By Nathalie Heinich, Paul Leduc Browne
A properly written, well-thought out complicated assessment of the lifestyles and paintings of Van Gogh. Written with a voice and tone of a purist this anthology delves into the social, theological and mental impact that this guy and his paintings had at the international of artwork and the area. liked so much via people with a robust vocabulary. worth it...
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Extra resources for The Glory of van Gogh
Carol Zemel has correctly stressed the role of “artistic prototype” conferred upon van Gogh by the ever more numerous demonstrations of interest in his career. 4 This cemented the bases of a “legend” that warrants analysis, in addition to historical and statistical description. The term “legend” is no metaphor in this context. The biographical celebration of van Gogh displays the main characteristics of the lives of saints, as compiled by Jacobus de Voragine in his Golden Legend. Quite 36 CHAPTER TWO TABLE 1 Distribution by Decade of the Publications Inventoried by Brooks Up to 1940 (N = 671) No Date 23 1890–1899 1900–1909 1910–1919 1920–1929 1930–1939 22 35 79 220 288 TABLE 2 Distribution by Type of the Publications Selected by Rewald Up to 1960 (N = 283) 1890–1899 1900–1909 1910–1919 1920–1929 1930–1939 1940–1949 1950–1959 Catalogues, Reproductions Stylistic Studies 1 6 3 12 16 15 14 4 4 4 2 18 7 25 Biographies, Memoirs, Medical Correspondence Studies, Novels 9 5 11 15 14 0 0 12 23 25 12 26 independently of the content of this celebration, some of its forms are canonical in hagiographical terms.
The only later innovation is a political interpretation of van Gogh’s position, in a 1905 article construing him as a kind of anarchist. )69 This set of topics circulated widely in the generation that followed, instituting van Gogh as a recognized master, integrated into the market and into art history. 70 This familiarity extended to the works as much as to the painter himself, since the inseparability of the work and the man (bound together within the same name, which denoted both his identity as a member of society and his identity as an artist) marks the works’ entry into the hermeneutical space and, correlatively, into posterity.
Aurier had already suggested something similar: “Despite the sometimes bewildering strangeness of his works, it is difficult, for those who would be impartial and know how to look, to deny or contest the naive truthfulness of his art, the artlessness of his vision. . ”68 Authentification (through the construction of authenticity) is thus the price the avant-garde critic must pay in order to accomplish his labor of interpretation (through entry into the hermeneutic space), without running the risk of being discredited, and without the singular artist running the risk of being despised.
The Glory of van Gogh by Nathalie Heinich, Paul Leduc Browne