This is the story of one of the world’ s most iconic images. Martin Bailey explains why Van Gogh painted a series of sunflower still lifes in Provence. He then explores the subsequent adventures of the seven pictures, and their influence on modern art. Through the Sunflowers, we gain fresh insights into Van Gogh’ s life and his path to fame. Based on original research, the book is packed with discoveries – throwing new light on the legendary artist.
Journal with Purpose is the ultimate reference for journaling, packed with over 1000 motifs that you can use to decorate and enhance your bullet or dot journal pages. Copy or trace direct from the page, or follow one of the quick exercises to improve your skills. Featuring all the journal elements you could wish for – banners, arrows, dividers, scrolls, icons, borders and alphabets – this amazing value book will be a constant source of inspiration for journaling and an 'instant fix' for people who find the more artistic side of journaling a challenge.
This resource provides a user-friendly process for creating a curriculum year overview that meets standards. Includes developed curriculum maps, blank templates, and more!
An art historian, a newspaperman, and an ad executive team up on this unique and esoteric study of the role that newspapers have played in the development of western art over the past 400 years. In addition to a trio of learned essays, the volume includes 210 outstanding reproductions of art works that include depictions of newspapers, mostly as incidental props, ranging from early etchings to genre paintings to trompe-l'oeil to Cubist papiers colles to commercial art. The authors culled their examples from more than 200 libraries, museums, and galleries worldwide, after sorting through roughly 80,000 works. Nevertheless, the preponderance of tangential examples makes all the more tenuous the authors' labored attempts to promote the appearance of newspapers in art as seminal icons and harbingers of artistic change. -- Amazon.com.
As a five year old I encountered a picture of a young man in a rakish hat and a yellow coat, on the wall of a large classroom. There was something instantly intriguing about the image, but it was also puzzling because it represented neither politician nor prince, the usual fare for Australian school decorations. I was eventually told that this was a reproduction of a painting, the artist was Vincent van Gogh, and that the subject was some young Frenchman. On special days we assembled in that room and during the next several years I found myself gazing beyond visiting speakers at the fellow in the yellow jacket. It was almost another fifty years before I felt properly conversant with the portrait and realized that van Gogh's subject, Armand Roulin, was seventeen at the time ofthe original painting and had died at seventy-four during my schoolboy contemplations. In the interim my enjoyment of the works of the Impressionists and Post Impressionists had grown and I occasionally ran into the name of Dr. Gachet, Vincent's last attending physician, in books and catalog essays. The doctor was my entree to the overlapping charms of medical and art histories. In 1987 I had the good fortune to participate as a biochemist in the centenary celebration of the Pasteur Institut in Paris.
Originally published as catalogue 100 of Antiquariaat FORUM in 10 issues between 1994-2002. With an extra issue with extensive indices. The print edition is available as a set of three volumes (9789061941392).
The general outlines of Vincent van Gogh’s life—the early difficulties in Holland and Paris, the revelatory impact of the move to Provence, the attacks of madness and despair that led to his suicide—are almost as familiar as his paintings. Yet neither the paintings nor Van Gogh’s story might have survived at all had it not been for his sister-in-law, the teacher, translator, and socialist Jo van Gogh-Bonger. Jo married the painter’s brother, Theo, in 1889, and over the next two years lived through the deaths of both Vincent and her new husband. Left with an infant son, she inherited little save a cache of several hundred paintings and an enormous archive of letters. Advised to consign these materials to an attic, she instead dedicated her life to making them known. Over the next three decades she tirelessly promoted Vincent’s art, organizing major exhibitions and compiling and editing the correspondence, the first edition of which included, as a preface, her account of Van Gogh’s life. This short biography, written from a vantage point of familial intimacy, affords a revealing and, at times, heartbreaking testimony to the painter’s perilous life. An introduction by the art critic and scholar Martin Gayford provides an insightful discussion of the author’s relationship with the Van Goghs, while abundant color illustrations throughout the book trace the development of the painter’s signature style.
