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Lust for Life. Irving Stone. Lust for Life(1). Lust for Life is biographical novel of Irving Stone. The dramatic life of Dutch Artist Vincent Van Gough is drawn by the author. This story is based on Van Gough ’ s three volume of letters to his brother Theo (1927-1930). Lust for Life(2).
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Lust for Life Irving Stone
Lust for Life(1) • Lust for Life is biographical novel of Irving Stone. The dramatic life of Dutch Artist Vincent Van Gough is drawn by the author. This story is based on Van Gough’s three volume of letters to his brother Theo (1927-1930).
Lust for Life(2) • The story begins with romanticism of Van Gough at London with Ursula. He was then twenty one and in love for the first time. He thought that time he would be fortunate if he could eat breakfast opposite Ursula for the rest of the days. But it had tragic end. Ursula replied “Do I marry every man that falls love with me. Van Gough got title Red Headed Fool.
Lust for Life(3) • Van Gough’s next destination was Borinage , a coal mining region , in the south of Belgium. Petit Wesmes was the miners’ village. It could boast of one brick building , the home of Jean Baptist Danis. It was the house Vincent made his way .
Lust for Life(4) • He started sketching in Borinage coal mines where he simply wanted to record his first impression but his anatomy was all wrong, his proportions were grotesque and his drawing was so outlandish as to be funny. He wanted to copy an old woman carrying hot water on a wintry street. But he could not manage it.
Lust for Life(5) • He started to enter the miners’s hut carrying drawing paper and crayon. He sketched the children playing in the floor. He sketched Marcasse with its tall chimney , the black fields , the pine wood across the ravine, the peasants ploughing around Paturages but his new hunger was desire to talk with artists. This period he lived for days on dry breads .He was desperate need of money . His younger brother was art dealer. He send his drawing to know why his drawings did not sell. He wanted know how he can make them salable.
Lust for Life (6) • He went back from figure to his another love color. In Neunan he he painted half ripe corn fields were off a golden tune, ruddy and gold bronze, raised to maximum effect by contrast to broken cobalt tune of the sky. • Lastly tragic episode of Rachael. He wanted Racheal as model but he had not five Franc. • Instead of five Franc Racheal asked for his ear.
Lust for Life (6) • Yes, Vincent Van Gough cut his ear with razor and presented it to Racheal. • Vincent painted the birds above yellow field of corn and titled it Crows above a corn field. • Last page dramatic exit of Van Gough .After getting telegram from Gaachet he caught the first tran for Pontoise,then dashed in a carriage to Auvers.
Lust for Life (7) • “I am open a tiny gallery of my own , Vincent and my first exhibition will be a one man show. The complete works of Vincent Van Gough..” • Vincent turned his head slightly and whispered “I wish I could die now Theo” • In a few minutes he closed his eyes.Rousseau, Pere Tanguy, Aurier and Emile Bernard .Six of the men worked putting up the paintings in the wall. Theo stood alone by the coffin. • End of a life that refused to bow the convention.
Vicent van Gogh The Painting Machine
And my aim in my life is to make pictures and drawings, as many and as well as I can; then, at the end of my life, I hope to pass away, looking back with love and tender regret, and thinking, ‘Oh, the pictures I might have made!’” --van Gogh
Van Gogh’s Growing Path The Netherlands(1880-1885) Arles(1888-1889) Auvers-sur-Oise(1890) Saing-Remy(1889-1890) Paris (1886-1888)
Theodorus van Gogh, a preacher in the Dutch Reformed Church, and Anna Cornelia Carbentus, daughter of a bookseller, marry in 1851. Their son Vincent Willem van Gogh, the second of six children, is born on March 30, 1853, in Zundert, a village in Brabant, in the south of the Netherlands. Four years later, in 1857, Vincent's favorite brother, Theodorus (Theo), is born. Vincent begins his education at the village school in 1861, and subsequently attends two boarding schools. He excels in languages, studying French, English, and German. In March 1868, in the middle of the academic year, he abruptly leaves school and returns to Zundert. He does not resume his formal education.
In July 1869, Vincent starts an apprenticeship at Goupil & Cie, international art dealers with headquarters in Paris. He works in the Hague at a branch gallery established by his uncle Vincent. From the Hague, in August 1872, Vincent begins writing regular letters to Theo. Their correspondence continues for almost 18 years. Theo accepts a position at Goupil's in January 1873, working in Brussels before transferring to the Hague in November of that year
Vincent moves to the London Goupil branch in June 1873. Daily contact with works of art kindles his appreciation of paintings and drawings. In the city's museums and galleries, he admires the realistic paintings of peasant life by Jean-François Millet and Jules Breton. Gradually Vincent loses interest in his work and turns to the Bible. He is transferred in 1874 to Goupil's Paris branch, where he remains for three months before returning to London. Vincent's performance at Goupil's continues to deteriorate. In May 1875 he is sent again to Paris. He attends art exhibitions at the Salon and the Louvre, and decorates his room with art prints by Hague School and Barbizon artists. In late March 1876 Vincent is dismissed from Goupil's. Driven by a growing desire to help his fellow man, he decides to become a clergyman.
Vincent returns to England in 1876 to teach at a boarding school. In July he is offered a position as a teacher and assistant preacher at Isleworth, near London. On a visit to his parents, Vincent is persuaded not to return to England. Determined to become a minister nonetheless, he moves to Amsterdam in 1877 and attempts to enroll in theology school. When he gives up his preparatory studies, Vincent briefly enters a missionary school near Brussels and in December 1878 leaves for the Borinage, a coal-mining district in southern Belgium, to work as a lay preacher. Vincent lives like a pauper among the miners, sleeping on the floor and giving away his belongings. His extreme commitment draws disfavor from the church and he is dismissed, although he continues to evangelize.
European Academic Art • European art academies offered formal training in the traditional techniques and subjects of historical, mythological, and religious painting. The principal academy in France, the Ecole des Beaux-Arts, admitted students only if they passed a rigorous entrance exam. Students practiced drawing the human figure from plaster casts before they advanced to live models. Lectures on history supplemented lessons in anatomy and perspective. Students did not actually paint at the academy; instead they joined a private studio where painting was taught. The most meaningful accomplishment, for both students and established artists, was acceptance to the Salon, the foremost venue for the exhibition of contemporary art. By the late 19th century, this juried show had grown to mammoth size, peaking at more than 7,000 works in 1880.
Realism • Realism in art is an attitude as much as a style. From the mid-19th century, Realist painters rebelled against the art academies and their old-fashioned themes, which seemed increasingly irrelevant in a world newly dominated by science and technology. The Realists reasoned that all meaningful knowledge came from what they could see and directly experience. Instead of depicting aristocrats and myths, they chose ordinary people and events as the subjects of their works. Gustave Courbet, the leader of the movement in art, expressed the Realists' point of view when he declared that he could not draw an angel because he had never seen one.
Impressionism • Like the Realists before them, the Impressionists chose subjects from daily life. Instead of peasants, however, they painted the leisured members of the Parisian middle class. The transitory effects of light and atmosphere were central to their depictions of boating parties, trips to the seaside, and the cafés and boulevards of Paris. Working quickly, often out-of-doors, the Impressionists used light colors and a flickering, broken brushstroke to express the immediacy of a scene. The major Impressionist figures were August Renoir, Claude Monet, Camille Pissarro, Alfred Sisley, Edgar Degas, Mary Cassatt, and Berthe Morisot. Critics initially reviled what they saw as their slipshod technique and unconventional subjects, but by the time Van Gogh first saw their paintings in 1886, the style was gaining acceptance.
This is a characteristic example of an Impressionist painting. Freely applying light, unmixed colors, Monet gave a rapidly executed impression of a quintessentially Dutch landscape of bulb fields and windmills. The painter was apparently delighted by the subject: during his stay in Holland in 1886 he painted - in under ten days - no fewer than five paintings of bulb fields.
Dance near the Mill of GaletteAuguste Renoir1876Impressionism
Wrestling with his desire to be useful, in 1880 Vincent decides he can become an artist and still be in God's service. He writes: "To try to understand the real significance of what the great artists, the serious masters, tell us in their masterpieces, that leads to God; one man wrote or told it in a book; another, in a picture."
Vincent spends several weeks in The Hague in late 1881 taking painting lessons from his cousin by marriage, Anton Mauve, a leading member of the Hague School. Mauve introduces him to watercolor and oil technique.
Neoimpressionism • The last Impressionist exhibition, held in 1886, witnessed the end of one artistic era and the beginning of another. The show included startling new paintings by Georges Seurat and Paul Signac, artists who would form the core of the Neoimpressionist movement. Seurat hoped to substitute a scientific basis for the intuitive color and casual brushwork of the Impressionists. He studied color theory and devised a systematic method of applying tiny dots of pure color to the canvas. These isolated bits of color were meant to blend in the viewer's eye to produce a coherent image. Called "pointillism" or "divisionism," this painstaking technique was much different from the spontaneous Impressionist approach. Van Gogh did not subscribe to Seurat's color theory-"I often think about his method, and yet I don't follow it at all"-but the Neoimpressionist style helped Vincent find his own distinctive brushstroke of streaks and dashes.
Postimpressionism • The late-19th-century artists known as the Postimpressionists did not share a set style or subject. They were a diverse lot, which included Cézanne, Seurat, Redon, Gauguin, and Van Gogh. Many of them had experimented with the techniques of Impressionism. But where the Impressionists saw fleeting light, the Postimpressionists looked for underlying structure or color harmonies. They gave birth to movements such as Pointillism, Fauvism, and Symbolism. Their experiments were the first step towards artworks that gave more importance to emotion than to objective reality. This is why they are considered the forerunners of modern art.
Entrance to the Harbor, HonfleurGeorge Seurat 1886 Post-Impressionism / Pointillism
Conversation in theMeadowsPaul Gaugain1888Post-Impressionism
The Green Christ /The Breton CrossingPaul Gaugain1889Post-Impressionism
In early 1887, Paul Gauguin spent a few months in Martinique. This island paradise, with its friendly inhabitants still living close to nature, was the inspiration for many colorful paintings. Although its thin brushstrokes appear to be a legacy of Impressionism, this work is more than a snatched impression of reality. Gauguin drew the imagery for his work from fantasy and his imagination. To convey a particular atmosphere or feeling, he frequently chose colors that diverged from the normal. His work was thus a reaction to Impressionism, whose cardinal principle was to reflect reality as it was visually perceived. For this reason Gauguin is counted as one of the so-called Postimpressionists.
Expressionism1905 - present • In the early years of the expressionism (before world war II), the artists built on the ideas of the Post-impressionism.
Expressionism (2) • In 1911, the term 'Expressionism' was used for art for the first time. In the beginning the term was used only for the German artists who painted art belonging to this movement from 1905 on. Later other artist were count to this movement as well.
Expressionism (3) • Characteristic for the Expressionism is the way in which the artist tried to express those feelings and interpretations. They did not create scenes reflecting their feelings and interpretations. They did reflect them by the use of forms and colors, often not having any relation to the visible reality at all.
Selfportret with a ModelErnst Kirchner1910Expressionism Die Brbcke
Analysis of the Text fierce / adj. intense, uncontrollably strong e.g. a fierce effort; a fierce loyalty fierce pride; fierce pain a fierce silence Gee, it was fierce of me! burn off / v. to destroy by fire; to clear up e.g. The farmers burnt off the fields. e.g. It will burn off before noon.
Analysis of the Text encase / vt. Surround or cover sth. with a case (often in passive) e.g. His broken leg was encased in plaster. e.g. His feet were encased in his best leather shoes. [Word Formation] Prefix en- en-+n. = v. enslave encourage en-+a. = v. enlarge enfeeble en-+v. = v. Enclose encamp
Analysis of the Text Cf. Suffix -en a.+-en = v. deepen sharpen n.+-en = v. lengthen heighten n.+-en = a. woolen ashen tell…from / v. recognize the difference, distinguish…from… e.g. tell one twin from the other e.g. tell natural silk from artificial ploughland / n. cultivated land, arable land about 120 acres of land which 8 heads of cattle plough yearly
Analysis of the Text in blossom / bearing blossom e.g. The apple trees are in blossom. vicious / adj. brutal; savage e.g. a vicious killer the most vicious system vicious letters vicious circle We were chained to a vicious circle of violence.
Analysis of the Text spring up / v. to appear or come into existence quickly e.g. Computer stores are springing up all over the place. e.g. A fresh wind had sprung up. at intervals / happening again and again e.g. at regular intervals e.g. at weekly intervals e.g. at monthly intervals e.g. at quarterly intervals e.g. at yearly intervals
Analysis of the Text in between / in the space or period of time separating two points e.g. The shadows and the spaces in between the trees were turning from grey to black. sparkle / v. glitter; shine e.g. The lawn outside was sparkling with frost. e.g. He is quite different at parties, and he really sparkles.
