梵高 – 大作社

Vincent van Gogh

Dutch, 1853-1890

The Carrot Puller——1885

The Bedroom——1889

The Poet’s Garden——1888

A Peasant Woman Digging in Front of Her Cottage——1885

Self-Portrait——1887

The Drinkers——1890

During his time in the Asylum of Saint-Paul in Saint-Rémy, a small town near Arles, Vincent van Gogh made a number of copies of the work of artists he admired, which freed him from having to produce original compositions and allowed him to concentrate instead on interpretation. For this image, Van Gogh copied a wood engraving from Honoré Daumier’s Drinkers, a parody on the four ages of man. The exaggerated figure types capture Daumier’s characteristic humor and convey his sad message about the horrors of alcoholism. The greenish palette may well be an allusion to the notorious alcoholic drink absinthe.

在阿尔勒附近的一个小镇圣雷米的圣保罗庇护所期间，文森特·梵高制作了许多他敬佩的艺术家作品的副本，这使他免于制作原始作品的麻烦，并使他能够而是专注于解释。对于这张图片，梵高（Van Gogh）复制了HonoréDaumier's Drinkers的木版画，这是对四个男人时代的模仿。夸张的人物形象抓住了多米耶尔特有的幽默，并传达了他关于酗酒恐怖的悲伤信息。绿色的色调很可能是臭名昭著的苦艾酒的典范。

Grapes, Lemons, Pears, and Apples——1887

This is one of a group of related canvases featuring seasonal fruit that Vincent van Gogh painted in the fall of 1887. In these works, he simplified his palette, employed more vibrant colors, and used a thicker, broader paint application than he had earlier. Here he explored the use of complementary colors—yellow and purple, blue and orange, and red and green—in the service of chromatic intensity. The effect of these color contrasts is heightened by the pulsating pattern of brushstrokes that defines the tablecloth and creates a force field around the fruit. The painting was probably among the “violent still lifes”—to quote Van Gogh’s friend the painter Emile Bernard—that he included in the group exhibition of young avant-garde artists that he organized at a local restaurant in November–December 1887.

这是一组相关的画布，其中包含Vincent van Gogh在1887年秋天绘画的时令水果。在这些作品中，他简化了调色板，采用了更鲜艳的色彩，并且使用的涂料比以前更厚，更广泛。在这里，他探索了使用互补色（黄色和紫色，蓝色和橙色以及红色和绿色）以达到色强度的目的。这些色彩对比的效果通过限定桌布并在水果周围产生力场的笔触的脉动图案而增强。这幅画可能属于“暴力静物画”（用梵高的朋友画家埃米尔·伯纳德（Emile Bernard）引用），他被包括在他于1887年11月至12月在当地一家餐馆举办的年轻前卫艺术家群展中。

Terrace and Observation Deck at the Moulin de Blute-Fin, Montmartre——1887

This painting dates from the winter of 1887, roughly a year after Vincent van Gogh arrived in Paris to join his brother, the art dealer Theo van Gogh. It is one of a group of landscapes featuring the Butte Montmartre, a short climb from the apartment on the rue Lepic where Vincent and Theo lived. Montmartre was dotted with reminders of its quickly receding rural past—abandoned quarries, kitchen gardens, and three surviving windmills, including the Moulin de Blute-Fin. The nonfunctional mill had become a tourist attraction, affording spectacular panoramic views over Paris from the observation tower erected beside it.

这幅画的历史可以追溯到1887年的冬天，大约是文森特·梵高（Vincent Van Gogh）到达巴黎与他的兄弟，艺术品经销商西奥·梵高（Theo van Gogh）来到巴黎之后的一年。它是拥有蒙马特山（Butte Montmartre）的一组景观之一，距离Vincent和Theo居住的Lepic街上的公寓仅一小段距离。蒙马特（Montmartre）的痕迹使人想起了它迅速退去的农村历史—废弃的采石场，菜园和三个幸存的风车，包括红磨坊（Moulin de Blute-Fin）。这个无功能的工厂已经成为一个旅游胜地，从竖立在其旁边的observation望塔上可以欣赏到巴黎的壮观全景。

Fishing in Spring, the Pont de Clichy (Asnières)——1887

In technique, Fishing in Spring is a testament to Vincent van Gogh’s friendship with Paul Signac. Van Gogh had seen works by Signac and Georges Seurat in the spring of 1886 at the final Impressionist exhibition. Signac was an eloquent spokesman for Seurat’s pioneering Neo-Impressionism, explaining it as a natural development of Impressionism. Under Signac’s influence, Van Gogh’s palette brightened, his brushstrokes became more varied, and his subject matter expanded. The setting of this work is the Seine River at the Pont de Clichy, near Asnières, where Van Gogh and Signac painted together on several occasions.

在技术上，《春季钓鱼》证明了梵高与保罗·西纳克（Paul Signac）的友谊。梵高（Van Gogh）在1886年春季的最后一次印象派展览中看到了西尼亚克（Signac）和乔治·修拉（Georges Seurat）的作品。西尼亚克（Signac）是苏拉特（Seurat）开创性的新印象派的雄辩发言人，将其解释为印象派的自然发展。在西格纳克（Signac）的影响下，梵高的调色板变亮了，笔触变得更加多样，题材也扩大了。这项工作的背景是位于Asnières附近的Pont de Clichy的塞纳河，梵高和西格纳克曾多次在此画画。