Not familiar with this Van Gogh

Walter Hinteler
Reply Thu 16 Sep, 2021 11:41 am
A previously unseen Vincent van Gogh drawing of an exhausted old man has been discovered, sitting in a Dutch family's private collection for more than a century.
"Study for Worn Out" (Studie voor Worn Out) was drawn early in the artist's career in 1882, the Van Gogh Museum said on Thursday.

But today, it went on display at the Amsterdam Van Gogh Museum for the first time.
The Van Gogh Museum in Amsterdam has established that a study for the drawing Worn out (1882) was actually made by the artist. According to the museum's director Emilie Gordenker, it is rare that new work is attributed to Van Gogh.

During the period that he worked on the drawing, Van Gogh lived in The Hague, where he was taught by the painter Anton Mauve. The study is a preparation for the drawing of an exhausted man sitting on a chair with his head in his hands.

Vincent van Gogh, 'Study 'Worn out'', circa 24 November 1882. Timmermans pencil on watercolour paper, 48.8 x approx. 30 cm.

The man who modelled it often appears in the oeuvre of Van Gogh, who drew it more than forty times. It was one of the residents of the Dutch Reformed Old Men's and Women's Home, who regularly posed for him for a few quarters. "What beauty is there in such an old workman in his patched bombastic suit and bald head", Van Gogh wrote in his letters.

He wrote several times to his brother Theo and his friend Anthon van Rappard about Worn Out. "You remember the drawing Worn out," he wrote to Van Rappard in November 1882. "I have redone that one these days, three times with two models, and will lash more on it."

The museum calls the study "a special insight into the working process". With drawings like these, Van Gogh showed his commitment to the socially disadvantaged. The study came to the museum because the owner (who wishes to remain anonymous) asked for a definitive answer as to whether it can really be attributed to Van Gogh.

The working method is consistent with many figure studies known from Van Gogh's 'The Hague period': a quick set up, worked out in his characteristic expressive style, with energetic scratches and strokes.

Furthermore, the work is made with material that he often used: drawn with thick carpenter's pencil on coarse watercolour paper, which is damaged at the corners on the back because the painter attached it to his drawing board with starch.

The study is on display in the Van Gogh Museum, together with the final drawing Worn out and other works by Van Gogh from the same period.

(Sources photo van Gogh Museum; text own translation from various Dutch media)

van Gogh museum: Discovery: new work by Vincent van Gogh
Walter Hinteler
Reply Thu 7 Oct, 2021 05:05 am
@Walter Hinteler,
Unseen Van Gogh sketches that rework scorned masterpiece to go on display
Preparatory work for ‘redoing’ of The Potato Eaters – savaged in his lifetime – to feature in exhibition

A collection of Vincent van Gogh’s preparatory drawings sketched ahead of a planned “redoing” of The Potato Eaters, a masterpiece brutally slated by buyers, friends and family at the time of its painting, are being exhibited for what is believed to be first time.

The Dutch artist considered his depiction of a peasant family from the village of Nuenen in Brabant eating a meal of potatoes as one of only four of his works that could be regarded as important, alongside The Bedroom, Sunflowers and Augustine Roulin (La berceuse).

But for all Van Gogh’s strenuous and unusually academic efforts, chronicled by more than 50 related letters, sketches, drawings and paintings on display at the Van Gogh Museum in Amsterdam from Friday, The Potato Eaters met almost uniform disapproval when it was completed in 1885, even among his closest friends, including fellow painter Anthon van Rappard, who cruelly picked apart the portrayal in a letter to the artist.

Five years later, after persistent mental health problems – culminating in the slicing off of his ear in December 1888 – had led him to his voluntary admission to an asylum in Saint-Rémy-de-Provence, Van Gogh asked his mother and brother Theo to send him drawings of farmers from Nuenen as inspiration for a new version.

“I’m thinking of redoing the painting of the peasants eating supper, lamplight effect,” he wrote. “That canvas must be completely dark now, perhaps I could redo it entirely from memory.”

Van Gogh did not carry out his plans before he killed himself on 29 July 1890, but little-seen preparatory drawings he sketched earlier that year will be on show as part of a new exhibition, The Potato Eaters: Mistake or Masterpiece?

Bregje Gerritse, the curator of the exhibition, said: “In 1890, he is in Saint-Rémy, he is longing for the north as he has not been home for five years. He comes back to The Potato Eaters figures and starts drawings of interiors and figures at the dinner table and some of these are drawings that have not been on display for such a long time that our records even suggest they were never shown.”

Van Gogh struggled with group compositions, of which Van Rappard was a seasoned master, making his friend’s criticism all the more cutting. Van Rappard’s letter mocked Van Gogh for painting one male figure without “half of his nose”, a “knee or a belly or lungs”, and with an arm “a metre too short”.

“You can do better than this – fortunately; but why, then, observe and treat everything so superficially?” he wrote. “Why not study the movements? Such work was surely not intended seriously? And with such a manner of working you dare to invoke the names of Millet and Breton? Come on! Art is too important, it seems to me, to be treated so cavalierly.”

Van Gogh was appalled by the letter, with its withering comparisons to contemporaneous artists he admired, Jules Breton and Jean-François Millet. He sent it back with a short covering note, in effect ending their friendship.

Van Gogh later wrote to Theo: “What I’m trying to get with it is to be able to draw not a hand but the gesture, not a mathematically correct head but the overall expression. The sniffing of the wind when a digger looks up, say, or speaking. Life, in short.”

Gerritse said Van Gogh hoped to break into the Parisian art market with the painting and while that had “failed terribly”, the painter persisted in believing he had caught something of the peasant life he idealised.

She said: “I think many people view him as impulsive and intuitive but this work is very different. Ambitious with a clear concept in mind of depicting the real, honest, poor peasant life.

“I really like that Van Gogh stands behind his own work. He says there is a certain life in it, writing that while, of course, there are technical mistakes but that technical perfection isn’t what he is after; it is the impression that it conveys about peasant life that is much more important and that he is sure people will forgive him for that.”

The Potato Eaters never featured in an exhibition and ended up unsold hanging above the fireplace in Theo’s apartment in Paris.

“In 1887 he writes to his sister that he still considered this work to be one of the best he ever made,” said Gerritse. “By then he has been living in Paris for a year, he has completely changed his style, using bold colours, brighter palettes, but he still very much believed in this very dark, very different work, because of the meaning it had for him.”

Walter Hinteler
Reply Sat 16 Oct, 2021 07:18 am
@Walter Hinteler,
Vincent van Gogh's watercolour "Haystack" was thought to have been lost since 1945. Now it has reappeared: Christie's auction house could achieve a record price for it.

Photo: Christie's via Die Zeit

Van Gogh Watercolor, Once Seized by Nazis, to be Sold at Auction
A watercolor by Vincent van Gogh, seized by the Nazis during World War II and not publicly exhibited since 1905, is to be sold at auction next month in New York, where experts at Christie’s estimate it could sell for between $20 and $30 million.

The proceeds of the sale of the work, “Meules de Blé” (“Wheatstacks”), created by van Gogh in 1888, will be divided between the current owner — the family of Edwin Cox, a Texan oil businessman — and the heirs of two Jewish families whose predecessors owned the work during World War II.

In a statement, Giovanna Bertazzoni, Christie’s vice chairman of 20th and 21st century art, called the image of a French farmyard a “tour de force of exceptional quality.” The auction house said it could set a new world auction record for a work on paper by van Gogh. (The highest previous price was about $14.7 million for “La Moisson en Provence” in 1997.)

The watercolor was once owned by Max Meirowsky, a Berlin-based manufacturer, who purchased it in 1913.

But when the Nazis seized power in Germany, Meirowsky, who was Jewish, fled the country in 1938, ultimately entrusting “Meules de Blé” to Paul Graupe, a German Jewish art dealer who was working in Paris.

The pastoral piece was then purchased from the dealer in Paris by Alexandrine de Rothschild, part of a Jewish family of bankers. When the Second World War began, de Rothschild fled to Switzerland. The watercolor was confiscated by the Nazis after the German invasion of France.

It was taken to the Jeu de Paume museum, then a Nazi sorting house for looted art, in 1941. Later, it was sent to the Schloss Kogl castle in Austria, which was at the time annexed into Germany.

The artwork’s path after the war remains unclear, but by 1978, it was in the gallery of Wildenstein & Co. in New York, which sold it the following year to Cox.

The Christie’s statement did not address the basis of the competing claims on the piece by the heirs of Meirowsky and de Rothschild. But the Art Newspaper, which first reported that the van Gogh would be part of Christie’s sale of works from the Cox collection on Nov. 11, said the Meirowsky heirs have said the work was a “forced sale” in 1938.

In its sale materials, Christie’s notes that the work is being sold pursuant to an agreement between the current owner and the Meirowsky and de Rothschild heirs.
Walter Hinteler
Reply Tue 2 Nov, 2021 01:23 pm
@Walter Hinteler,
Museum displaying entire Boijmans collection to open in world first
It is being described as the “museum of the future”, with institutions across the world including London’s V&A set to follow the path pioneered by Rotterdam’s Boijmans Van Beuningen.

From Saturday, in what is a world first, the King of the Netherlands, Willem-Alexander, will open the Depot, a bowl-shaped warehouse next to the Boijmans museum’s original 1930s building in which all 151,000 items in its revered collection, from the Van Goghs to its Magrittes and Dalís, will be on permanent display to the public.
... ... ...

Depot Boijmans Van Beuningen

Works by van Gogh on show in the museum and more tha a dozen (!) in the depot >HERE<
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Walter Hinteler
Reply Fri 12 Nov, 2021 06:30 am
@Walter Hinteler,
That painting Meules de blé)fetched a record amount of $35.85 million (31.35 million euros) at an auction in New York on Thursday.

Auction house Christie's reported that the work yielded twice as much as La Moisson En Provence, the previous record for a Van Gogh work, which sold for almost 15 million dollars in 1997. The sale also exceeded all the experts' expectations, who thought the painting could fetch 25 million euros.
Walter Hinteler
Reply Fri 28 Jan, 2022 10:09 am
@Walter Hinteler,
The Dutch genius’s self-portraits go on display in London.

>The Morgan Stanley Exhibition: Van Gogh. Self-Portraits<
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Walter Hinteler
Reply Sat 5 Feb, 2022 12:20 am
This weekend is the start of the special exhibition RENOIR, MONET, GAUGUIN - Images of a Floating World on the occasion of its 100th anniversary of the Folkwang Museum in Essen, Germany.

Le parc de l'hôpital, à Saint-Rémy (1889) b< van Gogh (acquired 1905 for the Museum Folkwang, Hagen, since 1922 Essen) is, of course, shown as well.

From May 1889, van Gogh stayed at the Saint-Remy-de-Provence hospital near Arles at his own request. In July he suffered another epileptic seizure while working outdoors. Only towards the end of the month was he allowed to resume painting. At the beginning of October of the same year, he went out again to make some sketches in the surroundings of the hospital. In November 1889, he completed two versions of the garden of the Saint-Remy hospital. Van Gogh described the Essen painting in a letter to Émile Bernard (20 November 1889): "A view of the park belonging to the mental hospital where I am: on the right a grey terrace, a bit of the house. Some rose bushes that have blossomed off, on the left the park grounds - red ochre - a terrain scorched by the sun, covered with fallen spruce needles. This edge of the park is planted with tall pines, the trunks and branches ochre, the green darkened by an admixture of black. These tall trees stand out against an evening sky whose yellow ground is criss-crossed with purple streaks; higher up, the yellow changes to pink, then to green. A wall - also red ochre - blocks the view and is only surmounted at one point by a purple and ochre yellow hill. The first tree is a huge trunk, but struck by lightning and sawed off; a lateral branch, however, still looms high, dropping a flood of dark green needles. This gloomy giant - like a proud conqueror - when looked at like a living thing, contrasts with the pale smile of a late rose on the bushes withering away opposite it. Under the pines, empty stone benches and dark boxwood, the sky reflected - yellow - in a puddle after a downpour. A ray of sunlight, the last reflection, heightens the dark ochre to glowing orange. Small black figures roam here and there between the trunks. You can imagine that this combination of red ochre, of green darkened by grey, of black strokes drawing the contours, evokes a little of that feeling of anxiety called 'seeing red' from which some of my unfortunates often suffer. And the motif of the great tree struck by lightning, the sickly pink-green smile of that last autumn blossom, reinforces this impression." (Text translated from the museum's online collection's webpage)
Walter Hinteler
Reply Sat 5 Feb, 2022 11:38 am
@Walter Hinteler,
The first painting acquired by a German museum from Vincent van Gogh was the "Portrait of Armand Roulin".Karl Ernst Osthaus bought it for the Museum Folkwang in 1903.


The sitter is the 17-year-old Armand Joseph Desire Roulin (1871-1945), the eldest son of the postmaster Joseph Roulin. Van Gogh had befriended his neighbour in Arles in the summer of 1888. In deep affection, the artist painted several portraits of Joseph Roulin and his family. Armand Roulin sat for Van Gogh for two portraits that are very similar in format and execution; the Essen painting is the second version. It shows the young man dressed in a yellow jacket en face against a background of Veronese green. Van Gogh probably painted the carefully composed study shortly after the first version in December 1888. Apparently this portrait was preferred by the sitter and his family.
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