Recent from talks
Copies by Vincent van Gogh
Knowledge base stats:
Talk channels stats:
Members stats:
Copies by Vincent van Gogh
Vincent van Gogh made many copies of other people's work between 1887 and early 1890, which can be considered appropriation art. While at Saint-Paul asylum in Saint-Rémy-de-Provence, France, where Van Gogh admitted himself, he strived to have subjects during the cold winter months. Seeking to be reinvigorated artistically, Van Gogh did more than 30 copies of works by some of his favorite artists. About twenty-one of the works were copies after, or inspired by, Jean-François Millet. Rather than replicate, Van Gogh sought to translate the subjects and composition through his perspective, color, and technique. Spiritual meaning and emotional comfort were expressed through symbolism and color. His brother Theo van Gogh would call the pieces in the series some of his best work.
During the winter months at Saint-Remy Van Gogh had a shortage of subjects for his work. Residing at Saint-Paul asylum, he did not have the freedom he enjoyed in the past, the weather was too cold to work outdoors and he did not have access to models for paintings. Van Gogh took up copying some of his favorite works of others, which became the primary source of his work during the winter months. The Pietà (after Delacroix) marks the start of a series of paintings that Van Gogh made after artists such as Jean-François Millet, Honoré Daumier and Rembrandt. Millet's work, who greatly influenced Van Gogh, figures prominently in this series. He wrote to Theo about these copies: "I started making them inadvertently and now find that I can learn from them and that they give me a kind of comfort. My brush then moves through my fingers like a bow over the strings of a violin – completely for my pleasure."
Several religious works, such as The Pietà, were included in the series, notable exceptions in his oeuvre. Saint-Paul asylum, housed in an old monastery, may have provided some of the inspiration for the specific subject. The nuns devoutness sometimes annoyed him, but he did find solace in religion. He wrote: "I am not indifferent, and pious thoughts often console me in my suffering."
Van Gogh Museum asserts that Van Gogh may have identified with Christ "who had also suffered and been misunderstood." They also offer the conjecture of some scholars of a resemblance between the Van Gogh and the red-bearded Christ in The Pietà and Lazarus in the copy after Rembrandt. However it is unknown whether or not this was Van Gogh's intention.
Émile Bernard, an artist and Catholic mystic, was a close personal friend to Van Gogh. Bernard influenced Van Gogh artistically several ways. Bernard outlined figures in black, replicating the look of religious woodcut images of the Middle Ages. This resulted in a flattened, more primitive work. Van Gogh's Crows over the Wheatfield is one example of how Bernard's simplified form influenced his work. Bernard also taught Van Gogh about how to manipulate perspective in his work. Just as Van Gogh used color to express emotion, he used distortion of perspective as a means of artistic expression and a vehicle to "modernize" his work.
As a demonstration of the sharing of artistic viewpoints, Van Gogh painted a copy in watercolor of a sketch made by Bernard of Breton woman. Van Gogh wrote to Bernard of a utopian ideal where artists worked cooperatively, focused on a common idea, to reach heights artistically "beyond the power of the isolated individual." As a means of clarification, he stated that did not mean that several painters would work on the same picture, but they will each create a work that "nonetheless belong together and complement each other." The Breton Women is one of many examples of how Van Gogh and one of his friend's brought their unique temperaments and skills to a single idea.
Van Gogh wrote to Bernard his trade of the Breton Women to Paul Gauguin: "Let me make it perfectly clear that I was looking forward to seeing the sort of things that are in that painting of yours which Gauguin has, those Breton women walking in a meadow so beautifully composed, the colour with such naive distinction." Gauguin made a work, Breton Peasant Women which was may have been inspired by Bernard's work of Breton women.
Van Gogh painted a work of the engraving Man at Sea made by Virginie Demont-Breton, daughter of Jules Breton. Her engraving was exhibited at the Salon of 1889. The picture depicts, almost entirely in shades of violet, a peaceful scene of a mother sitting by a fire with her baby on her lap.
Hub AI
Copies by Vincent van Gogh AI simulator
(@Copies by Vincent van Gogh_simulator)
Copies by Vincent van Gogh
Vincent van Gogh made many copies of other people's work between 1887 and early 1890, which can be considered appropriation art. While at Saint-Paul asylum in Saint-Rémy-de-Provence, France, where Van Gogh admitted himself, he strived to have subjects during the cold winter months. Seeking to be reinvigorated artistically, Van Gogh did more than 30 copies of works by some of his favorite artists. About twenty-one of the works were copies after, or inspired by, Jean-François Millet. Rather than replicate, Van Gogh sought to translate the subjects and composition through his perspective, color, and technique. Spiritual meaning and emotional comfort were expressed through symbolism and color. His brother Theo van Gogh would call the pieces in the series some of his best work.
During the winter months at Saint-Remy Van Gogh had a shortage of subjects for his work. Residing at Saint-Paul asylum, he did not have the freedom he enjoyed in the past, the weather was too cold to work outdoors and he did not have access to models for paintings. Van Gogh took up copying some of his favorite works of others, which became the primary source of his work during the winter months. The Pietà (after Delacroix) marks the start of a series of paintings that Van Gogh made after artists such as Jean-François Millet, Honoré Daumier and Rembrandt. Millet's work, who greatly influenced Van Gogh, figures prominently in this series. He wrote to Theo about these copies: "I started making them inadvertently and now find that I can learn from them and that they give me a kind of comfort. My brush then moves through my fingers like a bow over the strings of a violin – completely for my pleasure."
Several religious works, such as The Pietà, were included in the series, notable exceptions in his oeuvre. Saint-Paul asylum, housed in an old monastery, may have provided some of the inspiration for the specific subject. The nuns devoutness sometimes annoyed him, but he did find solace in religion. He wrote: "I am not indifferent, and pious thoughts often console me in my suffering."
Van Gogh Museum asserts that Van Gogh may have identified with Christ "who had also suffered and been misunderstood." They also offer the conjecture of some scholars of a resemblance between the Van Gogh and the red-bearded Christ in The Pietà and Lazarus in the copy after Rembrandt. However it is unknown whether or not this was Van Gogh's intention.
Émile Bernard, an artist and Catholic mystic, was a close personal friend to Van Gogh. Bernard influenced Van Gogh artistically several ways. Bernard outlined figures in black, replicating the look of religious woodcut images of the Middle Ages. This resulted in a flattened, more primitive work. Van Gogh's Crows over the Wheatfield is one example of how Bernard's simplified form influenced his work. Bernard also taught Van Gogh about how to manipulate perspective in his work. Just as Van Gogh used color to express emotion, he used distortion of perspective as a means of artistic expression and a vehicle to "modernize" his work.
As a demonstration of the sharing of artistic viewpoints, Van Gogh painted a copy in watercolor of a sketch made by Bernard of Breton woman. Van Gogh wrote to Bernard of a utopian ideal where artists worked cooperatively, focused on a common idea, to reach heights artistically "beyond the power of the isolated individual." As a means of clarification, he stated that did not mean that several painters would work on the same picture, but they will each create a work that "nonetheless belong together and complement each other." The Breton Women is one of many examples of how Van Gogh and one of his friend's brought their unique temperaments and skills to a single idea.
Van Gogh wrote to Bernard his trade of the Breton Women to Paul Gauguin: "Let me make it perfectly clear that I was looking forward to seeing the sort of things that are in that painting of yours which Gauguin has, those Breton women walking in a meadow so beautifully composed, the colour with such naive distinction." Gauguin made a work, Breton Peasant Women which was may have been inspired by Bernard's work of Breton women.
Van Gogh painted a work of the engraving Man at Sea made by Virginie Demont-Breton, daughter of Jules Breton. Her engraving was exhibited at the Salon of 1889. The picture depicts, almost entirely in shades of violet, a peaceful scene of a mother sitting by a fire with her baby on her lap.
Recent media