
All are hot-linked to the letters or notes in which they appear. To give an example, the literature list shows that van Gogh referred in his letters to nine fairy tales by Hans Christian Anderson.
A single click on the title of the fairytale brings the reader to the letter s that refer s to it.
An original feature of the edition is the section "maps and plans," which contains detailed maps of every place where Vincent lived with symbols that mark where he resided and where he visited. A map of Arles shows, for example, that Vincent's yellow house was outside the walls of the old town, near the railroad station. In addition to all the remarkable features listed above, the scholarly apparatus also contains the ones one would expect: an extensive bibliography, a concordance with other editions, a list of archives where van Gogh's letters are found, lists of abbreviations, a glossary of artistic terms used by van Gogh, etc.
One would expect the introduction to address new findings and ideas that the extensive research into the letters has produced or, perhaps, to reflect on the impact the letters have had on the appreciation of van Gogh's work over the past hundred years.
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Instead, the introduction offers little that is new. It focuses mostly on the voice, the tone, the language, and the rhetoric of the letters, subjects that are interesting and relevant, but at times rather self-evident. No one will be surprised to hear that van Gogh did not use, in letters to his mother, the same tone that he used in letters to friends like Bernard and Paul Gauguin; nor is it unexpected that to different correspondents he wrote about different subjects. It is also rather natural that his letters became more thoughtful and personal as the artist matured.
In the section on "Strategies and rhetoric," a sub-section covers van Gogh's use of metaphor in the letters, but the examples given are all similes and not metaphors. Again, it sounds rather pedantic to remark on this, but if van Gogh's use of rhetoric is highlighted in the introduction, one would expect it to be done in a more serious manner. Two subsections under the heading, "The letters: from conventional to personal," deal specifically with van Gogh's allusions to art and literature.
Much of this material has been covered extensively in the van Gogh literature, though little or no mention of that literature is made in the notes, which refer almost exclusively to the letters. Sentences such as "The priceless data in the letters on all kinds of subjects form a network within which the significance of a letter or passage cannot be seen in isolation from the whole, while one has to oversee the whole in order to weigh the detail" don't make for easy reading.
Indeed, a careful editing job that would address the organization of the introductory essay as well as language mechanicals grammar, punctuation, use of tenses, etc. Fortunately, a web edition allows for changes; perhaps this is something the editors may consider for the future. In conclusion, the new web edition of the van Gogh letters exemplifies the enormous advantages of on-line publishing of art historical or, for that matter, literary or historical source material.
The search capability alone makes this form of publishing extremely valuable, but other features, discussed above, such as the presentation of multiple views and the possibility of limitless cross-referencing through hot links, also make this form of publishing more useful than paper publishing.
An added feature of this particular edition is the cross-referencing to on-line reproductions of works discussed in the text. As the Van Gogh Museum owns many of the letters and paintings by van Gogh to which the references are made, this was perhaps easier to do in this edition than it might be in the editions of letters of some other artists: the cost of the licensing agreements to reproduce the works could make such a richly illustrated web edition prohibitively expensive.
Of course, this may still be done in the future. And this brings me to another major advantage of on-line publishing, the possibility to constantly update the site.
New letters and new information may be added and corrections may be made as necessary.
This dynamic potential of on-line publishing is one that has not yet been fully exploited in academic circles, but is widely utilized on such sites as Wikipedia and other popular sites. The final and perhaps most important advantage of on-line publishing is the global availability to readers at no cost.
This means, of course, that some institution or institutions must underwrite them. Generally and here the paper edition of the van Gogh letters may be an exception , the small number of books that are sold do not produce nearly enough income to pay for research and production expenses. It is this reviewer's hope that the web edition of the van Gogh letters will inspire both scholars and funders to choose the on-line publishing route, which seems to benefit both the quality of the scholarly product and the accessibility by users.
The Van Gogh Museum must be congratulated for setting an excellent and path-breaking example! Petra ten-Doesschate Chu petra. Uitgegeven en toegelicht door zijn schoonzuster J.
The "Maatschappij voor goede and goedkoope lectuur" Society for Good and Inexpensive Literature was a progressive a publishing company founded by the Dutch writer Stijn Streuvels in The verse is from 2 Samuel Paul Cassirer first established a market for van Gogh, and then, with the assistance of Johanna van Gogh-Bonger , controlled market prices.
In Bruno Cassirer published a small volume of selected letters of Vincent's to Theo van Gogh, translated into German.
Of the letters Vincent received from Theo, only 39 survive. At that time Vincent was not yet developed as a letter writer — he was factual, but not introspective.
When he moved to London, and later to Paris, he began to add more personal information. In these letters, van Gogh wrote more about his techniques, his use of color, and his theories. Gauguin told him "that he read too much". Poet W. Auden wrote about the letters, "there is scarcely one letter by van Gogh which I In the letters Vincent reflects different facets of his personality and he adopts a tone specific to his circumstances.
At the time he went through a stage of religious fanaticism, his letters fully reflect his thoughts; at the time he was involved with Sien Hoornik his letters reflect his feelings.
He included in the letters sketches of common people such as miners and farmers for he believed the poor would inherit the earth. A sketch of the final perspective frame with adjustable legs he had had made in The Hague, Margaret Drabble describes the letters from Drenthe as "heart-breaking", as he struggled to come to terms with the "darkness of his hereditary subject matter", the bleak poverty and meanness of Dutch peasant life. This struggle culminated with his painting The Potato Eaters.
His friend and mentor Van Rappard disliked the painting.
Undeterred, van Gogh moved south, via Antwerp and Paris.Open Culture scours the web for the best educational media. It would have benefited from annotations reflecting recent van Gogh scholarship and theory, but nonetheless it remains a remarkable collection of documents, including Jo's well-known memoir and family history. In the web edition of van Gogh's letters, the page view of each letter is arranged in three columns. Simona Bondavalli.
The Letters of a Post-Impressionist by Vincent van Gogh
A Critical Study. Also in , the Willem Witsen Foundation in the Netherlands began the web edition of that artist's letters , which was launched in on the site of the Digital Library of the Netherlands dbnl.
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