Van Gogh et les tournesols

Dans les estampes japonaises, qui l'émerveillaient et l'enchantaient, Van Gogh retrouvait une part de ses idéaux.

Résumé : Durant ses années parisiennes, Vincent van Gogh découvre les gravures sur bois japonaises en couleurs (ukiyo-e). Cette rencontre va s'avérer décisive pour sa pratique artistique. Il achète avec enthousiasme des centaines d'estampes et ne tarde pas à tomber sous le charme de leur langage visuel et de leur style coloré et joyeux. Lentement mais sûrement, ce monde enchanté devient son principal point de référence artistique, à un point tel qu'il se présente désormais comme un artiste de tradition japonaise afin de se faire un nom dans l'avant-garde de son temps. Cet ouvrage s'attache à établir dans ses moindres détails l'influence exercée par la gravure japonaise sur l'oeuvre de Van Gogh.

De quoi Van Gogh souffrait-il exactement et comment sa maladie a-t-elle influencé son oeuvre ? Dans l'exposition et l'ouvrage qui l'accompagne, le Musée Van Gogh étudie les manifestations de la maladie de Van Gogh de sa jeunesse à sa mort, la manière dont il l'a gérée, les réactions de son entourage et les répercussions de sa condition mentale dans ses tableaux et ses dessins. Le premier livre d'art exclusivement consacré à la maladie de Van Gogh.

This important publication accompanies the first ever exhibition devoted to Vincent van Gogh's self-portraits across his entire career. The exhibition at the Courtauld Gallery and accompanying catalogue feature world-famous and lesser known works from the great artist. The myth of Van Gogh today is linked as much to his extraordinary life as it is to his stunning paintings. His biography has often shaped the way that his self-portraits have been (mis)understood. Van Gogh. Self-Portraits reconsiders this aspect of his production and places the artist's self-representation in context to reveal the role it plays in his oeuvre. It also explores the power and profound emotion of these highly personal paintings. Van Gogh. Self-Portraits is the first time this theme has been exclusively addressed. Self-portraits painted during Van Gogh's time in Paris (February 1886 - February 1888) have been the subject of two exhibitions (in 1960 at Marlborough Fine Arts in London and in 1995 at the Kunsthalle in Hamburg) but never has the full chronological range been explored. The exhibition at The Courtauld Gallery features paintings from both the Parisian and Provençal periods. It brings together half of Van Gogh's thirty-five known self-portraits to examine the ways the artist approached this particular subject-matter. On a practical level, painting himself provided Van Gogh with the cheapest and most patient of models and represented an important conduit for stylistic experimentation. He also used self-portraiture as an homage to his illustrious Dutch predecessor Rembrandt, as well as a way of fashioning his own identity and presenting himself to the outside world. Of particular interest is the striking way the evolution of Van Gogh's self-representation over the short years of his artistic activity can be seen as a microcosm of his development as a painter. In addition to the world-famous Self-Portrait with Bandaged Ear in The Courtauld's collection, the exhibition showcases a group of major masterpieces brought together from international collections, including the Van Gogh Museum in Amsterdam, the Musée d'Orsay in Paris, the Art Institute of Chicago and the National Gallery of Art in Washington, D. C. among others. This beautifully illustrated catalogue includes detailed entries on each work, an appendix illustrating all of Van Gogh's self-portraits and three insightful essays on the theme.