Bedroom at Arles is a painting based on which Van Gogh series of three works?
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Bedroom at Arles Bedroom at Arles is a 1992 oil and Magna on canvas painting by Roy Lichtenstein based on the "Bedroom in Arles" series of paintings by Vincent van Gogh. It is the only quotation of another painting that Lichtenstein did of an interior. It is located on the Fitzhugh Farm in Maryland in the Robert and Jane Meyerhoff Collection.
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Bedroom in Arles Bedroom in Arles (French: "La Chambre à Arles" ; Dutch: "Slaapkamer te Arles" ) is the title given to each of three similar paintings by 19th-century Dutch Post-Impressionist painter Vincent van Gogh.
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Farmhouse in Provence Farmhouse in Provence also known as Entrance Gate to a Farm with Haystacks was made in 1888 by Vincent van Gogh in Arles in Provence at the height of his career. Partially due to having been inspired by painter Adolphe Monticelli, Van Gogh sought the Provence region of France to further expand his painting skill and experience. Van Gogh used several pairs of complementary colors in the "Farmhouse in Provence", the color contrast bringing an intensity to his work. The painting is owned by the National Gallery of Art of Washington, D.C..
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Les Alyscamps Les Alyscamps (or 'L'Allée des Alyscamps') is a pair of paintings ("pendants") by Dutch painter Vincent van Gogh. Painted in 1888 in Arles, France, it depicts autumnal scenes in the Alyscamps, an ancient Roman necropolis in Arles which is lined with poplars and stone sarcophagi.
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Triptych A triptych ( ; from the Greek adjective "τρίπτυχον" ""triptukhon"" ("three-fold"), from "tri", i.e., "three" and "ptysso", i.e., "to fold" or "ptyx", i.e., "fold") is a work of art (usually a panel painting) that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works. The middle panel is typically the largest and it is flanked by two smaller related works, although there are triptychs of equal-sized panels. The form can also be used for pendant jewelry.
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The Letters of Vincent van Gogh Vincent's sister-in-law and wife to his brother Theo, Johanna van Gogh-Bonger, spent many years after her husband's death in 1891 compiling the letters, which were first published in 1914. Arnold Pomerans, editor of a 1966 selection of the letters, wrote that Theo "was the kind of man who saved even the smallest scrap of paper", and it is to this trait that we owe the 663 letters from Vincent. By contrast Vincent infrequently kept letters sent him and just 84 have survived, of which 39 were from Theo. Nevertheless, it is to these letters between the brothers that we owe much of what we know today about Vincent van Gogh. Indeed, the only period where we are relatively uninformed is the Parisian period when they shared an apartment and had no need to correspond. The letters effectively play much the same role in shedding light on the art of the period as those between the de Goncourt brothers did for literature.
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Otto van Rees (artist) The Dutch artist Otto van Rees (1884-1957), son of a family of academics, started his career in Paris, where he moved in 1904. By intermediation of Picasso, whom Van Rees met in the café Le Lapin Agile, Van Rees put up at an atelier in the Bateau Lavoir. At the Académie Carrière he became friends with George Braque. The Bateau Lavoir was a lively place where his contact with other artists, painters, (Picasso, Léger, Gris, Van Dongen) as well as writers (Max Jacob, Blaise Cendrars, Apollinaire) deepened. His wife and fellow artist, Adya van Rees-Dutilh joint him soon after. Paris would be their winter residence on and off for over 30 years. Some of his fellow artists became dear friends over many years: Severini, Segal, Freundlich, Mondriaan, Arp, Zadkine. The summers were spent at Fleury-en-Bière, a little town next to Barbizon. Kees van Dongen spent the summer of 1905 there, together with Otto and Adya van Rees in the farmhouse Van Rees rented. They painted together in the fields around the village. Picasso was also a visitor, as well as other artists: Otto Freundlich, Marc Chagall and Blaise Cendrars to mention a few. After a stay in Italy his first grand exposition of 48 luministic paintings was held in 1908 in Rotterdam at the Oldenzeel gallery, gallery famous for its exhibitions (1892-1904) of works by Vincent van Gogh. In Paris, during the early years, Otto van Rees exhibited his work at the gallery of Berthe Weil and Clovis Sagot and at the yearly Salon des Artistes Indépendants. He also had part in the Sonderbund, Cöln in 1912 and the famous exhibition of Der Sturm in 1913. In 1912-1916 the art of Van Rees went through changes, pointillism and luminism lost his interest. His work evolved from physic cubism, as Apollinaire described it, to analytic cubism. One of the first collectors of his art then was Arthur Jerôme Eddy. During the first world war Van Rees changed his French summer residence for Ascona, little town at the Lago Maggiore. The artistic and anarchistic colony there was inspiring. With Arp, who later spent Christmastime 1915 at the Van Rees, Otto and Adya held the famous exposition of November 1915 at the gallery Tanner in Zürich. This exposition is now seen as the beginning of Dada-Zürich. The art dealer Henri Kahnweiler named Van Rees as an artist that brought the collage technique from Paris to Zürich as the start of Dada Art. Ascona would keep Van Rees’ preference. In 1928 Otto van Rees constructed a house on the hills there. The house had a ground plan of a circle and a square, announcing the famous 1930 collective art show of Cercle et Carré. After the tragic death of their oldest daughter, killed in a train accident in France, Otto van Rees spent more and more time in Holland. He moved there in 1934. In Holland the young painters called him their Nestor, who taught them the profound values on art. Many public buildings in Holland: churches, railway station, courthouse, ministry, theatres were embellished by his mural paintings .
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Piet Ouborg Piet or Pieter Ouborg (10 March 1893, Dordrecht - 3 June 1956, The Hague) was a Dutch artist. He started out in life as a teacher; this profession was threatened with interruption by the outbreak of World War I when Ouborg was liable to enlistment. He managed to evade military service by taking up a teaching position in the Dutch East Indies. While there, Ouborg took up drawing and painting. Returning to the Netherlands after the war, Ouborg found himself drawn to the work of Vincent van Gogh. In 1923 he began to experiment with painting in the Cubist style. In 1931, Ouborg visited Brussels and found himself drawn towards surrealism. During the World War II and its immediate aftermath, Ouborg was drawn increasingly into the circle of the COBRA (avant-garde movement) and its members such as Karel Appel and Corneille.
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The Cubist Painters, Aesthetic Meditations Les Peintres Cubistes, Méditations Esthétiques (English, The Cubist Painters, Aesthetic Meditations), is a book written by Guillaume Apollinaire between 1905 and 1912, published in 1913. This was the third major text on Cubism; following "Du "Cubisme"" by Albert Gleizes and Jean Metzinger (1912); and André Salmon, "Histoire anecdotique du cubisme" (1912).
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Village at Sunset Village at Sunset is an oil painting created in 1884 by Vincent van Gogh.
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Double-square painting Double-square paintings is a painting made on uncommonly large canvases which have one dimension that is twice the size of the other. Vincent van Gogh used double-squares almost exclusively during the final weeks of his life in Auvers, in June and July 1890. Prior to Van Gogh, artists such as Charles-François Daubigny and Puvis de Chavannes had used canvases of similar proportions.
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Landscape with a Church at Twilight Landscape with a Church at Twilight is an oil painting created in 1883 by Vincent van Gogh.
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The Ballet Class (Degas, Musée d'Orsay) The Ballet Class (French: La Classe de danse) is a painting by Edgar Degas, which was painted between 1871 and 1874. It is in the collection of the Musée d'Orsay, Paris, France. It was commissioned by Jean-Baptiste Faure. Degas temporarily abandoned work on this painting, and delivered a work of a similar name to Faure.
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Marshy Landscape Marshy Landscape is an oil painting created in 1883 by Vincent van Gogh. From 1883-85 van Gogh lived in Drenthe, a remote district of the Netherlands, flat and riven with canals, a landscape of marsh and mist. Throughout 1883 the artist worked on his series of peasants' cottages, exploring the local terrain of marshes and peat fields, ditches and canals. Like much of his work of this period, "Marshy Landscape" is rendered with subdued earthy tones, giving the impression of being painted with the very soil itself. Alone in the wilderness, Vincent drew upon the power of nature, the stillness and silence of the marshes inspiring him. He wrote to his brother Theo:
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The Birth of Venus (Cabanel) The Birth of Venus (French: "Naissance de Venus") is a painting by the French artist Alexandre Cabanel (1823–1889). It was painted in 1863, and is now in the Musée d'Orsay in Paris. A second and smaller version (85 x 135.9 cm) from ca. 1864 is in Dahesh Museum of Art. A third (106 x 182.6 cm) version dates from 1875; it is in the Metropolitan Museum of Art in New York City.
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Homage to Cézanne Homage to Cézanne (French: "Hommage à Cézanne" ) is a painting in oil on canvas by the French artist Maurice Denis dating from 1900. It depicts a number of key figures from the once secret brotherhood of Les Nabis (Hebr. the Prophets). The painting is a retrospective; by 1900 the group was breaking up as its members matured.
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Three Studies of the Male Back Three Studies of the Male Back is a 1970 oil-on-canvas triptych by the British painter Francis Bacon. Typical of Bacon's figurative but abstract and distorted style, it depicts male figures isolated within flat nondescript interior spaces. Each figure is a portrait of Bacon's lover George Dyer.
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Still Life: Vase with Pink Roses Still Life: Vase with Pink Roses was painted in 1890 by Vincent van Gogh in Saint-Rémy. At the time the work was painted Van Gogh was readying himself to leave the Saint-Rémy asylum for the quiet town of Auvers-sur-Oise outside of Paris. The painting reflects the optimism Van Gogh felt at that time about his future, both in his choice of flowers as a subject and the colors used. The painting is owned by the National Gallery of Art of Washington, D.C.
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Copies by Vincent van Gogh Copies by Vincent van Gogh form an important group of paintings executed by Vincent van Gogh between 1887 and early 1890. While at Saint-Paul asylum in Saint-Rémy-de-Provence, France, where Van Gogh admitted himself, he strived to have subjects during the cold winter months. Seeking to be reinvigorated artistically, Van Gogh did more than 30 copies of works by some of his favorite artists. About twenty-one of the works were copies after, or inspired by, Jean-François Millet. Rather than replicate, Van Gogh sought to translate the subjects and composition through his perspective, color, and technique. Spiritual meaning and emotional comfort were expressed through symbolism and color. His brother Theo van Gogh would call the pieces in the series some of his best work.
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Arles: View from the Wheat Fields Arles: View from the Wheat Fields (also known as "Wheat Field with Sheaves and Arles in the Background") was painted by Vincent van Gogh in June, 1888, among a number of paintings he made of wheat fields that summer. It is currently displayed at the Musee Rodin in Paris, France.
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Langlois Bridge Langlois Bridge (French: "Pont de Langlois") was a drawbridge in Arles, France, which was the subject of several paintings by Vincent van Gogh in 1888. Being one of eleven drawbridges built by a Dutch engineer along the channel from Arles to Port-de-Bouc, this bridge might have reminded the artist of his homeland.
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Seine (Van Gogh series) "Seine" (paintings) is the subject and location of paintings that Vincent van Gogh made in 1886. The Seine has been an integral part of Parisian life for centuries for commerce, travel and entertainment. Here van Gogh primarily captures the respite and relief from city life found in nature.