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Eatherial and religious symbolism surrounded by trees and green with hints of white flowers above her. Wedding dress covered in flowers almost like a barrial.

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Ophelia - Sir John Everett Millais - Google Arts & Culture

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This is the drowning Ophelia from Shakespeare’s play Hamlet. Picking flowers she slips and falls into a stream. Mad with grief after her father’s murder by…

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I like the position and the leaning forward all in the same kind of dirt and grime. with a sad, exhausted face.

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In 1868, when sailing on the River Neva in St Petersburg, Ilya Repin caught his first glimpse of men hauling barges. He was stunned at the sight of these unfortunate people in harness, in contrast to the elegant public promenading on the embankments. After two trips to the Volga and a direct acquaintance with many barge haulers, he painted this monumental canvas. One of the leading works of Russian painting, Barge Haulers on the Volga ushered in a whole new era in the history of genre painting. Repin elevates a scene often witnessed in real life into a wide generalisation, retaining the freshness of a spontaneous impression of life and a sense of the Volga expanses and sunlight. A gang of barge haulers moves slowly along the sandy bank of the great river.

Although they have trodden hundreds of miles, there is still no end to their distant path. While sympathising with his heroes, Repin also expresses his admiration for their spiritual power and fortitude. The master's vivid and memorable images were based on portraits of real haulers painted on the Volga.

Barge Haulers on the Volga won continental fame when it was shown at the World Exhibition in Vienna in 1873, while the Imperial Academy of Arts awarded Repin the Vigee-Lebrun Medal for expression.

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Barge Haulers on the Volga - Ilya Repin - Google Arts & Culture

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In 1868, when sailing on the River Neva in St Petersburg, Ilya Repin caught his first glimpse of men hauling barges. He was stunned at the sight of these u...

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I can hear the sound of the scraper moving across the floor and the simplicity of the people in the painting who all look the same. I think it would be fun like in the muppet christmas carol to have them all be one guy slowly working through the room

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This painting is one of the first representations of urban proletariat. Whereas peasants (Gleaners by Millet) or country workers (Stone Breakers by Courbet) had often been shown, city workers had seldom been painted.
Unlike Courbet or Millet, Caillebotte does not incorporate any social, moralising or political message in his work. His thorough documentary study (gestures, tools, accessories) justifies his position among the most accomplished realists.

Caillebotte had undergone a completely academic training, studying with Bonnat. The perspective, accentuated by the high angle shot and the alignment of floorboards complies with tradition. The artist drew one by one all the parts of his painting, according to the academic method, before reporting them using the square method on the canvas. The nude torsos of the planers are those of heroes of Antiquity, it would be unimaginable for Parisian workers of those times. But far from closeting himself in academic exercises, Caillebotte exploited their rigour in order to explore the contemporary universe in a completely new way.

Caillebotte presented his painting at the 1875 Salon. The Jury, no doubt shocked by its crude realism, rejected it (some critics talked of "vulgar subject matter"). The young painter then decided to join the impressionists and presented his painting at the second exhibition of the group in 1876, where Degas exhibited his first Ironers. Critics were struck by this great modern tableau, Zola, in particular, although he condemned this "painting that is so accurate that it makes it bourgeois".

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The Floor Planers - Gustave Caillebotte - Google Arts & Culture

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This painting is one of the first representations of urban proletariat. Whereas peasants (Gleaners by Millet) or country workers (Stone Breakers by Courbet...

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I enjoy hanging out with my family and the trips we go on together.

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I like the feeling of being calm and seeing a pleasing composition and color that support that.

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He is kinda dorky and he is always high energy

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I really enjoy the green and different stages/layers of my environment that all have there own biomes and rhythm.

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I want to be able to develop more detail and create a more 3D effect on my paintings. Also I want to develop more technique and overall skill. :)

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I like the simplicity of it and the highlights and different tones used.

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Currently on view

Vincent van Gogh (1853 - 1890), Antwerp, January-February 1886

oil on canvas, 32.3 cm x 24.8 cm

Credits (obliged to state): Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

This skeleton with a lit cigarette in its mouth is a juvenile joke. Van Gogh painted it in early 1886, while studying at the art academy in Antwerp. The painting shows that he had a good command of anatomy.

Drawing skeletons was a standard exercise at the academy, but painting them was not part of the curriculum. He must have made this painting at some other time, between or after his lessons.

Dimensions

32.3 cm x 24.8 cm, 46.6 cm x 39.0 cm

Provenance

With his brother Theo van Gogh, Paris, after February 1886; after his death on 25 January 1891, inherited by his widow, Jo van Gogh-Bonger, and their son, Vincent Willem van Gogh, Paris; administered until her death on 2 September 1925 by Jo van Gogh-Bonger, Bussum/Amsterdam/Laren; transferred by Vincent Willem van Gogh, Laren, to the Vincent van Gogh Foundation, Amsterdam, 10 July 1962; agreement concluded between the Vincent van Gogh Foundation and the State of the Netherlands, in which the preservation and management of the collection, and its placing in the Rijksmuseum Vincent van Gogh, to be realized in Amsterdam, is entrusted to the State, 21 July 1962; given on loan until the opening of the museum on 2 June 1973 to the Stedelijk Museum, Amsterdam; on permanent loan to the Rijksmuseum Vincent van Gogh from 2 June 1973 and at the Van Gogh Museum, Amsterdam, since 1 July 1994.

Credits (obliged to state)

Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Amsterdam, Van Gogh Museum, Van Gogh aan het werk, 1 May 2013 - 13 January 2014

Amsterdam, Hermitage Amsterdam, Vincent. Het Van Gogh Museum in de Hermitage Amsterdam, 29 September 2012 - 25 April 2013

Amsterdam, Van Gogh Museum, Gogh Modern. Vincent van Gogh and contemporary art, 27 June 2003 - 12 October 2003, no. zonder nr.

Los Angeles, Los Angeles County Museum of Art, Van Gogh's Van Goghs. Masterpieces from the Van Gogh Museum, Amsterdam, 17 January 1999 - 16 May 1999, no. 14

Washington, National Gallery of Art, Van Gogh's Van Goghs. Masterpieces from the Van Gogh Museum, Amsterdam, 4 October 1998 - 3 January 1999, no. 14

Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Vincent van Gogh and his time. Van Gogh & portraits from the Van Gogh Museum and the H.W. Mesdag Museum, 14 September 1994 - 13 November 1994, no. 2

Tokyo, Setagaya Art Museum, Vincent van Gogh and Japan, 4 April 1992 - 24 May 1992, no. 2

Kyoto, National Museum of Modern Art (Kyoto), Vincent van Gogh and Japan, 18 February 1992 - 29 March 1992, no. 2

Mons, Museum voor Schoone Kunsten, Van Gogh et la Belgique, 3 October 1980 - 30 November 1980, no. 26

Paris, Orangerie des Tuileries, Vincent van Gogh. Collection du Musée National Vincent van Gogh à Amsterdam, 21 December 1971 - 10 April 1972, no. 13

London, Hayward Gallery, Vincent van Gogh. Paintings and Drawings of the Vincent van Gogh Foundation Amsterdam, 23 October 1968 - 12 January 1969, no. 58

Wolfsburg, Stadthalle Wolfsburg, Vincent van Gogh. Gemälde, Aquarelle, Zeichnungen, 18 February 1967 - 2 April 1967, no. 17

Marseille, Musée Cantini, Expressionnisme Allemand 1900-1920, 17 May 1965 - 15 August 1965, no. 1

Bordeaux, Galerie des Beaux-Arts (Bordeaux), Bosch, Goya et le fantastique, 20 May 1957 - 31 July 1957, no. 278

Amsterdam, Stedelijk Museum Amsterdam, Vincent van Gogh, 24 June 1955 - 1 September 1955, no. 64

Antwerp, Zaal Comité voor Artistieke Werking, Vincent van Gogh, 7 May 1955 - 19 June 1955, no. 125

Toledo (Ohio), Toledo Museum of Art, Vincent van Gogh 1853-1890, 7 March 1954 - 30 April 1954, no. 53

Philadelphia (Pennsylvania), Philadelphia Museum of Art, Vincent van Gogh 1853-1890, 2 January 1954 - 28 February 1954, no. 53

Saint Louis, City Art Museum of Saint Louis, Vincent van Gogh 1853-1890, 17 October 1953 - 13 December 1953, no. 53

The Hague, Gemeentemuseum Den Haag, Vincent van Gogh. Collectie ir. V.W. van Gogh, 12 October 1948 - 10 January 1949, no. 39

Utrecht, Vereeniging Voor de Kunst, Tentoonstelling van schilderijen door Vincent van Gogh, 1 May 1929 - 5 June 1929, no. 8

Frankfurt am Main, Galerie Hermes, Titel onbekend, 1 January 1911 - 1 January 1911

Berlin, Kunstsalon Paul Cassirer, III. Ausstellung. Vincent van Gogh 1853-1890, 25 October 1910 - 20 November 1910, no. 3

onder red. van H.P. Bremmer, Beeldende Kunst, p. 27, 28

Jan Hulsker, The complete Van Gogh : paintings, drawings, sketches, 1980, p. 218

The complete works of Vincent van Gogh, 1978, vol. 1, pl. 74

Ella Hendriks, C. Richard Johnson jr., Luuk van der Loeff ... [et al.], First international workshop on image processing for artist identification, 2007, p. 32, 43

Hrsg. von Bernhard Echte, Walter Feilchenfeldt ; Mitarbeit Petra Cordioli, Kunstsalon Paul Cassirer : die Ausstellungen 1910 - 1912, 2016, p. 103, 151, 599

[Germano Celant, Darian Leader], Marc Quinn, 2000, p. 40

Text: Esther Darley, Renske Suijver, Masterpieces in the Van Gogh Museum, 2019, p. 57

Tekst: Esther Darley, Renske Suijver, Meesterwerken in het Van Gogh Museum, 2019, p. 57

Jan Hulsker, The new complete Van Gogh : paintings, drawings, sketches, 1996, p. 217-218

Bettina Gockel, Die Pathologisierung des Künstlers : Künstlerlegenden der Moderne, 2010, [unpaged]

Ed. by E. van Uitert and M. Hoyle; with contrib. from H. van Crimpen ... [et al.], The Rijksmuseum Vincent van Gogh, 1987, p. 323

Translation Ivonne Paternotte-Limburg, Rijksmuseum Vincent van Gogh Amsterdam : guide to the collection of paintings, 1979, [unpaged]

Laura Ann Coyle, The Still-life paintings of Vincent van Gogh and their context, 2007, p. 256-257, 539

Ella Hendriks and Muriel Geldof, Van Gogh's Antwerp and Paris picture supports (1885-1888) reconstructing choices, p. 46, 53, 65, 73

Edited by Susan Alyson Stein, Van Gogh : a retrospective, 1986, p. 77

Ed. by Ortrud Westheider and Michael Philipp ; Exh. and catalog by: Michael Philipp ; With contrib. by: Sjraar van Heugten, Valerie Hortolani, Stefan Koldehoff... [et al.], Van Gogh : still lifes, 2019, p. 35, 194

Door Jan Hulsker, Van Gogh en zijn weg : al zijn tekeningen en schilderijen in hun samenhang en ontwikkeling, cop. 1977, p. 218

Ronald de Leeuw, Van Gogh Museum : schilderijen en pastels, 1993, p. 76

Mark Edo Tralbaut, Van Gogh te Antwerpen, 1958, p. 51-52

Leo Jansen, Renske Suijver ; met een bijdrage van Ann Blokland, Vincent, 2012, p. 132-133

Mark Delrue, Vincent : kunstschilder, briefschrijver, godzoeker, 2015, p. 34

By J.B. de la Faille ; foreword by Charles Terrasse ; translated from the French by Prudence Montagu-Pollock, Vincent van Gogh, 1939, p. 178

Vorwort von J.B. de la Faille, Vincent van Gogh : Gemälde, 1928, vol. 1, p. 63, vol. 2, pl. LVI

Bogomila Welsh-Ovcharov, Vincent van Gogh : his Paris period 1886-1888, 1976, p. 229

Foreword Gabriel White ; notes Alan Bowness, Vincent van Gogh : paintings and drawings from the collection of the Vincent van Gogh Foundation Amsterdam, p. 55

[texts by Ronald de Leeuw...et al.], Vincent van Gogh and his time : Van Gogh & portraits from the Van Gogh Museum and the H.W. Mesdag Museum, 1994, p. 114

[texts Ronald de Leeuw...et al.], Vincent van Gogh and Japan, 1992, p. 60-61

Walter Feilchenfeldt ; cat. of the drawings compiled by Han Veenenbos, Vincent van Gogh and Paul Cassirer, Berlin : the reception of Van Gogh in Germany from 1901 tot 1914, 1988, p. 84

Mark Edo Tralbaut, Vincent van Gogh in zijn Antwerpsche Periode, 1948, p. 223-229, 284

Ella Hendriks, Louis van Tilborgh ; with the assistance of Margriet van Eikema Hommes, Monique Hageman ; transl. by Michael Hoyle, Vincent van Gogh paintings : volume 2 : Antwerp & Paris 1885-1888, 2011, p. 183-185

J. Stellingwerff, Werkelijkheid en grondmotief bij Vincent Willem van Gogh, 1959, p. 92-93

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Vincent van Gogh - Head of a Skeleton with a Burning Cigarette

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This skeleton with a lit cigarette in its mouth is a juvenile joke. Van Gogh painted it in early 1886, while studying at the art academy in Antwerp. The painting shows that he had a good command of anatomy. Drawing skeletons was a standard exercise at the academy, but painting them was not part of the curriculum.

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I like the dynamic and shapes that the characters are put in with the shadows and red cursedness of it

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From Wikipedia, the free encyclopedia

Dante and Virgil is an 1850 oil-on-canvas painting by the French academic painter William-Adolphe Bouguereau. It is in the Musée d'Orsay in Paris.

The painting depicts a scene from Dante's Divine Comedy, which narrates a journey through Hell by Dante and his guide Virgil. In the scene the author and his guide are looking on as two damned souls are entwined in eternal combat. One of the souls is an alchemist and heretic named Capocchio. He is being bitten on the neck by the trickster Gianni Schicchi, who had used fraud to claim another man's inheritance.

It was Bougereau's third and ultimately unsuccessful attempt to win the coveted Prix de Rome, even though he had submitted a work that he knew would appeal to the judges. He did however succeed in his efforts later in the year when Shepherds Find Zenobia on the Banks of the Araxes won the consolation second prize of the year.

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From Wikipedia, the free encyclopedia Dante and Virgil is an 1850 oil-on-canvas painting by the French academic painter William-Adolphe Bouguereau. It is in the Musée d'Orsay in Paris. The painting depicts a scene from Dante's Divine Comedy , which narrates a journey through Hell by Dante and his guide Virgil.

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I like the smokeyness of it all with the mountain scene being enveloped like an old picture worn down.

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The Monk by the Sea ( German: Der Mönch am Meer) is an oil painting by the German Romantic artist Caspar David Friedrich. It was painted between 1808 and 1810 in Dresden and was first shown together with the painting The Abbey in the Oakwood ( Abtei im Eichwald) in the Berlin Academy exhibition of 1810. On Friedrich's request The Monk by the Sea was hung above The Abbey in the Oakwood. After the exhibition both pictures were bought by king Frederick Wilhelm III for his collection. Today the paintings hang side by side in the Alte Nationalgalerie, Berlin.

For its lack of concern with creating the illusion of depth, The Monk by the Sea was Friedrich's most radical composition. The broad expanses of sea and sky emphasize the meager figure of the monk, standing before the vastness of nature and the presence of God.

A single figure, dressed in a long garment, stands on a low dune sprinkled with grass. The figure, usually identified as a monk, has turned almost completely away from the viewer and surveys a rough sea and a gray, blank sky that takes up about three quarters of the picture. It is unclear whether he is standing on a high rock or only on a gentle slope to the sea. The dune forms an inexpressive triangle in the composition, at the farthest point of which is the figure. Contrasting with the dark ocean there are several whitecaps of waves sometimes mistaken for seagulls.

Although Friedrich's paintings are landscapes, he designed and painted them in his studio, using freely drawn plein air sketches, from which he chose the most evocative elements to integrate into an expressive composition. The composition of The Monk by the Sea shows evidence of this reductive process, as Friedrich removed elements from the canvas after they were painted. Recent scientific investigations have revealed that he had initially painted two small sailing ships on the horizon, which he later removed. Friedrich continued to modify the details of the painting right up to its exhibition-to the sky's grey was added blue, with stars and a moon-but the basic composition always stayed the same.

The picture appeared at a time when Friedrich had his first public success and critical acknowledgment with his controversial Tetschener Altar, a work that explicitly fused the landscape format with a religious theme. The Monk by the Sea furthered his success and drew much attention.

Friedrich probably began the painting in Dresden, 1808. In a letter of February 1809, he described the image for the first time. The stages in its conception were also documented by guests to his studio. In June 1809, the wife of painter Gerhard von Kügelgen, an acquaintance of Friedrich, visited him and later criticized the painting in a letter; she was put off by the loneliness of the setting and the lack of consolation that movement or narrative might provide the "unending space of air".

Art historian Albert Boime believed that the figure of the monk was Friedrich, walking on the cliffs at Rügen, which would place the subject near the site where a Protestant mystic built a chapel for poor fishermen who were far from home and wished to profess their faith. The identification of the monk as a self-portrait has been accepted by other scholars, both for physical resemblances to Friedrich (the long blond hair and round skull), and for the fact that, in keeping with the perception of artists as belonging to a "higher priesthood", Friedrich later painted himself in a monk's clothing.

The painting was exhibited in its current form at the Berlin Academy in October 1810, to much controversy and criticism. The composition notably lacks a repoussoir-a framing device that leads the viewer's gaze into the image. Rather, the emptiness of the foreground is overwhelming. It is commonly argued that a viewer of this painting has difficulty relating himself to the picture's space. One cannot mentally "penetrate" the image: Friedrich has created an unbridgeable gap between the monk and the viewer. The monk is cut off from us spatially and existentially, and there are no traditional landscape elements that might soften the effect-only a cold sky and a flat foreground, void of greenery, and a dark sea, reduced to a narrow band on which no vessels sail. Friedrich has compressed space in a manner anticipating abstract art; The Monk by the Sea has been described as "perhaps the first 'abstract' painting in a very modern sense".

In the month of the exhibition, German Romantic author Clemens Brentano submitted an article on the painting to the Berliner Abendblätter, a new daily journal edited by his friend Heinrich von Kleist. The piece, titled "Different Feelings about a Seascape by Friedrich on which is a Capuchin Monk", was critical of the work, but Kleist substantially revised Brentano's text to produce an article sympathetic to Friedrich's painting. Kleist's commentary has become a central element in discussion of the painting and of Friedrich; the two men are seen as at odds with the aesthetic of the more conventional German Romantics, in which Brentano was firmly entrenched.

Kleist wrote, for example:

How wonderful it is to sit completely alone by the sea under an overcast sky, gazing out over the endless expanse of water. It is essential that one has come there just for this reason, and that one has to return. That one would like to go over the sea but cannot; that one misses any sign of life, and yet one senses the voice of life in the rush of the water, in the blowing of the wind, in the drifting of the clouds, in the lonely cry of the birds ... No situation in the world could be more sad and eerie than this-as the only spark of life in the wide realm of death, a lonely center in a lonely circle... Nevertheless, this definitively marks a totally new departure in Friedrich's art...

More famously, Kleist also wrote, "since in its monotony and boundlessness it has no foreground except the frame, when viewing it, it is as if one's eyelids had been cut away."

The painting was too minimalist for Johann Wolfgang von Goethe, who had been a supporter of Friedrich by introducing his work to the duke of Weimar and gaining prizes for him at an 1805 exhibition. Goethe said the painting "could be looked at standing on one's head", making a criticism that would be levied against abstract artists a century later.

The Monk by the Sea inspired responses from painters like Gustave Courbet and James Abbott McNeill Whistler later in the 19th century. In works such as Gustave Courbet's The Coast Near Palavas a lone figure is depicted as a seeker, similarly exposed and looking out to sea.

Friedrich, though a Romantic painter, had a significant influence on later Symbolist and Expressionist artists. Franz Marc's Horse in a Landscape (1910) has been described as formally similar to The Monk by the Sea. Although their use of colour is at two extremes, both paintings are compositionally simple, with undulating horizontals and a figure that looks out at the same scene as the viewer. In his 1961 article "The Abstract Sublime", the art historian Robert Rosenblum drew comparisons between the Romantic landscape paintings of both Friedrich and Turner with the Abstract Expressionist paintings of Mark Rothko. Rosenblum specifically describes The Monk by the Sea, Turner's The Evening Star and Rothko's 1954 Light, Earth and Blue as revealing affinities of vision and feeling. According to Rosenblum, "Rothko, like Friedrich and Turner, places us on the threshold of those shapeless infinities discussed by the aestheticians of the Sublime. The tiny monk in the Friedrich and the fisher in the Turner establish a poignant contrast between the infinite vastness of a pantheistic God and the infinite smallness of His creatures. In the abstract language of Rothko, such literal detail-a bridge of empathy between the real spectator and the presentation of a transcendental landscape-is no longer necessary; we ourselves are the monk before the sea, standing silently and contemplatively before these huge and soundless pictures as if we were looking at a sunset or a moonlit night." From the 1960s on, Gotthard Graubner's picture-size coloured cushions or "color-space bodies" were also inspired by Friedrich's The Monk by the Sea. According to art historian Werner Hofmann, both Graubner and Friedrich created an aesthetics of monotony as a counterpart to the aesthetics of variety that was predominant before the nineteenth century.

1. ^ Friedrich, Norbert Wolf, Taschen, p. 31.

2. ^ van Prooyen, Kristina. The Realm of the Spirit: Caspar David Friedrich's artwork in the context of romantic theology, with special reference to Friedrich Schleiermacher Journal of the Oxford University History Society, Winter 2004.

3. Eisler, Colin. ^ Masterworks in Berlin: A City's Paintings Reunited, Little Brown and Company, 1996.

4. Reproduction of Turner's ^ The Evening Star here [1]". National Gallery, London. Retrieved on November 21, 2008.

5. See also, Geldzahler (1969), 353. Reproduction of the Rothko can be found here ^ "Archived copy". Archived from the original on 2008-12-01..

6. Rosenblum, Robert. "The Abstract Sublime". Reprinted in: ^ Geldzahler, Henry (1969). New York Painting and Sculpture: 1940-1970. Exhibition catalog. Metropolitan Museum of Art. p. 353. LCCN 71087179.

7. ^ Rosenblum goes on to say, "Like the mystic trinity of sky, water and earth that, in the Friedrich and Turner appears to emanate from one source, the floating horizontal tiers of veiled light in the Rothko seem to conceal a total, remote presence that we can only intuit and never fully grasp. These infinite glowing voids carry us beyond reason to the Sublime; we can only submit to them in an act of faith and let ourselves be absorbed into their radiant depths."

8. Sabine Schütz, "Color-Space Bodies: The Art of Gotthard Graubner", ^ Arts Magazine, Volume 65, April 1991, pp. 49-53.

Börsch-Supan, Helmut & Jähnig, Karl Wilhelm, 1973: Caspar David Friedrich. Gemälde, Druckgraphik und bildmäßige Zeichnungen. Munich: Prestel Verlag. ISBN 3-7913-0053-9

Held, Heinz-Georg Held, 2003: Romantik. Cologne: Dumont. ISBN 3-8321-7601-2

Miller, Philip B. (1974). "Anxiety and Abstraction: Kleist and Brentano on Caspar David Friedrich." Art Journal 33(3):205-210

Schulze Altcappenberg, H. Th., 2006: An der Wiege der Romantik, Caspar David Friedrichs Jahreszeiten von 1803. Staatliche Museen zu Berlin. ISBN 3-88609-561-4

Wolf, Norbert, 2003: Friedrich. Cologne: Taschen. ISBN 3-8228-1958-1

Zschoche, Herrmann, Friedrich, Caspar David, 2005: Die Briefe. Hamburg: ConferencePoint Verlag. ISBN 3-936406-12-X.

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The Monk by the Sea ( German: Der Mönch am Meer) is an oil painting by the German Romantic artist Caspar David Friedrich. It was painted between 1808 and 1810 in Dresden and was first shown together with the painting The Abbey in the Oakwood ( Abtei im Eichwald) in the Berlin Academy exhibition of 1810.

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I like the gore and context of it along with the the curiosity of shock of the others.

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Die Arbeiten von Caravaggio zeichnen sich durch einen ausgeprägten Naturalismus in der Darstellung und starke Licht- Schatten-Kontraste aus. Caravaggio war in Rom für namhafte Auftraggeber tätig, u.a. für die Geschwister Giustiniani - Kardinal Benedetto und Marchese Vincenzo. In ihrer bedeutenden, im Palazzo Giustiniani untergebrachten Kunstsammlung präsentierten sie insgesamt 15 Gemälde des Meisters , darunter auch "Der ungläubige Thomas". Nachdem sich zu Beginn des 19. Jahrhunderts der Nachfahre Principe Vincenzo Giustiniani aufgrund hoher Verschuldung gezwungen sah, die Sammlung der Familie aufzulösen und an Féréol Bonnemaison zu veräußern, erwarb sie der preußische König Friedrich Wilhelm III. 1815 bei dem Pariser Kunsthändler. Der Ankauf erfolgte bereits im Hinblick auf die Einrichtung eines öffentlichen Kunstmuseums in Berlin, weshalb die Gemälde nicht in die Kunstsammlungen der preußischen Schlösser integriert wurden. Stattdessen wurden sie zunächst an die Königlich Preußische Akademie der Künste übergeben, bevor sie Aufnahme in das 1830 fertiggestellte Königliche Museum in Berlin fanden. Der "ungläubige Thomas" jedoch fiel unter die Werke, die - vor dem Hintergrund des damaligen Kunstgeschmacks - als weniger qualitätvoll eingestuft und aussortiert wurden.

Von den fünf erworbenen Bildern Caravaggios kamen schließlich nur drei in das Museum, darunter "Amor als Sieger" ( Berlin, SMB PK, Gemäldegalerie, Inv. Nr. 369), während "Der ungläubige Thomas" zunächst in die Bildergalerie des Berliner Schlosses gehängt wurde. 1855/1856 kam das Gemälde in die Bildergalerie von Sanssouci.

Die Komposition, basierend auf einer Episode des Johannesevangeliums (Joh 20,24-29), ist in dunklen Brauntönen gehalten, die zentralen Figuren Christus und Thomas werden von einem von links einfallenden Lichtschein beleuchtet und hervorgehoben. Christus, mit blasser Haut und in einem weißen Gewand dargestellt, führt die des Apostels, um ihn von seiner Wiederauferstehung zu überzeugen, die dieser zuvor angezweifelt hatte. Erst durch das Berühren der Wundmale Christi ließ sich Thomas dazu bewegen, an das eingetretene Wunder zu glauben. Zwei weitere Jünger stehen hinter Thomas und verfolgen - ebenso gebannt und mit gerunzelter Stirn - das Geschehen. Durch den Verzicht auf zusätzliche, erklärende Details oder die Gestaltung des Hintergrunds erscheinen die vier Figuren nahezu monumentalisiert, der Betrachter konzentriertsich auf die handelnden Personen und das Geschehen, dem er als Zeuge selbst beizuwohnen scheint. Das Gemälde befindet sich in der Bildergalerie von Sanssouci.

Jana Glorius

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Der ungläubige Thomas :: Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg :: museum-digital:brandenburg

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Die Arbeiten von Caravaggio zeichnen sich durch einen ausgeprägten Naturalismus in der Darstellung und starke Licht-Schatten-Kontraste aus. Caravaggi

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I like the texture and the flow of the piece and how to drags your eyes upwards to follow the current

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Vincent van Gogh. Letter to his brother Theo. [June 25, 1889] [Van Gogh Museum, Amsterdam, inv. no. b644 V/1962, http://vangoghletters.org/vg/letters/let783/letter.html; pub. in Van Gogh Letters 1958, letter no. 596; Van Gogh Letters 2009, letter no. 783], discusses two studies of cypresses that he has been working on and includes a sketch of this painting in the letter (JH1750), stating that he believes it will turn out to be the better of the two, and adding that he will send a further drawing of the painting.

Vincent van Gogh. Letter to his brother Theo. [July 2, 1889] [Van Gogh Museum, Amsterdam, inv. no. b645 V/1962, http://vangoghletters.org/vg/letters/let784/letter.html; pub. in Van Gogh Letters 1958, letter no. 597; Van Gogh Letters 2009, letter no. 784], mentions that he is enclosing "ten or so drawings today, all after canvases on the go," including one after this work (F1525; Brooklyn Museum).

Vincent van Gogh. Letter to his brother Theo. [September 28, 1889] [Van Gogh Museum, Amsterdam, inv. no. b656 V/1962, http://vangoghletters.org/vg/letters/let806/letter.html; pub. in Van Gogh Letters 1958, letter no. 608; Van Gogh Letters 2009, letter no. 806], writes that he is sending off to Theo that day a "Study of cypresses" along with several other canvases.

Theo van Gogh. Letter to his brother Vincent. March 19, 1890 [Van Gogh Museum, Amsterdam, inv. no. b756 V/1962, http://vangoghletters.org/vg/letters/let858/letter.html; pub. in Van Gogh Letters 1958, letter no. T29; Van Gogh Letters 2009, letter no. 858], remarks that his brother's paintings, including this work, are "well placed and look very well" at the exhibition of the Indépendants.

Paul Bluysen. "Au jour le jour: L'exposition des 'artistes indépendants'." La République Française (March 21, 1890), p. 3, notes its title in the catalogue but describes the paintings displayed as unrecognizable "arabesques rouges, bleues, vertes" (red, blue, and green arabesques) that the artist had "placardées sur des panneaux" (plastered on panels).

Georges Lecomte. "L'Exposition des Néo-Impressionnistes: Pavillon de la ville de Paris." Art et Critique 2 (March 29, 1890), p. 205, notes the picture's "fonds violets" (purple backgrounds).

J[ulien]. L[eclercq]. "Aux Indépendants." Mercure de France (May 1890), pp. 175-76, cites "ce cyprès quasi mythologique aux reflets de métal, comme un dragon fabuleux" (this quasi-mythological cypress with its glints of metal, like a fabulous dragon) as an example of the artist's depictions of objects from nature as reflections of his own impassioned temperament.

Jules Christophe. ""Le Néo-Impressionnisme à l'Exposition des Artistes Indépendants (Note)." Journal des Artistes 10 (April 12, 1891), p. 100, notes it was exhibited in the last room of the exhibition.

Maurevert. "Chronique: Aux 'Indépendants'." La Nation 8 (April 24, 1891), p. 2, states that the painting is far from Delacroix's work and describes the cypresses as "révulsés dressant vers ces ciels leurs dimentielles flames, spontanés, flambois de vingt villes punies d'un inégalable forfait" (turned back in their orbit, raising their exaggerated flames towards these skies, spontaneously, the blaze of twenty cities punished for an incomparable crime); calls this kind of madness genius and compares it to the literary efforts of the comte de Lautréamont.

Adolph Retté. "Septième exposition des artistes indépendants: Notes cursives." L'Ermitage (May 1891), p. 301, praises the artist's work, compares him to Delacroix, and encourages readers to look at several paintings above all, including this one.

Lucien Moline. Letter to Johanna van Gogh-Bonger. June 14, 1895 [Van Gogh Museum, Amsterdam, inv. no. b1312 V/1962], states that a "marchand très aventureux" has offered to purchase this painting and five others by Van Gogh; after the cost of the frames and Moline's commission are deducted the net price will be 800 francs.

Lucien Moline. Letter to Johanna van Gogh-Bonger. December 20, 1895 [Van Gogh Museum, Amsterdam, inv. no. b1314 V/1962], writes that he is enclosing a check for 384 guilders, the price of all seven paintings that Johanna consigned to him [the six mentioned in his letter of June 14, 1895 and MMA 1995.535]; adds that the paintings were sold to a dealer.

Julien Leclercq. Letter to Johanna van Gogh-Bonger. February 20, 1901 [Van Gogh Museum, Amsterdam, inv. no. b4136 V/1984], states that he purchased this painting eight days ago for 600 francs.

Julius Meier-Graefe. Entwicklungsgeschichte der Modernen Kunst. Stuttgart, 1904, vol. 1, pp. 119-20 n. 1, states that Maurice Fabre owns it.

R. Meyer-Riefstahl. "Vincent van Gogh-I." Burlington Magazine 18 (November 1910), ill. p. 96.

Shirakaba 3 (January 1912), ill. between pp. 68 and 69.

Paul Ferd. Schmidt. "Die Internationale Ausstellung des Sonderbunds in Köln 1912." Zeitschrift für bildende Kunst. n.s., Vol. 23, July 1912, fig. 1.

Camera Work special no. (June 1913), pl. IV.

Max Deri. Die Malerei im XIX. Jahrhundert. Berlin, 1920, vol. 1, p. 227; vol. 2, pl. 57, erroneously dates it 1890.

Curt Glaser. Vincent van Gogh. Leipzig, 1921, pl. 16.

Wissen und Leben 17 (October 1, 1923), ill. opposite p. 1, as in a Zürich private collection.

Roch Grey. Vincent van Gogh. Rome, 1924, p. 15, ill.

Max Osborn. "Klassiker der französischen Moderne die Galerien Thannhauser im Berliner Künstlerhaus." Deutsche Kunst und Dekoration 59 (March 1927), p. 337, ill. p. 336.

Julius Meier-Graefe. "Die Franzosen in Berlin." Der Cicerone 19 (January 1927), ill. p. 54, notes that Berlin 1927 was organized by the Galerien Thannhauser and took place in the Berliner Künstlerhaus.

J.-B. de La Faille. "Vincent van Gogh." L'Art vivant 3 (August 1, 1927), ill. p. 626.

Florent Fels. Vincent van Gogh. Paris, 1928, ill. (color, frontispiece).

J.-B. de La Faille. L'Oeuvre de Vincent van Gogh: Catalogue Raisonné. Paris, 1928, vol. 1, pp. 172-73, no. 613; vol. 2, pl. 171.

Julius Meier-Graefe. Vincent van Gogh: Mit Vierundfünfzig abbildungen und dem faksimile eines briefes. 6th revised ed. Munich, 1929, ill p. 23, calls it "Zypressen" and identifies the owner as Galerie Thannhauser, Lucerne; notes that a color reproduction is available from Piper-Drucke.

Royal Cortissoz. "French Painting in the Opening Show." New York Herald Tribune (November 10, 1929), p. G10.

Dorothy Grafly. "'Ancestor' Show Assembles Art of 'Modern' Pioneers." Philadelphia Public Ledger (November 10, 1929), p. 65?, states that the picture caused a stir much like Cézanne's "Jas de Bouffans".

Ralph Flint. "The Current American Art Season." Art and Understanding 1, no. 2 (March 1930), p. 184, ill. p. 176, states that "nothing can exceed his 'Cypresses,' from the Thannhauser Collection (Berlin), in intensity of conception, in the molten grandeur of its upspringing passages, in its unabated fury of achievement".

J.-B. de La Faille. Les Faux Van Gogh. Paris, 1930, pp. 7-8, 44, pl. 6, discusses the relationship between this work, the drawing in Brooklyn (F1525), and two paintings (F614 and F616) with very similar compositions which he had exposed as fakes in the corrigenda to his catalogue raisonné of 1928.

W. Scherjon. Catalogue des tableaux par Vincent van Gogh décrits dans ses lettres. Périodes: St. Rémy et Auvers sur Oise. Utrecht, 1932, p. 22, no. 10, ill., as "Etude de Cyprès".

Alfred Bader. Künstler-Tragik: Karl Stauffer, Vincent van Gogh. Basel, 1932, pp. 89-90, pl. 47, remarks on the painter's use of "daring" arabesques to depict the trees' wild agitation from the strong mistral wind.

W. Scherjon and Jos. De Gruyter. Vincent van Gogh's Great Period: Arles, St. Rémy and Auvers sur Oise (complete catalogue). Amsterdam, 1937, p. 212, St. Rémy no. 10, ill., as "Study of Cypresses".

Jean de Beucken. Vincent van Gogh: un portrait. [Brussels], n.d., p. 94, ill. p. 103 (color).

J.-B. de La Faille. Vincent van Gogh. London, [1939], pp. 425, 559, 574, 588, no. 616, ill.

Georg Schmidt. Van Gogh. Bern, 1947, pp. 26-27, pl. 38.

Isabella H. Perry. "Vincent van Gogh's Illness: A Case Record." Bulletin of the History of Medicine 21, no. 2 (1947), p. 169.

M. M. van Dantzig. Vincent?: A New Method of Identifying the Artist and His Work and of Unmasking the Forger and His Products. Amsterdam, [1947], pp. 89-90, 95-96, pl. 6.

"Notes on the Cover." Metropolitan Museum of Art Bulletin 8 (October 1949), opp. p. 49, ill. in color on cover.

Murray Pease. "The Hand and the Brush." Art News Annual 19 (1950), pp. 90-96, ill. overall (color and black and white) and four details (black and white), analyzes the painter's technique, drawing on x-rays and photographs taken in raking light; particularly notes the picture's wet-into-wet passages, high impasto, use of commercial materials, the plasticity of the paint, and, most likely, hand-priming.

Jean Leymarie. Van Gogh. [Paris], 1951, pp. 91, 125, no. 116, ill., identifies the second study of cypresses mentioned by Van Gogh in his letter to Theo [see Gogh 1889, letter no. 596] as F620 (Kröller-Müller Museum, Otterlo).

Margaretta M. Salinger. The Metropolitan Museum of Art Miniatures: Vincent van Gogh. New York, 1952, unpaginated, ill. (color).

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 43.

John Rewald. Post-Impressionism: From Van Gogh to Gauguin. 1st ed. New York, 1956, p. 334, ill. p. 335 (color) [3rd, rev. ed., 1978, p. 311, ill. p. 314 (color)].

August Kuhn-Foelix. Vincent van Gogh: Eine Psychographie. Bergen, Germany, 1958, p. 146, pl. 37 (cropped).

Vincent van Gogh. The Complete Letters of Vincent van Gogh with Reproductions of All the Drawings in the Correspondence. Greenwich, Conn., 1958, under letter nos. 596-97, 608, T29.

Catalogue of Colour Reproductions of Paintings-1860 to 1961. Paris, 1961, p. 165, no. 420, ill., erroneously as in a private collection.

H. R. Graetz. The Symbolic Language of Vincent van Gogh. New York, 1963, pp. 185-88, 191, 193-94, 311, colorpl. 72, notes that the way in which the larger cypress is cut off at the top makes it feel as if the tree, "the symbol of the struggling man . . . reaches for the infinite".

Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX-XX Centuries. New York, 1967, pp. 188-89, ill.

Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill., states that "the thick layers of paint, the swirling sky, and the contorted upward thrusts of the foreground foliage and of the trees themselves reveal his mental agitation, but even more proclaim his keen awareness of the force in nature".

Jean Leymarie. Van Gogh. [1st ed., 1968]. New York, 1977, pp. 152, 164, 209, ill. p. 153 (color), states that the artist added the crescent moon to represent "the female principle," in contrast to the masculine presence of the cypresses.

Alan Bowness. Vincent van Gogh: Paintings and Drawings from the Collection of the Vincent van Gogh Foundation, Amsterdam. Exh. cat., Hayward Gallery. [London], [1968], pp. 110-11.

Marc Edo Tralbaut. Vincent van Gogh. New York, 1969, p. 292 [French ed., "Van Gogh, le mal aimé"].

J.-B. de La Faille. The Works of Vincent van Gogh: His Paintings and Drawings. Amsterdam, 1970, pp. 246-47, 528, 635, no. 613, ill.

Paolo Lecaldano. L'opera pittorica completa di Van Gogh e i suoi nessi grafici. Vol. 2, Da Arles a Auvers. repr. [1st ed., 1966]. Milan, 1971-77, p. 220, no. 668, ill. p. 218, as "Due Cipressi".

Hope Benedict Werness. "Essays on van Gogh's Symbolism." PhD diss., University of California, Santa Barbara, 1972, p. 219 n. 17.

Matthias Arnold. "Duktus und Bildform bei Vincent van Gogh." PhD diss., Ruprecht-Karl University, Heidelberg, 1973, pp. 108-110, 155-56, 194 n. 406.

Charles S. Moffett. Van Gogh as Critic and Self-Critic. Exh. cat., The Metropolitan Museum of Art. New York, 1973, unpaginated, no. 7, comments on the "nearly musical experience" and the pantheistic character found in cypresses as represented in Van Gogh's pictures such as this one.

Carl R. Baldwin. The Impressionist Epoch. Exh. brochure, The Metropolitan Museum of Art. [New York], 1974, p. 20, ill., believes it should be considered the daylight counterpart to "Starry Night" (Museum of Modern Art, New York), painted at about the same time.

Jan Hulsker. The Complete Van Gogh: Paintings, Drawings, Sketches. [1st ed., Amsterdam, 1977]. New York, 1980, pp. 398, 404, no. 1746, ill.

Paul Hefting. Vincent van Gogh: A Detailed Catalogue of the Paintings and Drawings by Vincent van Gogh in the Collection of the Kröller-Müller National Museum. 4th rev. ed. Otterlo, 1980, p. 103 [1st Dutch ed., 1957; 1st English ed., 1959].

Carol Donnell-Kotrozo. Critical Essays on Postimpressionism. London, 1983, ill. [plates unpaginated].

Albert Boime. "Van Gogh's 'Starry Night': A History of Matter and a Matter of History." Arts Magazine 59 (December 1984), p. 87, fig. 6.

Ronald Pickvance The Metropolitan Museum of Art. Van Gogh in Saint-Rémy and Auvers. New York, 1986, pp. 108-10, 113, 189, 191, 298-99, no. 15, ill. (black and white and color), identifies it as "almost certainly" the picture included in the 1890 Salon des Indépendants as no. 832 [see Exhibitions]; observes that the Otterlo picture, The Met's "Wheat Field with Cypresses" (1993.132), and "Cypresses" are Van Gogh's "most heavily impastoed paintings," referring to their "near-bas-relief articulation of textures"; notes that the artist was probably thinking of using it in a series of five or six canvases as a room decoration, possibly in contrast to the sunflower, "symbol of life, consolation, and gratitiude," but that he did not complete the series; discusses the drawings made after it.

Patricia Mathews. "Aurier and Van Gogh: Criticism and Response." Art Bulletin 68 (March 1986), p. 95, fig. 3 [the captions to figs. 2-4 are mixed up], discusses it as an illustration of Albert Aurier's comments on Van Gogh's paintings in his 1890 essay on the artist.

Lauren Soth. "Van Gogh's Agony." Art Bulletin 68 (June 1986), p. 309 n. 41, mentions it as one of Van Gogh's five paintings with a crescent moon, discussing its significance for the artist.

Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, pp. 64-65, colorpl. 43 (overall and detail).

John Leighton in "Vincent van Gogh's 'A Cornfield, with Cypresses'." National Gallery Technical Bulletin 11 (1987), pp. 44-45 n. 8.

Walter Feilchenfeldt. Vincent van Gogh & Paul Cassirer, Berlin: The Reception of Van Gogh in Germany from 1901 to 1914. Zwolle, The Netherlands, 1988, pp. 107, 149, 158, ill.

Marja Supinen. "Julien Leclercq-Vincent van Goghin varhainen puolustaja." Taidehistoriallisia Tutkimuksia Konsthistoriska Studier 11 (1988), pp. 82, 87-89, 92, 109, fig. 8, identifies it as having been in Leclercq's collection, and as no. 35 in the 1901 Bernheim-Jeune exhibition, at least in part because of the name "Leclercq" which appears in blue across the back of the stretcher.

Fritz Erpel. Vincent van Gogh: Lebensbilder, Lebenszeichen. Munich, 1989, colorpl. 440, as "Zypressen, mit Mondsichel".

Uwe M. Schneede. Van Gogh in St. Rémy und Auvers: Gemälde 1889/1890. Munich, 1989, unpaginated, colorpl. 7.

Evert van Uitert et al. Vincent van Gogh: Paintings. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Milan, 1990, pp. 210-12, no. 90, ill. (color).

Charles S. Moffett in The Passionate Eye: Impressionist and Other Master Paintings from the Collection of Emil G. Bührle, Zürich. Exh. cat., National Gallery of Art, Washington. Zürich, 1990, p. 176.

Roland Dorn in Vincent van Gogh and the Modern Movement: 1890-1914. Exh. cat., Museum Folkwang, Essen. Freren, Germany, 1990, pp. 170, 172, 189 n. 2, states that Theo sent it to the 1890 Salon des Indépendants, and that "in 1891 it was presumably exhibited there again".

Walter Feilchenfeldt in Vincent van Gogh and the Modern Movement: 1890-1914. Exh. cat., Museum Folkwang, Essen. Freren, Germany, 1990, p. 44.

Ronald Pickvance in Vincent van Gogh: Drawings. Exh. cat., Rijksmuseum Kröller-Müller, Otterlo. Milan, 1990, p. 286.

Stanley David Gedzelman. "The Meteorological Odyssey of Vincent van Gogh." Leonardo 23, no. 1 (1990), pp. 110-11, fig. 6.

Marja Supinen. "Julien Leclerq: A Champion of the Unknown Vincent van Gogh." Jong Holland 6, no. 6 (1990), p. 14, fig. 11, reviews the circumstances of its exhibition at Bernheim-Jeune in 1901 and subsequent purchase by Maurice Fabre.

Jan Hulsker. Vincent van Gogh: A Guide to His Work and Letters. Amsterdam, 1993, pp. 41, 54-55, 61, 76, notes this painting among those sent to Theo.

Gary Tinterow in "Recent Acquisitions, A Selection: 1992-1993." Metropolitan Museum of Art Bulletin 51 (Fall 1993), p. 51.

Vojtech Jirat-Wasiutynski. "Vincent van Gogh's Paintings of Olive Trees and Cypresses from St.-Rémy." Art Bulletin 75 (December 1993), pp. 656-58, 667, fig. 11, states that the two trees look like the same pair of trees in "Wheat Field with Cypresses" (The Met, 1993.132); discusses the traditional European symbolism of cypresses as well as the artist's association of them with Egyptian obelisks; notes that it is an image built upon the polarities of dark and light, near and far, and earthly and heavenly.

Louis van Tilborgh in In Perfect Harmony: Picture + Frame, 1850-1920. Exh. cat., Van Gogh Museum. Amsterdam, 1995, p. 172, states that its original frame would have been a brown wooden one, based on letters of 1892-93 from R. N. Roland Holst to Johanna van Gogh-Bonger (Van Gogh Museum, Amsterdam).

Matthias Arnold. Vincent van Gogh: Werk und Wirkung. Munich, 1995, pp. 485, 494, colorpl. 277.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 497, ill. p. 496.

Jan Hulsker. The New Complete Van Gogh: Paintings, Drawings, Sketches. rev. ed. Amsterdam, 1996, pp. 398, 496, no. 1746, ill. p. 404.

Håkan Larsson. Flames from the South: On the Introduction of Vincent van Gogh to Sweden. Eslöv, 1996, pp. 42-43.

Naomi Margolis Maurer. The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent van Gogh and Paul Gauguin. Madison, N.J., 1998, p. 92, fig. 154 (color).

Bogomila Welsh-Ovcharov. Van Gogh in Provence and Auvers. [New York], 1999, pp. 235, 238, ill. p. 240 (color).

Ronald Pickvance. Van Gogh. Exh. cat., Fondation Pierre Gianadda. Martigny, 2000, pp. 35, 90.

The Berggruen Collection. Phillips, New York. May 7, 2001, p. 54, fig. 7.

Douglas Druick and Peter Kort Zegers et al. Van Gogh and Gauguin: The Studio of the South. Exh. cat., Art Institute of Chicago. New York, 2001, pp. 289, 294, 408, no. 117, fig. 47 (color).

Louis van Tilborgh and Ella Hendriks. "The Tokyo 'Sunflowers': A Genuine Repetition by Van Gogh or a Schuffenecker Forgery?" Van Gogh Museum Journal (2001), p. 28 n. 71, pp. 30-31 n. 86, discuss the piece of canvas added to the painting in the context of other Van Goghs with similar additions.

Chris Stolwijk and Han Veenenbos. The Account Book of Theo van Gogh and Jo van Gogh-Bonger. Amsterdam, 2002, pp. 47, 105, 142, 181, 183, ill., identify it as one of seven paintings sold by Van Gogh-Bonger for 384 guilders to the Paris dealer Lucien Moline in 1895.

Pierre Cabanne. Van Gogh. Paris, 2002, p. 178.

Hildelies Balk in The Paintings of Vincent van Gogh in the Collection of the Kröller-Müller Museum. Ed. Toos van Kooten and Mieke Rijnders. Otterlo, 2003, p. 440.

Teio Meedendorp in The Paintings of Vincent van Gogh in the Collection of the Kröller-Müller Museum. Ed. Toos van Kooten and Mieke Rijnders. Otterlo, 2003, pp. 298-99, ill. (color), discusses the painting and its provenance in relation to a related work (F620); explains the symbolism of the cypress.

Frances Fowle. "Painting Like a Provençal: Cézanne, Van Gogh, and the Secret of Monticelli's 'Alchemy'." Soil and Stone: Impressionism, Urbanism, Environment. Ed. Frances Fowle and Richard Thomson. Aldershot, England, 2003, p. 147, calls this and F620 "possibly his [Van Gogh's] most Monticelli-like compositions;" states that our picture was the initial study.

Marije Vellekoop in Vincent van Gogh: The Drawings. Exh. cat., Van Gogh Museum, Amsterdam. New York, 2005, pp. 312, 314-15, no. 109, ill. (color).

Sjraar van Heugten. Van Gogh Draughtsman: The Masterpieces. Exh. cat., Van Gogh Museum. Amsterdam, 2005, pp. 163, 167, 191, fig. 147 (color).

Walter Feilchenfeldt. By Appointment Only: Cézanne, Van Gogh and Some Secrets of Art Dealing. English ed. London, 2006, ill. p. 72 (color), as "The Cypresses"; includes installation photo of painting at the 1912 Sonderbund exhibition in Cologne [see Exh. Cologne 1912].

Lupina Lara Elizondo in Lupina Lara Elizondo. Van Gogh, Atl, O'Higgins: Expresión humana, esencia del paisaje. Mexico City, 2006, pp. 111, 257, ill. p. 103 (color).

Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800-1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 148-49, 219, no. 109, ill. (color and black and white), notes that it was painted with "unhesitating gusto" and with only one substantive revision, the crescent moon's shift to the right; identifies it as the "Cyprès" of the Paris 1890 exhibition.

Susan Alyson Stein in Masterpieces of European Painting, 1800-1920, in The Metropolitan Museum of Art. New York, 2007, pp. 170, 258-59, no. 158, ill. (color and black and white).

Marije Vellekoop in Van Gogh: Heartfelt Lines. Ed. Klaus Albrecht Schröder et al. Exh. cat., Albertina, Vienna. Cologne, 2008, pp. 60, 67 n. 1.

Marie-Paule Vial in Van Gogh Monticelli. Exh. cat., Centre de la Vieille Charité, Marseille. [Paris], 2008, p. 34, fig. 13 (color).

Gottfried Boehm in Vincent van Gogh-Between Earth and Heaven: The Landscapes. Exh. cat., Kunstmuseum Basel. Ostfildern, 2009, pp. 34, 46, discusses it among the artist's landscapes with painterly gestures that seem to be "formed by emotional energies".

Seraina Werthemann and Nina Zimmer in Vincent van Gogh-Between Earth and Heaven: The Landscapes. Exh. cat., Kunstmuseum Basel. Ostfildern, 2009, pp. 241-43, 246-47, 304, no. 50, ill. (color), notes that it was painted once Van Gogh was allowed to go beyond the grounds of the asylum; states that Andries Bonger's (Theo van Gogh's brother-in-law) first inventory of paintings in Theo's estate (Van Gogh Museum, Amsterdam) identified the trees in The Met's picture as poplars, calling it "Peupliers clair de lune" (Poplars in the Moonlight).

Susan Alyson Stein in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 208, 210, 220, 223 n. 15, fig. 154 (color), notes that Van Gogh never again painted the cypresses in situ after this picture, the Otterlo "Cypresses," and The Met's "Wheat Field with Cypresses" (1993.132).

Vincent van Gogh. Vincent van Gogh-The Letters. Ed. Leo Jansen, Hans Luijten, and Nienke Bakker. London, 2009, vol. 5, pp. 41-42, 46, fig. 6 (color), under letter no. 783, p. 49, fig. 10 (color), under letter no. 784, p. 106, fig. 5 (color), under letter no. 806, pp. 206-7, fig. 1 (color), under letter no. 858, identify it as the painting shown at Exh. Paris 1890 as "Le cyprès".

Leo Jansen in The Real Van Gogh: The Artist and His Letters. Exh. cat., Royal Academy of Arts. London, 2010, p. 239.

Teio Meedendorp in The Real Van Gogh: The Artist and His Letters. Exh. cat., Royal Academy of Arts. London, 2010, pp. 240-43, no. 133, ill. (color).

Steven Naifeh and Gregory White Smith. Van Gogh: The Life. New York, 2011, p. 759, ill. between pp. 590 and 591 (color).

Susan Alyson Stein in Earth, Sea, and Sky: Nature in Western Art; Masterpieces from The Metropolitan Museum of Art. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2012, pp. 15, 19, 148, 154-55, 247, no. 94, ill. in color (overall, detail, and cover) and b&w [Chinese ed., Hefei Shi, 2013, pp. 206-7, no. 94, ill. in color (overall, detail, and cover)].

Walter Feilchenfeldt. Vincent van Gogh: The Years in France. Complete Paintings 1886-1890. London, 2013, pp. 20, 31 n. 23, pp. 210, 292, 312, 316, 318-20, 343, 346, ill. (color) [1st German ed., 2009], as "The Cypresses"; suggests that Lucien Moline may have sold the painting to Harry Count Kessler.

Louis van Tilborgh, Teio Meedendorp, and Oda van Maanen. "'Sunset at Montmajour': A Newly Discovered Painting by Vincent van Gogh." Burlington Magazine 155 (October 2013), pp. 700-701 n. 36, discuss Maurice Fabre's ownership of the painting.

Edwin Mullins. Van Gogh: The Asylum Year. London, 2015, p. 159, ill. p. 158 (color detail).

Sjraar van Heugten in Van Gogh and Nature. Exh. cat., Clark Art Institute. Williamstown, Mass., 2015, pp. 187, 190-91, 232, no. 39, fig. 160 (color), states that it is a scene from early morning or dusk, noting the inclusion of a crescent moon; calls Adolphe Monticelli the model for Van Gogh's technique of using heavy impasto in The Met's and the Kröller-Müller's cypress pictures; notes that Van Gogh made a drawing after each painting; discusses the artist's attraction to the subject of cypresses as a technical and stylistic challenge, specifying his mastery of the dark palette and his use of long, lively lines to render the forms of the cypresses.

James Ottar Grundvig. Breaking Van Gogh: Saint-Rémy, Forgery, and the $95 Million Fake at the Met. New York, 2016, pp. xi, 72, 88, 95-96, 100, 115, 146-47, 178, 183, 222, 245, mistakenly associates Van Gogh's letter to his brother Theo of July 2, 1889 with The Met's painting, instead of the Otterlo picture.

Megan Fontanella in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, pp. 32, 36 n. 67.

Monique Hageman and Nora Koldehoff in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, p. 312.

Stefan Koldehoff and Chris Stolwijk in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, fig. 1 (photograph of gallery façade window), reproduce an advertisement photograph for the Thannhauser gallery that shows the painting in the front window.

Chris Stolwijk in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, pp. 49-52, 55 nn. 35-36, figs. 31 (color), 32 (installation shot of Berliner Künstlerhaus 1927), discusses Thannhauser's ownership, the potential buyers to whom it was offered, and the increasing-and eventually precipitously dropping-asking price.

Stefan Koldehoff in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, pp. 56, 58, 66, 150, 156, 202, 227, 278, no. 27, ill. p. 151 (color), figs. 36 and 37 (photographs of gallery entrance window), 47 (installation shot of Cologne 1912), notes that Thannhauser offered it to American institutions at more favorable prices than to their European colleagues; states that Schocken purchased the picture on December 24, 1931, and that the different purchase date listed in Thannhauser's inventory book may reflect a later payment date; discusses both Schocken and Thannhauser ownership history.

Renske Suijver in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, p. 96.

Nora Koldehoff in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, p. 306.

Maite van Dijk. "Foreign Artists versus French Critics: Exhibition Strategies and Critical Reception at the Salon des Indépendants in Paris (1884-1914)." PhD diss., University of Amsterdam, 2017, pp. 148-49, fig. 57 (color), illustrates and discusses a list of ten paintings by the artist, including this one, which his brother, Theo, intended for exhibition at the Salon des Indépendants of 1890 and wrote on the back of a letter from Dr. Théophile Peyron, dated February 24, 1890, announcing Vincent's breakdown; notes that it was a likely choice for the exhibition since Vincent considered it a quintessential Provence subject and Theo intended to present his brother as a modern painter of the region.

Martin Bailey. Starry Night: Van Gogh at the Asylum. London, 2018, pp. 108, 110, 167-68, 202 n. 11 (under ch. 9), fig. 72 (color), states that the artist used a technique from Japanese prints in cropping out the top of the taller tree; notes that Aurier would have seen it with Theo in Paris.

Chris Stolwijk in Treasures of the RKD: Netherlands Institute for Art History. Ed. Yvonne Bleyerveld et al. The Hague, 2018, pp. 16-17, ill. (color).

Alexander Eiling in Making Van Gogh: A German Love Story. Ed. Alexander Eiling and Felix Krämer. Exh. cat., Städel Museum. Frankfurt, 2019, p. 23, fig. 4 (color).

Benno Tempel et al. Vincent van Gogh: Under the Spell of the Hague School and Impressionism. Exh. cat., Ueno Royal Museum. Tokyo, 2019, pp. 188, 190, 246, no. 76, ill. pp. 108-9, 189, 191 (color, overall and details).

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Vincent van Gogh | Cypresses | The Metropolitan Museum of Art

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the artist's brother, Theo van Gogh, Paris (1889-d.

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I like the mystery and how you want to know what happend

the beginning scene of a tragedy

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Abbey among Oak Trees is the companion piece to Monk by the Sea. Friedrich showed both paintings in the Berlin Academy Exhibition of 1810. At the request of the 15-year-old crown prince, they were bought by King Friedrich Wilhelm III. In their perplexing remoteness and formal radicalism they were to become key works in German Romanticism. In Monk by the Sea a human being stands lost in the apocalyptic loneliness and infinity of nature and the cosmos. He meditates on life and its boundaries. In the companion piece, the gates of death have opened. Monks carry a coffin into a deserted Gothic ruin to hold a requiem mass under the cross. The graveyard with its crooked, sunken tombstones is equally deserted. Bare oaks reach up into the sky as though in complaint. The first light of dawn is appearing over the horizon like an ocher-yellow veil, outshining the tender curve of the crescent moon. The visionary gleam of the heavenly realm is completely detached from the earthly regions, which are still sunk in darkness. One sign of hope is in the two single lights on the crucifix. For the painter Carl Gustav Carus, who was also a friend of Friedrich's, this painting was "of all recent landscapes, possibly the most deeply poetic work of art."

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Abbey among Oak Trees - Caspar David Friedrich - Google Arts & Culture

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Abbey among Oak Trees is the companion piece to Monk by the Sea. Friedrich showed both paintings in the Berlin Academy Exhibition of 1810. At the request of the 15-year-old crown prince, they were bought by King Friedrich Wilhelm III. In their perplexing remoteness and formal radicalism they were to become key works in German Romanticism.

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I Really like this one

tones

shadows

reflections

snapshot

points of view

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After studying and working for two years in the studio of the Spanish painter, Eduardo Chicharro (1873-1949), Diego Rivera left Madrid in 1909. October of the same year found him in the city of Bruges, a favorite of artists because of its gloomy, melancholy medieval atmosphere. Rivera chose to depict a tranquil, neglected corner of the Flemish city, exploiting its symbolic potential in a composition which he later painted after settling in Paris, based on sketches he had made in situ. The background of The House on the Bridge is taken up by the Arents House, which nowadays houses the Brangwyn Museum, while we can see one of the walls of the XVth century Gruuthuse Palace on the left, and watch the waters of the Reie Canal flow unceasingly under the bridge. In this work, the artist succeeds in bringing out the inherent Symbolism of the dead city's time-worn buildings by using various autumnal shades of red which stand out in contrast with the various lit patches -i.e. the sky, the facade of the house and the sunlight that can be glimpsed at the other end of the tunnel through which the aqueduct flows. The tranquil surface of the canal, which reflects the surroundings, is disturbed by water, dripping from one of the gargoyles of the palace on the left, breaking into concentric ripples, an effect achieved by means of blotchy, slurred brushstrokes. This painting was exhibited at the Parisian Salon des Indépendents in the Spring of 1910, and subsequently at the Autumn Salon that same year. It formed part of the group of paintings exhibited at the National Fine Arts School in 1910 in order to acquaint the public with the works that Rivera had painted in Europe. In order to swell the said school's collection, once the Ministry of Education had approved the fee to be paid, Rivera sold eight of the works on show, including the present one, which has been on view at the MUNAL since 1982.

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The House on the Bridge - Diego Rivera - Google Arts & Culture

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After studying and working for two years in the studio of the Spanish painter, Eduardo Chicharro (1873-1949), Diego Rivera left Madrid in 1909. October of the same year found him in the city of Bruges, a favorite of artists because of its gloomy, melancholy medieval atmosphere.