빈센트 반 고흐 `Starry starry night 광기어린 예술가 빈센트 반 고흐의 신화가 우리의 마음을 사로잡은지 1세기가 넘어갑니다 생전에는 외면당했던 그는 사망 이후 드디어 작품이 빛을 보아 폭발적으로 번져나갔고 강렬하고 선명한 색채로 세계를 사로잡았습니다. 오늘날 그의 작품은 세계에서 가장 유명하고 귀중한 예술작품으로 평가받습니다 내 손가락 안에서 붓은 마치 바이올린의 활인 양 움직여... 그리고 그건 온전히 나의 기쁨이지 우리는 반 고흐를 생각하며 타고난 순수한 본능으로 내면의 불꽃을 캔버스에 쏟아내는 방법을 찾아낸 기이하고 미친 천재를 떠올립니다. 자막 중에서 발췌~ Van Gogh - Painted with Words (BBC).smi BBC torent는 시드는 있지만 처음엔 좀 느립니다. ↑ 용량이 5.88.....자막은 동영상 제목과 같게 하여야 ~ 해바라기를 그리는 고흐 / 고갱作 돈맥린(Don McLean)이 작사ㆍ작곡하고 부른 노래 화가 고호(Vincent Van Gogh)애 대한 노래이다. 가사 내용 붕 별이 빛나는 밤에(The Starry Night)라는 작품을 통해 그는 고호를 느끼고 노래한다. [어린이 책] 만화로 만나는 고흐의 삶과 그림세계 빈센트 반 고흐 / 모나 혼캐슬 빈센트 반 고흐의 Starry Night over the Rhone
Starry Night over the Rhone
Vincent van Gogh, 1888
Oil on canvas 72.5 cm × 92 cm
Musée d'Orsay, Paris
- 2008년 Starry Night over the Rhone -
- 빈센트가 그린 Starry Night over the Rhone 의 스케치 1 -
- 빈센트가 그린 Starry Night over the Rhone 의 스케치 2-
빈센트가 동생 테오에게 보낸 편지의 원본
친애하는 테오에게, 너의 서신과 서신에 포함되어있던 50프랑은 참으로 고마웠어.
다리가 다시 아파오는 것은 좋지 않은 일이야.
- 나의 신이시여 -
네가 프랑스 남부에 함께 함께 사는 것이 가능하면 정말 좋을거야.
우리는 서로가 필요하고, 태양과 좋은 날씨 그리고 푸른 하늘은 너와 나를 강하게 만드는 치료제가 될테니까.
이곳의 날씨는 여전히 너무나 아름다워. 항상 이렇게 아름답다면
'그림을 그리기에 가장 좋은 낙원이라는 일본' 보다 그림을 그리기에 더 좋은 환경일 거야.
여기있으면 너와 고갱 그리고 버나드가 생각나. 이곳은 너무나 아름다워. 너희들과 함께 하면 더욱 좋을텐데.
30개의 조그만 사각형 캠퍼스에 밑그림을 그렸어.
밤 하늘과 촘촘하게 반짝이는 별. 실제로 그것은 환하게 느껴져.
하늘은 투명한 남청색. 땅은 연한 자주 빛. 마을은 파란색과 보라색.
기체는 노란빛이라고 해야할까. 적갈색 금으로 이루어진 메달과 초록 브론즈가 어우러져 반사되는 그런 빛의 느낌이야.
하늘은 투명한 남청색의 들판처럼 펼쳐져있고, 그 위에 위대한 곰이 녹색과 분홍색으로 빛나고 있어.
.........
My dear Theo, thank you very much of your letter and the 50 francs note that it contained. It is not good that the pains in the leg have come back - my god - it would be good it if it was possible if you could live in the Midi too, because I always think that we need each other, and the sun and good weather and the blue air are the strongest remedy. The weather here remains beautiful, and if it is always like this then it would be better than the paradise of those painters who are in Japan itself. I think about you and Gauguin and about Bernard all the time and everywhere. It is so beautiful and I would so like to see everybody here.
Included a small sketch of a 30 square canvas - in short the starry sky painted by night, actually under a gas jet. The sky is aquamarine, the water is royal blue, the ground is mauve. The town is blue and purple. The gas is yellow and the reflections are russet gold descending down to green-bronze. On the aquamarine field of the sky the Great Bear is a sparkling green and pink, whose discreet paleness contrasts with the brutal gold of the gas. Two colourful figurines of lovers in the foreground.
Also a sketch of a 30 square canvas representing the house and its setting under a sulphur sun under a pure cobalt sky. The theme is a hard one! But that is exactly why I want to conquer it. Because it is fantastic, these yellow houses in the sun and also the incomparable freshness of the blue. All the ground is yellow too. I will soon send you a better drawing of it than this sketch out of my head.
The house on the left is pink with green shutters. It's the one that is shaded by a tree. This is the restaurant where I go to dine every day. My friend the factor is at the end of the street on the left, between the two bridges of the railroad. The night café that I painted is not in the picture, it is on the left of the restaurant.
Milliet finds this horrible, but I don't need to tell you that when he says he doesn't understand that one can have fun doing a common grocer's shop and the stiff and proper houses without any grace, but I remember that Zola did a certain boulevard in the beginning of L'assommoir, and Flaubert a corner of the embankment of the Villette in the dog days in the beginning of Bouvard and Pécuchet which are not to be sneezed at.
It does me good to do difficult things. It does not prevent me from having a terrible need of, shall I say the word - of religion - then I go outside in the night to paint the stars and I dream ever of a picture like this with a group of lively figures of our pals.
Now I have had a letter from Gauguin who seems very sad, and says that certainly if he made a sale he will come, but he doesn't say clearly that if he would simply have his journey paid he would agree to come down here.
He says that the people where he lodges are, and have been, great to him, and that to leave them like that would be a bad thing to do. But that I turn a dagger in his heart if I would believe that he would not immediately come if he was able to. That besides, if you could sell his canvases at a low price he would be happy. I will send you his letter with the replies.
Certainly his arrival would be an increase of 100 percent in the importance of this enterprise of doing painting in the Midi. And once here, I don't see him leaving again because I believe that he would take root here. And I always tell myself that what you are doing in private would in the end, with his collaboration, be a more serious thing than just my work, without an increase in the expenses and you would have more satisfaction. Later on, if maybe one day you are on your own with the impressionist paintings you will only have to continue and to enlarge on those which actually exists. Finally Gauguin says that Laval found someone who will give him 150 francs per month for at least one year, and that Laval also would maybe come in February. And I have written to Bernard that I think that in the Midi he could not live for less than 3.50 or 4 francs per day just for lodging & food. He says that he believes that for 200 francs per month he would have food and lodging for all 3 which is not impossible, if we live & eat in the studio.
The Benedictine father must have been very interesting. What would, according to him, be the future religion? Probably he would always say the same as the past.
Victor Hugo says God is an eclipsing lighthouse, and certainly now we are passing through that eclipse.
I only wish that someone could prove to us something calming which comforted us, so that we stopped feeling guilty or unhappy and that we could go forward with out losing ourselves in the solitude or nothingness, and without having to fear every step, or to nervously calculate the harmwe may unintentionally be doing to others.
In odd Giotto's biography it said that he was always suffering and always full of ardour and ideas.
There, I would like to arrive at this assurance that makes one happy, cheerful and alive all the time. That would be easier to do in the country or a small town than in that Parisian furnace.
I would not be surprised if you will like the starry night and the ploughed fields - they are more tranquil than the other canvases. If the work always turned out like that I would have less concerns about money, because people would take to them more easily if the technique continued to be more harmonious. But this blasted mistral is very bothersome to do brushstrokes that hold and are well interwoven, with a feeling like music played with emotion.
With this calm weather I let myself go and I don't have to struggle against impossibilities
Tanguy's consignment arrived and I thank you very, very much for it because I also hope to be able to make something during autumn for the next exhibition. What is now the most pressing is 5 or even 10 meters of canvas. I write again that I will send Gauguin's letter with the reply.
Very interesting what you say of Maurin ; at 40 francs his drawings are certainly not expensive. More and more I come to believe that the true and proper trade of painting is one has to let oneself go with one's taste, one's learning before the masters, in short one's faith.
It is not any easier, I am convinced, to make a good painting that to find a diamond or a pearl ; it requires pain and one must risk his life as a dealer or as an artist. But once one has some good stones then self doubt is not necessary, and one must boldly stick to a certain price. In the meantime… but while this idea encourages me to work, still naturally I suffer at having to spend money. But in the midst of my suffering this idea of the pearl came to me, and I would not be surprised if it didn't do you good too in times of discouragement. There are as few good paintings as there are diamonds.
And there is absolutely nothing dishonest about doing business with good stones. One can believe in oneself when one sees that the thing one is selling is good. Now, if people like paste, and it pleases them and since they ask for it, good, one can have it in the store, but it isn't enough to make one feel good about oneself with the good paintings, yet one can feel oneself and be firm, since it is a pure error that there is as much as one wants. Perhaps I am expressing myself badly, but I have thought about this a good deal these days, and calm has come to me about this Gauguin affair.
All these Gauguins are good stones, and so let us boldly be merchants of Gauguin.
Milliet says a good hello. I now have his portrait with a red kepi on emerald background, and in the background the arms of his regiment, the crescent and a 5-pointed star.
A good handshake and until next time and many thanks and I hope that the pains will not last long. Have you seen a doctor again[?] Look after yourself, because physical pain is so agonising.
Ever yours,
Vincent
Editor's note : For many years this letter was considered as having a different ending. The recent re-emergence of the sketch of Vincent's house from obscurity revealed that he had finished his letter on the reverse side of it. The final four pages have been restored to their rightful place as the end of letter 541a At this time, Vincent was 35 year old
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