In the late summer of 1888, Vincent van Gogh undertakes to paint a number of canvases intended to decorate the Yellow House, his rented accomodation in Aries. Between mid August 1888,when this project is initiated in anticipation of sharin the Yellow House with Paul Gauguin, and October 23 or 24, 1888, when Gauguin arrives in Aries from Pont Aven, seventeen size 30 canvases for this decoration are painted. In describing two of these canvases to Theo van Gogh, Vincent expli-citely states that much of the meaning of his subject matter is to be conveyed by the use of suggestive or expressive colour. Several other times during the period in which the decoration is Vincent's major concern, a reference is made in the letters to Theo, to a concern with exploring the suggestive and expressive possibilities of colour. This thesis examines the nature of Vincent's concept of suggestive colour and it's role in the decoration canvases for the Yellow House As neither aspect of this topic have been examined in the van Gogh literature, this thesis is divided into two parts. In Part One, the concern with suggestive colour is shown to have it's roots in Nuenen in 1884 and 1885 where Vincent was introduced to several art texts that attributed the impact cfDelacroix' paintings to his understanding of the colour laws, in particular the various effects achieved through the juxtaposition or admixture of complementary colours. An analysis of Vincent's writings at this time shows that he gives a symbolic significance to his use of complementary admixtures and uses such colours to convey a particular aspect of his subject matter. While Vincent's palette and technique change radically in Paris and Aries due to Vincent's contact with impressionism and neoimpressionism and the exaggerated colour effects of the Japanese print, the re-emergence of a concern with the suggestive properties of colour which is announced in the early summer of 18 88, is based to a large extent on the significance given to complementary relationships formed in , s-Nuenen. An analysis of the colour structures in several canvases executed in July and early August of 1888, in light of the special role given to complementary relationships, shows that Vincent intended his use of complementary colours to convey much of the meaning of his images. Part Two examines the decoration canvases for the Yellow House. A study of Vincent's letters reveals the Yellow House as an essential part of Vincent's vision of a studio in the south that would give asylum and refuge to artists in need. This studio was to provide for artists of the present and the future, as Vincent sees his own role as a painter as a link in a chain of artists working with colour. By establishing a studio that is to remove the threat of poverty and hardship from artistic life Vincent hoped to create a stable and serene environment, enabling artists to work productively/ in turn effecting an artistic renaissance and a new art of colour. Examined individually within this - context several of the decoration canvases are shown to refer to ijhi.s vision, suggesting a thematic link for the series as a whole. Suggestive colour continues as a major concern during the period in which the decoration canvases are painted. Vincent sees complementary harmonies and contrasts as able to convey "l'idees poetiques" and uses such colour relationships in several of the canvases of the series to convey important aspects of meaning. The decoration for the Yellow House thus emerges as a crystallization of Vincent's vision of an association of artists working towards a renaissance, and as a major effort to formulate an expressive art in the summer and fall of 1888. Both aspects establish the series as an important development in the evolution of Vincent's art and theory. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Tesis

La pintura como expresión de lo interior se ha manifestado a lo largo de la historia humana. Si bien en el siglo XX la motivación por el tema de la expresión interior se ha vuelto un criterio central en el arte esto no quiere decir que no se haya llevado a cabo en épocas anteriores. Por ejemplo, las culturas prehispánicas o los pintores de la Edad Media reflejaron la interioridad del hombre de su época en la realización de las formas, los colores, los símbolos, etc., quizá no de la manera que vemos en el siglo XX sino de manera más sutil. La expresión de lo interior se basa en fundamentos innatos a la naturaleza humana como son la individualidad, el sentimiento, las emociones, el deseo de libertad, la angustia vital y la soledad creadora. Esto se da con el contexto histórico y filosófico de cada época. A partir de esta naturaleza es que el hombre ha sentido la necesidad de expresarse: materializando su esencia; es decir permitiendo ver todo lo que lo mueve internamente. Plasma así en sus obras la percepción de la vida mediante el filtro de su interioridad. Bajo esta visión general como expresión interna del ser humano se sustenta esta investigación y el trabajo plástico que se presenta a consideración. La investigación busca definir la expresión de lo interior mediante reflexiones múltiples. Pasa revista a los fundamentos que la sostienen como búsqueda indispensable para materializar la esencia humana.

Orientador: Jorge Sidney Coli Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T22:41:45Z (GMT). No. of bitstreams: 1 Martinez_FelipeSevilhano_M.pdf: 14453606 bytes, checksum: 268602accf94907a8381f9d4ac8e3c3c (MD5) Previous issue date: 2015 / Resumo: O Museu de Arte de São Paulo (MASP) possui cinco obras do pintor holandês Vincent van Gogh em sua coleção. São elas: Natureza Morta com Vaso, Prato e Flores; O Escolar; O Banco de Pedra no Asilo em Saint-Rémy; A Arlesiana; O Passeio ao Crepúsculo. O presente trabalho estuda as questões suscitadas por tais obras, de modo a compreender aspectos fundamentais sobre a obra e a biografia de van Gogh. A partir das obras da coleção, o presente estudo aborda questões que variam desde um problema de atribuição, até aspectos concernentes à mitologia criada em torno do pintor, marcada pela loucura e pelo suicídio / Abstract: There are five pictures by the Dutch painter Vincent van Gogh at the permanent collection of the Museu de Arte de São Paulo. They are: The Still Life with Vase Plate and Flowers; The Schoolboy; The Stone Bench at the Saint-Rémy Asylum; L¿Arlesienne; The Evening Walk. The present study aims to answer the questions posed by these artworks, which vary from an attribution problem to issues concerning the mythology created around the painter, marked by madness and suicide / Mestrado / Historia da Arte / Mestre em História

Thesis (MA VA (Visual Arts))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: The primary function of paintings and novels in Western culture has historically been considered the depiction or description of reality. Over the course of the last century, however, the inherent reflexivity of both art and literature has become progressively more insistent and programmatic, in such a way as challenges the relationship between form and the world. A re-thinking of the role of representation is thus central to both modernism and postmodernism. This thesis is an investigation into the relationship between modern and postmodern reflexivity. Through the close examination of four artists who serve as case studies, I argue that literary and artistic modernism‟s emphasis on form and subjectivity, as well as the tendency of postmodern art and writing to flaunt its own status as rhetoric/fiction, are different facets of a continuous response to a rapidly changing world. Using the insights of post-structuralist theory, I suggest that whereas modernism‟s reflexive drive is directed towards truth and self-knowledge, postmodern reflexivity is centrally concerned with the elusive, continually shifting nature of meaning. What emerges in the light of the practice of individual artist and authors, however, is that the modern and postmodern reflexive modes are not necessarily mutually exclusive, but can co-exist, producing a vital and necessary tension. / AFRIKAANSE OPSOMMING: Beskrywing en uitbeelding van die werklikheid word geskiedkundig as die kernfunksies van skilderye en die roman in die Westerse kultuur beskou. Gedurende die laaste eeu het die inherente refleksiwiteit van beide kuns en letterkunde toenemend meer programmaties en sistematies geword. Dit het geskied op „n wyse wat die verhouding tussen vorm en die wêreld uitdaag. „n Herbesinning van die rol van uitbeelding of representasie is gevolglik van sentrale belang vir beide modernisme en postmodernisme. Hierdie tesis is „n ondersoek na die verwantskap tussen moderne en postmoderne refleksiwiteit. Deur „n noukerige ondersoek van vier kunstenaars se werk, stel ek voor dat die letterkundige en artistieke klem van modernisme op vorm en subjektiwiteit, sowel as die gebruiklike kenmerk van retoriek/fiksie, verskillende aspekte is van „n voortdurende weerkaatsing op „n vinnig veranderende wêreld is. Deur die teoretiese perspektiewe van post-stukturalisme toe te pas, stel ek voor dat modernistiese refleksiwiteit neig na die waarheid en selfkennis, terwyl postmoderne refleksiwiteit fokus op die onbepaalde en veranderlike aard van betekenis. Nietemin, uit my kritiese beskouing van die kreatiewe praktyk van afsonderlike kunstenaars en skrywers blyk dit dat die modernistiese en postmodernistiese refleksiewe benaderinge nie noodwendig mekaar uitsluit nie, maar saam kan bestaan en „n dinamiese en noodsaaklike spanning skep.