This 4 March 2015 video is by the Van Gogh museum in Amsterdam.
This video from Australia says about itself:
The Australian Lunar 2015 Year of the Goat silver bullion coin series is made by The Perth Mint from 99.9% pure silver.
On 19 February 2015, the Chinese Year of the Goat will start.
In the Netherlands, because of this, there is a special bicycle track, inspired by the painting Starry Night by Van Gogh.
This is regional TV video from Noord-Brabant province in the Netherlands. The first item is about the start of the Vincent van Gogh ‘Starry Night’ bicycle trail.
This video says about itself:
The unexpected math behind Van Gogh’s “Starry Night” – Natalya St. Clair
Physicist Werner Heisenberg said, “When I meet God, I am going to ask him two questions: why relativity? And why turbulence? I really believe he will have an answer for the first.” As difficult as turbulence is to understand mathematically, we can use art to depict the way it looks. Natalya St. Clair illustrates how Van Gogh captured this deep mystery of movement, fluid and light in his work.
Lesson by Natalya St. Clair, animation by Avi Ofer.
From daily The Guardian in Britain:
Poverty lines: where are the poor in art today?
Tuesday 30 December 2014 10.00 GMT
Art has a long history of entertaining the rich. From ancient artisans who made gold drinking cups for kings, to the artists of today who sell installations to plutocrats, art has been a luxury product, the servant of money. And yet it also has a social conscience. At this consumerist time of year, it is worth looking at some of the ways artists portray poverty.
This Italian video is about Caravaggio’s Madonna of Loreto.
Caravaggio never lets you forget the reality of Roman street life in the 17th century. His two pilgrims in The Madonna of Loreto look poverty stricken. The man’s feet are bare and dirty. Shoeless feet appear time and again in Caravaggio’s art, and from him this marker of poverty was adopted by other baroque artists. Even that great flatterer of the rich, Anthony van Dyck, imitated Caravaggio by showing unshod feet of the poor in Adoration of the Shepherds.
These shoeless feet in baroque art are a clue to the massive social contrasts of pre-modern Europe. It is only by looking at these paintings that we can see, as a stark, visible fact, the reality that the poor had no shoes in the Rome of Caravaggio’s day. Of course, there are plenty of places where people today go shoeless. The poverty Caravaggio depicts is no thing of the past; that is one of the reasons he remains so powerful.
But what drew artists to show the extreme polarities of wealth and poverty in their age? Were they revolutionaries? There were massive popular protests in Naples in the 1620s, at the height of baroque art. José de Ribera painted poverty in Naples with acute compassionate realism in this period. Is he a radical critic of the social order?
More often, artists, whose main work was religious art, were drawing attention to the paradoxes of the Christian message. Churches were full of fine art, yet Christianity praises poverty. When Velázquez portrayed a water-seller on the streets of Seville, he was showing Christian virtues of humility and patience.
And yet … it is truly astonishing, given that all their income came from the wealthy and powerful, how much detail of the lives of the poor painters have preserved.
The urban poor, shoeless and ragged, populate baroque art. In Pieter Bruegel the Elder’s painting The Harvesters, peasants enjoy lunch in the sun in a golden wheatfield. Maybe it’s an idyll, but this painting shows that you do not need to be a lord or lady to enjoy the sunshine. It’s free.
This video is called Van Gogh on The Potato Eaters.
Some 300 years later, Vincent van Gogh set out on a personal mission to the poor. The son of a pastor, he was torn between religious and artistic vocations. His most ambitious portrayal of poverty, The Potato Eaters, is a passionate attempt to put the lives of poor country people into art.
Van Gogh admired the social conscience of Charles Dickens and of British artists who depicted workhouses and the underside of Victorian life. These included Dickens’s friend Luke Fildes, whose painting Applicants to a Casual Ward portrays homelessness in 1870s London. Another stark image of British poverty by Luke Fildes is simply called Houseless and Hungry. One to remember at Christmas.
Van Gogh and his contemporaries were still motivated by the same ambiguous mix of Christianity, compassion and honest observation that had drawn artists to the realities of poverty back in Caravaggio’s day, but the world was changing fast. The poor were no longer passive objects of pity. Socialism was stirring.
This video from Italy is about Giuseppe Pellizza da Volpedo’s painting The Fourth Estate.
In Guiseppe [sic; Giuseppe] Pellizza da Volpedo’s painting The Fourth Estate, the rural poor march towards you, into history. It is the start of the 20th century: the painting dates from about 1901. The forward march of labour has begun.
So here we are in the 21st century. The forward march of labour ended some time ago. How do today’s artists portray poverty? Interesting question – for perhaps wealth has never been more raw and obvious in the art world. This is the age of the diamond skull. Compared with the compassion of a Caravaggio or Van Gogh, contemporary art really does seem to take the rich collector’s view on life.
Where’s our Luke Fildes? For images of economic injustice in today’s art you probably have to look outside the gallery world. Banksy’s Maid in London is the definitive image of inequality today. Perhaps it will be remembered when Hirst is forgotten, just as we have forgotten all the stuffy portraits of Victorian capitalists but crowd and queue to see The Potato Eaters.
Translated from NOS TV in the Netherlands:
Discovery of new Van Gogh
Monday Sep 9 2013, 10:53 (Update: 09-09-13, 13:31)
The museum speaks of a rare discovery. According to the museum this is a pivotal piece of work and a highlight in his oeuvre. In the same period he painted also work like Sunflowers, The Yellow House and The bedroom.
The canvas is owned by a private individual. It is not clear whether he knew that this was a canvas by Van Gogh. There has been much research on the relatively large painting, 93.3 by 73.3 centimeter.
“Everything we found pointed out that this work was by Van Gogh. Stylistically and technically, there are numerous parallels with other Van Gogh paintings from the summer of 1888. Literature and archival research also helped us to find out about the earliest history of the painting. It was part of the collection of Theo van Gogh in 1890 and was sold in 1901,” the researchers say.
The location on the painting was recognized by the researchers. The scenery is not far from Arles near the Montmajour hill with the ruin of its eponymous abbey. There are two letters from the artist from the summer of 1888 which refer literally to the painting.
Van Gogh wrote in the letters that the work was a failure. This can be explained because the painting, besides strong and distinct features of Van Gogh also has weak and less convincing parts.
The work will be in a year-long exhibition at the Van Gogh Museum, starting 24 September. The museum has the canvas on loan from the owner. Whoever that is was not disclosed.
- Van Gogh Painting Discovered, Amsterdam Museum Reports (bloomberg.com)
- A Newly Discovered ‘Failure’ by Vincent Van Gogh (theatlanticwire.com)
- New Van Gogh painting discovered (theguardian.com)
- Long-Lost Van Gogh Found in Attic – ABC News (abcnews.go.com)
- Van Gogh Museum: new Van Gogh identified (kvue.com)
- ‘New’ Van Gogh Painting Identified; Was In A Norwegian Attic (wnyc.org)
- Van Gogh Museum: new Van Gogh identified (thenewstribune.com)
- Vincent Van Gogh painting discovered in attic unveiled in Amsterdam (telegraph.co.uk)
- New Van Gogh painting identified (bbc.co.uk)
- Museum unveils newly discovered Van Gogh painting (o.canada.com)
This video, recorded in the Netherlands, says about itself:
April 29, 2013
The anniversary exhibition ‘Van Gogh at work’ shows many of Vincent van Gogh’s outstanding works to mark the conclusion of eight years research into the artist’s methods.
Van Gogh museum on target for May re-opening with jubilee show
Tuesday 02 April 2013
Work on refurbishing the Van Gogh museum in Amsterdam has now been completed and the building is now being fitted out for the jubilee exhibition Van Gogh at Work, which will open on May 1, 2013, the museum authorities said on Tuesday.
The new show commemorates 160 years since the painter’s birth and marks the conclusion of seven years of research into Van Gogh‘s methods.
‘Against all expectations, we were even able to seize the opportunity to refurbish the floors, walls and ceilings so the building looks fresh again,’ said the museum’s new managing director Adriaan Dönszelmann.
The project involved installing a modern and sustainable air conditioning installation that allows the right climatic conditions to be set per room. A 160-metre-deep well was dug under the museum for heat and cold storage, collecting warmth in the summer and releasing it to heat the building in winter.
The roof has also been completely replaced and given extra insulation. In total, 2,300 m² of parquet flooring was renewed, 4,300 m² of ceiling replaced and 11,000 m² of walls painted, the museum said in a statement.
The newly refurbished Rijksmuseum is due to reopen later this month after a 10-year closure.
See also here.
- At last after 10 years (carmelavzabala.wordpress.com)
- News – Van Gogh Exhibition at Tefaf (art-antiques-design.com)
- Holidays in Amsterdam: 10 great reasons to visit Holland’s legendary city (dailymail.co.uk)
- Van Gogh: Skull with burning Cigarette (gatsiesheikar.wordpress.com)
- Amsterdam’s must-sees (bratpacker.wordpress.com)
- Detroit art museum to display van Gogh painting (newsday.com)
- A 1:30 a.m. line… for Van Gogh (csmonitor.com)
Translated from Dutch conservation organization Natuurmonumenten, about their nature reserve Oude Buisse Heide:
Sixty years after the death of Henriette Roland Holst, ‘The Netherlands’ greatest poetess’, the Vincent van Gogh House and Natuurmonumenten are organizing in 2012 a special Roland Holst Year.
During walking, cycling and other activities, we will take you to the stories and poems of the special couple Roland Holst. A unique look at the rich cultural history of the area!
The year is almost over now.
After Vincent van Gogh died penniless, Henriette’s husband, visual artist Richard Roland Holst, was one of the first promoters of Van Gogh’s art. Richard’s studio is still at the Oude Buisse Heide. Margaret Staal-Kropholler, the first female architect in the Netherlands, designed it in 1918.
When Richard died, Henriette Roland Holst inherited the Oude Buisse Heide. An ardent conservationist, her will made Natuurmonumenten the heirs of this nature reserve.
- App about Naardermeer nature reserve (dearkitty1.wordpress.com)
- Flemish and Dutch poetry event (dearkitty1.wordpress.com)
- New grass species in the Netherlands (dearkitty1.wordpress.com)
- van gogh, quickly (Wheat Field with Cypresses) (artstuckinmyeye.wordpress.com)
- Van Gogh dazzles at Netherlands’ Kroeller-Mueller (mysanantonio.com)
- Vincent van Gogh (fourplaycollective.wordpress.com)
- Vincent Van Gogh Quiz (go4quiz.com)
This video from the Netherlands is called Summer in The Hague – Isaac Israëls (1865-1934). The part about Israëls starts after about three minutes.
Yesterday, 4 September 2012, I went to an exhibition in The Hague, of works of painter Isaac Israëls.
There are several parallels in the life of this well-known painter with the life of his contemporary, the now even better known painter Vincent van Gogh.
Both, when they started painting, were influenced by the The Hague School. In the 1860s-1880s, this was an innovative movement in Dutch art, influenced by the French Barbizon artists.
Here, we see also a difference between Isaac Israëls and Van Gogh: Israëls had an easier start as an artist. His father, Jozef Israëls, active in the The Hague School movement, was “the most respected Dutch artist of the second half of the nineteenth century”. Van Gogh’s father was not that artistic.
When Isaac was only 16, he sold his first painting, even before it was finished, to The Hague School artist and collector Hendrik Willem Mesdag. Van Gogh sold a painting to a colleague as well. However, that woman painter Anna Boch was not as well off as Mesdag, so presumably she paid a lot less.
And for Van Gogh, very differently from Isaac Israëls, that was the only painting he ever sold during his life. After the deaths of the artists, a lot changed in this.
This drawing by Israëls, “Woman with a headscarf” (I hope that people like Breivik or Wilders will never get to know about the drawing, else they would destroy this art work :) ) sold for £5,400 in 2011.
Now, some Isaac Israëls paintings sell for about $500.000. A lot; but much less than Van Gogh’s works fetch today, now that not the painter himself, but speculators profit from them.
Similarly to Van Gogh, Isaac Israëls traveled to England and France. And also to the Borinage mining region in Belgium, to get to know the miners’ lives.
Though both Israëls and Van Gogh had started in the The Hague School sphere, they both developed beyond that. Israëls was influenced by the 1880s Dutch literary avant-garde. And by the French impressionist painters.
These impressionists were also an influence on Van Gogh. Van Gogh is said to have gone further than them, starting “post-impressionism”.
The present Israëls exhibition is at four different museums and at the local archive in The Hague; each part of the exhibition specializes in one side of the artist’s work. I went to one of the five exhibition sites: Panorama Mesdag. The theme there is: Israëls’ depiction of women in his paintings, drawings, and watercolours.
An interesting part of Israëls depicting women is that he made a portrait of Dr Aletta Jacobs, probably the best known early twentieth century Dutch feminist. Unfortunately, that portrait was not at the Panorama Mesdag. Both Israëls and Jacobs were from Jewish families, originally from Groningen province in the north-eastern Netherlands. This may have made for a bond between painter and subject.
Women were a favourite subject for Israëls. The liking was mutual: he was even admitted in actresses’ dressing rooms and fashion houses’ fitting rooms. He also often depicted women on or around beaches, Scheveningen beach in the Hague, or beaches in Italy or elsewhere.
The exhibition will continue until 23 September.