Farmhouse in Provence

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Farmhouse in Provence also known as Entry Gates to Farming with Haystacks created in 1888 by Vincent van Gogh in Arles in Provence at the height of his career. Partly inspired by the painter Adolphe Monticelli, Van Gogh sought French French territory to expand his skill and painting experience. Van Gogh uses several complementary colors in Farmhouse in Provence , a color contrast that brings an intensity to his work. This painting is owned by Washington National Art Gallery, D.C..

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Arles

By the time Van Gogh painted Farmhouse in Provence he was 35 years old. Living in Arles, in southern France, he was at the peak of his career, producing some of his finest works, such as fields, farmhouses and the people of Arles, NÃÆ'®mes and Avignon.

The area is very different from what he knows in Holland and Paris. The climate is hot and dry. People have dark hair and skin and speak a different language than French Paris. The color is bright. The terrain varies from plain to mountain. Here Van Gogh discovers "the brilliance and light that will cleanse the details and simplify the shape, reduce the world around him into a kind of pattern admired in Japanese woodblock" and where "the sun effect will reinforce the outline of the composition and reduce the shades of color to some obvious contrast. "

Productive time, in less than 444 days Vincent made about 100 images and produced more than 200 paintings. However, he still writes more than 200 letters. He described a series of seven studies on wheat fields as, "landscape, yellow-old gold - done quickly, quickly, quickly, and in a hurry like a harvester dwelling in the sun, intending only on reaping."

In a letter to his brother, Theo, he wrote, "Drawing like now, promises to be smoother - more like music and less like a statue - and above all, he promises colors."

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The painting

Van Gogh uses three pairs of complementary, or contrasting colors, which, when incorporated, increase the intensity and intensity of each other's colors. One pair is orange and blue. There are red and green from plants. Lastly, the clouds are pink in a turquoise sky.

Van Gogh uses complementary colors and contrasts to bring intensity to his work, which evolved during his period of work. Two complementary colors of the same brightness and brightness placed next to each other produce an intense reaction, called "simultaneous contrast laws."

Van Gogh mentions the liveliness and interaction of "complementary two-color marriage, their fusion and contradiction, the mysterious vibrations of two identical souls."

While in Nuenen Van Gogh became familiar with Michel Eugène Chevreul's law in weaving to maximize the intensity of color through their contrast with adjacent colors.

In Paris, he is exposed through his brother Theo to Adolphe Monticelli who is still alive with flowers, which he admired. First, he saw the use of color by Monticelli as an extension of Delacroix's color theory and contrast. Secondly he admired the Monticelli effect created by heavy paint applications. That's part of Monticelli, from Marseilles, who inspired Van Gogh's step south to Provence. He felt such a kinship for the man, and the desire to imitate his style, which he wrote in a letter to his sister, Wil, that he felt as if he was "the son of Monticelli or his brother."

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Provenance

The National Art Gallery reports the correct order of ownership for the painting: Johanna van Gogh-Bonger (1862-1925), a sister-in-law artist, Amsterdam sold the painting in November 1890 through Julien Tanguy Gallery, Paris to Willy Gretor, also known as Wilhelm Rudolph Julius Petersen (1868-1923) from Paris. Five paintings sold by Johanna became part of the National Art Gallery collection.

Willy Gretor gave the painting to Maria Slavona, a German painter, from Paris and Berlin. It was one of many Van Gogh paintings by Willie to Mary, with whom she had a daughter, Lilly. Maria later married Otto Ackermann (1871-1963), an art dealer in Paris and Berlin.

From 1919 to at least 1933, Gaston Bernheim de Villers (1870-1953) of Paris had the painting.

The painting was sold to Captain Edward H. Molyneux (1891-1974) from Paris.

It was sold August 15, 1955 to Ailsa Mellon Bruce (1901-1969) from New York.

In 1970 it was inherited to the National Art Gallery, part of the Ailsa Mellon Bruce Collection.

The other order of ownership is given by J.-B. de la Faille in "Vincent van Gogh's Works, His Paintings and Pictures" partly seems wrong (ie, Bernheim-Jeune, Reid and Lefevre, Ackermann, Molyneux.)

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References

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External links

• Farmhouse in Provence , National Art Gallery, Washington D.C.

Source of the article : Wikipedia