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Europe 1800 - 1900
Course: Europe 1800 - 1900 > Unit 5
Lesson 4: Post-Impressionism- Introduction to Neo-Impressionism, Part I
- Introduction to Neo-Impressionism, Part II
- Neo-Impressionist Color Theory
- Seurat, Bathers at Asnières
- Seurat, A Sunday on La Grande Jatte
- Seurat, “A Sunday Afternoon on the Island of La Grande Jatte – 1884”
- Van Gogh, Self-Portrait Dedicated to Paul Gauguin
- Think you know van Gogh? The Potato Eaters
- Van Gogh, Self-Portrait with Bandaged Ear
- Van Gogh, The Bedroom
- Van Gogh's Irises: Getty Conversations
- Van Gogh, The Starry Night
- Van Gogh, The Starry Night
- The Pont-Aven School and Synthetism
- Paul Gauguin, Self-Portrait with Portrait of Émile Bernard (Les misérables)
- Paul Gauguin, Vision after the Sermon, or Jacob Wrestling with the Angel
- Gauguin, Nevermore
- Gauguin, The Red Cow
- Gauguin, Spirit of the Dead Watching
- Gauguin, Oviri
- Gauguin, Where do we come from? What are we? Where are we going?
- Gauguin and Laval in Martinique
- An introduction to the painting of Paul Cézanne
- Why Is This Woman in the Jungle?
- Cézanne, The Bather
- Cézanne, The Basket of Apples
- Cézanne, Still Life with Plaster Cupid
- Cézanne, Still Life with Plaster Cupid
- Cézanne, The Red Rock
- Cézanne, Still Life with Apples
- Cézanne, Turning Road at Montgeroult
- Cézanne, Mont Sainte-Victoire
- Cézanne, Mont Sainte-Victoire
- Cezanne, Card Players
- Cézanne, Bathers
- Cezanne, The Large Bathers
- Toulouse-Lautrec, At the Moulin Rouge
- Post-Impressionism
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Van Gogh, Self-Portrait Dedicated to Paul Gauguin
Vincent van Gogh, Self-Portrait Dedicated to Paul Gauguin, 1888, oil on canvas, 24 x 19-11/16 inches (Fogg, Harvard Art Museums) Speakers: Dr. Beth Harris and Dr. Steven Zucker. This self portrait was painted for Paul Gauguin as part of swap between the artists. Van Gogh chose to represent himself with monastic severity. The other painting is Paul Gauguin's Self-Portrait Dedicated to Vincent van Gogh (Les Misérables). Gauguin's title is a reference to the heroic fugitive, Jean Valjean, in Victor Hugo's novel Les Misérables. Created by Beth Harris and Steven Zucker.
Want to join the conversation?
- I think it's wonderful that Van Gogh can make a painting feel both cheerful to look at yet sad in mood simultaneously. Do you think this has more to do with the brushwork or the colors he uses?(5 votes)
- it is the colours that offer the "cheery" feeling you speak about and the heavy brushstrokes - almost savage - that make us worry about the health of the subject(4 votes)
- Why was this dedicated to Paul Gauguin?(2 votes)
- It was part Van Gogh's wanting to create a brotherhood of artists and Gaugini was one of his friends at the time, you should read about their friendship on wikipedia, just look up Gogh or Gaugini.(8 votes)
- Atdid Beth say,"...something that Cezanne was also thinking about?" 1:10(4 votes)
- That is what it sounded like but if you turn on the captions it says "descends also was thinking about creating...". So you are probably right and the captions are just off.(3 votes)
- Did Van Gogh produce any other art besides paintings?(2 votes)
- He also did a lot of drawings https://www.google.de/search?q=van+gogh+drawings(4 votes)
- it shows he's sad the texure changes it by showing deatial he achived it by making a shade of tan(2 votes)
- Did he do that with a paint brush or oil pastal(1 vote)
- how many copies there are of Van Gogh, Self-Portrait Dedicated to Paul Gauguin(1 vote)
- they both were made in a more modern way than what self portraits looked at their time.(1 vote)
- Who is Vincent VanGohg?(0 votes)
- He was a dutch impressionist painter who was influenced by 20th century art.(3 votes)
Video transcript
[MUSIC PLAYING] SPEAKER 1: We're
looking at a painting in the Fogg's collection. It's a very famous self-portrait
by Vincent van Gogh-- (DUTCH ACCENT) Vincent van Gogh--
and it's one of the toughest self-portraits I
think I've ever seen. SPEAKER 2: Tough in
terms of the color? Tough in terms of
all that van Gogh is achieving at this
moment in the late 1880s? SPEAKER 1: This
is a painting that feels incredibly modern to me. A willingness to
take risks that is-- SPEAKER 2: It's
amazing in that way. SPEAKER 1: --that are
breathtaking, really. SPEAKER 2: This is a color that
no artist ever used before. And an entire background
painted like that? What nerve he had to
take such radical steps. SPEAKER 1: So, my
eye immediately goes to the structure
of the painting, the way in which he's created
the architecture of the face. His use of line. I look at the way in
which the brush strokes wrap around and sort of
cascade around the eye and down the nose. And it's almost like
a river of paint as it flows across that face
and begins to define it. But then it's not just
brush work at all. It's the ways in which structure
is actually built by color-- SPEAKER 2: Yeah, which
I think was something that Cezanne was
also thinking about. Creating volume with color
instead of in the usual way, with chiaroscuro. But that the pinks and the
purples that are in his temple, and the way those modulate
over to greens is like nothing I've ever seen. SPEAKER 1: So he's treating
the structure of his face, of his head, of his
skull very much as if it was a kind
of plastic medium. He writes about this portrait,
that he has created eyes almost as if he was Japanese,
a reference to his love of East Asian painting. But this was a painting
that was destined as a gift to Gauguin, as part
of an exchange-- SPEAKER 2: Right. With this sort of Utopian idea
of a brotherhood of artists that was so important to him. SPEAKER 1: And of
course, Gauguin also would have been very
interested in East Asian art. This way that he's rendered
the hair on his head, plastered down. And it's a really strong
contrast, visually. The way in which the coat feels
heavy and rough and oversized. And then there's the
very tight quality-- SPEAKER 2: To skin. SPEAKER 1: To his skin, yeah. SPEAKER 2: Well, what
I was noticing that too and what it was reminding
me of was a skull. The sense of the bones
underneath his flesh and almost a kind of memento mori. Look at the browns
and the blues, rust colors in his jacket, and-- SPEAKER 1: This green. This sea of acid light
that surrounds him. SPEAKER 2: He is just
an amazing colorist. [MUSIC PLAYING]