🍷 Analisis Lukisan The Starry Night

In this post, I will be taking a closer look at “The Starry Night” by Vincent van Gogh, which he painted in 1889. With swirling lines and dramatic colors, this dreamy depiction is one of van Gogh’s most iconic works. “I don’t know anything with certainty, but seeing the stars makes me dream.” Vincent van Gogh Interesting Facts About “The Starry Night” Swirling Brushwork Used to Create a Sense of Movement and Turbulence Color and Light Where Realism Meets Abstraction Key Takeaways Additional Readings Want to Learn More? Thanks for Reading! Vincent van Gogh, The Starry Night, 1889 Interesting Facts About “The Starry Night” The painting is based on van Gogh’s view from his room in the mental asylum at Saint-Rémy-de-Provence. It was painted from memory during the day, as he was not able to paint from his room. But he was able to create sketches in ink and charcoal. Vincent van Gogh, Starry Night Drawing, 1889 “The Starry Night” is one in a series of 21 versions based on the same subject. It is the only night version in the series. Letters from van Gogh to his brother Theo provide insights into van Gogh’s inspiration and fascination with the night. In 1889 he wrote, “Through the iron-barred window I can make out a square of wheat in an enclosure, above which in the morning I see the sun rise in its glory.”Although it is one of his most famous works, he initially considered the painting to be a failure based on his letters to suggests the moon was not actually in the crescent phase, as depicted in the painting. Rather, it would have been about three-quarters full, but van Gogh probably painted it this way for stylistic also suggests that the brightest “star” in the painting, just to the right of the large cypress tree pictured below, may actually be Venus which would have been visible at the time van Gogh was painting in the asylum. Swirling Brushwork Used to Create a Sense of Movement and Turbulence When I think of “The Starry Night”, the first thing which comes to mind is the swirling brushwork which creates a sense of movement and turbulence, especially in the sky. In fact, a physicist by the name of Jose Luis Aragon suggested that the swirling brushwork in paintings like “The Starry Night” have an uncanny resemblance to the mathematical expression of real turbulence shown in natural occurrences like whirlpools and air streams. You can read more on this here. Van Gogh used a loaded brush to build up a thick, impasto texture which you can see in the close-ups below. This impasto texture is a key feature in many of van Gogh’s works. Color and Light In a letter to his brother Theo, van Gogh wrote that the “starry night is more alive and more richly colored than the day”. This may explain his exaggerated use of of color. Van Gogh used rich blues and yellows to paint the night sky, with light greens scattered throughout. His lack of blending creates a broken color effect, which seems to reiterate the sense of movement and turbulence in the painting. The colors appear to vibrate as your eyes bounce between all the distinct colors. He painted the light of the stars, moon and houses by contrasting vivid yellows and oranges against the blues and greens in the rest of the painting. If you look closely, you will see that in most cases he used a saturated yellow or orange in the centre, then used lighter but less saturated colors around the outside. He used a light green almost as an interim color to transition from the bright yellows and oranges to the deep blues. Green being what you get when you mix yellow and blue together. By doing that, there appears to be some kind of color gradation even though he did not use any blending. Where Realism Meets Abstraction To me, this painting marks an interesting area somewhere between realism and complete abstraction. Van Gogh pushed the colors and style in order to depict his unique interpretation of the world, but not so much as to lose all qualities of realism and representation. You know exactly what the subject is, but it is far from what you would see in life. I enjoy this area in painting as I think it allows for some personal expression, without departing too far from representational art standards. But of course, this is all just personal commentary which does not really matter. There is no right answer with this kind of stuff. Some admire van Gogh for his unique interpretations, whilst others criticise him for stepping too far away from the boundaries of reality. It is just interesting to ponder over. Key Takeaways Here are some of the key takeaways of “The Starry Night” which you could incorporate into your own paintings Exaggerating certain elements like color and perspective can really help you depict the emotions and feelings you have about a subject. In this case, van Gogh exaggerated the colors, form and perspective to create a very dreamy paint light, you could use a strong color contrast, like yellow and orange against brushwork can be used to create a sense of movement and turbulence in your repeating similar techniques and processes, you end up creating a strong style which people can remember you by. Additional Readings 11 Interesting Facts About Vincent van Gogh Inspirational Quotes by Vincent van Gogh How Vincent van Gogh Used Complementary Colors Want to Learn More? You might be interested in my Painting Academy course. I’ll walk you through the time-tested fundamentals of painting. It’s perfect for absolute beginner to intermediate painters. Thanks for Reading! I appreciate you taking the time to read this post and I hope you found it helpful. Feel free to share it with friends. Happy painting! Dan Scott Draw Paint Academy About Supply List Featured Posts Products Enjoyed this post? Join over 123,000 artists who subscribe to the Draw Paint Academy newsletter.

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PENDEKATANAPRESEASI DAN KRITIKAN SENI ~ PENDEKATAN SECARA LOGIK. Vincent Van Gogh. The Starry Night. 1889. Oil on canvas 29” x 36/4”. “The Starry Night” hasil karya Van Gogh ini telah dihasilkan oleh beliau ketika menjalani proses pemulihan penyakit sawan. Catan ini telah dihasilkan berdasarkan pemerhatian beliau pada waktu malam.

Photo Kelly Richman-Abdou / My Modern Met During his short career, Post-Impressionist pioneer Vincent van Gogh painted an eclectic array of subject matter. As evident in his prolific body of work, he often reworked and revisited several different themes, including still-life depictions of flowers, revealing self-portraits, and gleaming nocturnes, including Starry Night Over the Rhône, a lustrous landscape painting completed in 1888. Like many of his most celebrated paintings, Starry Night Over the Rhone was inspired by Van Gogh's time spent in the South of France. Though this piece is not as well-known as the swirling Starry Night he would later complete, it remains an important part of his portfolio; in addition to illustrating his distinctive approach to painting “night effects,” Starry Night Over the Rhône captures a rare moment of calm in the chaotic final years of his life. Van Gogh's Time in Arles In 1853, Van Gogh was born in the Netherlands. Though he expressed an interest in art as a child, he pursued several different careers before seriously considering painting full-time at the age of 27. After seeing no artistic success in the Netherlands, he decided to join his art dealer brother Theo in Paris in 1886. Unfortunately, Van Gogh's time in the French capital was equally futile. “It seems to me almost impossible to be able to work in Paris, unless you have a refuge in which to recover and regain your peace of mind and self-composure,” he wrote in a letter to Theo in 1888. “Without that, you’d be bound to get utterly numbed.” In pursuit of this “peace of mind,” Van Gogh headed south, landing in the idyllic commune of Arles. Vincent van Gogh, “Café Terrace at Night,” 1888 Photo Wikimedia Commons Public Domain While in Arles, Van Gogh developed his signature style, characterized by a vivid color palette and expressive brushwork. This approach is increasingly evident in all of his work completed in 1888, including his Bedroom at Arles series, Café Terrace at Night, and Starry Night Over the Rhône. Starry Night Over the Rhone Vincent van Gogh “Starry Night Over the Rhone,” 1888Photo Wikimedia Commons Public Domain Van Gogh painted Starry Night Over the Rhône from the bank of the Rhône, a major river that runs through Europe. This spot proved ideal for Van Gogh, as he had grown increasingly interested in the effects of light—particularly, the artificial illumination of gas lamps—at night. To evoke the movement of the stars' energetic twinkling and glimmering reflections, he employed his characteristically energetic brushstrokes. When painting Starry Night Over the Rhône, however, it was not brushwork that preoccupied the artist; it was color. Van Gogh explains the extent of his tonal attention in a letter to Theo. “The sky is aquamarine, the water is royal blue, the ground is mauve.” He continues, “The town is blue and purple. The gas is yellow and the reflections are russet gold descending down to green-bronze.” Though full of vibrant energy, the scene is calm; the only people present in the composition are “two colorful figurines of lovers in the foreground,” and, despite its sparkling stars, the sky elicits a sense of tranquility. Ultimately, this atmosphere is what sets Starry Night Over the Rhône apart from its more famous counterpart The Starry Night. The Other Starry Night Van Gogh painted Starry Night Over the Rhône while living in Arles. During this period, he was becoming increasingly mentally ill. His canvases, however, did not yet reveal his inner turmoil, as evident in the serene scene explored in Starry Night Over the Rhône. Toward the end of his stay in Arles, however, Van Gogh reached a tragic turning point. Following an emotionally-charged confrontation with fellow artist Paul Gauguin, Van Gogh cut off part of his own ear. The next morning, he was admitted to a hospital in Arles, only to be discharged a few days later. Realizing the severity of his mental health issues, he opted to leave Arles and check himself into a mental health facility in the nearby Saint-Rémy-de-Provence. During his stay at the asylum, Van Gogh adopted an extra room as an artist’s studio and completed 150 paintings, including The Starry Night, a piece poignantly painted through his room's “iron-barred window.” Painted just a few months apart, The Starry Night and Starry Night Over the Rhône are strikingly similar in both style and subject matter. However, there is a drastic divergence in their undertones, as, in the later painting, “the violence of his troubled psyche is fully expressed.” Left Detail of “Starry Night Over the Rhone,” Right Detail of “The Starry Night” On July 27, 1890, just over a year after he completed The Starry Night, Van Gogh shot himself in a wheat field. Two days later, he succumbed to his injuries. The Legacy of Starry Night Over the Rhône Though less famous than the later rendition, Starry Night Over the Rhône is still considered one of Van Gogh's major masterpieces. A gem of the Musée d'Orsays permanent collection, the painting continues to captivate viewers with its mesmerizing brushwork, radiant color palette, and serene subject matter. What makes this work even more special is the significance it held to Van Gogh. Noting that the nights in Arles were “even more richly colored than day,” he became obsessed with the idea of replicating the South of France's starry sky. Finally, with Starry Night Over the Rhône, the artist was able to achieve this dream with flying colors. Related Articles Handmade Candles Capture the Enchanting Glow of Van Gogh’s Famous Paintings This Exhibit Gives Visitors the Experience of Stepping Inside Van Gogh’s Paintings Van Gogh Museum Puts Nearly 1,000 Paintings and Drawings Online

Seuratlabored extensively over A Sunday on La Grande Jatte—1884, reworking the original as well as completing numerous preliminary drawings and oil sketches (the Art Institute has one such sketch and two drawings). With what resembles scientific precision, the artist tackled the issues of color, light, and form.

When one experiences the stars and infinity with great vividness, then despite the routine, life becomes almost enchanted. When I have a terrible need of—shall I say the word?—religion, then I go out at night to paint the stars.—Vincent van Gogh1 ON APRIL 24, 1889, Theo van Gogh2 made the following request to the director of the Hospital of Saint-Paul–de-Mausole in Saint-Rémy-de-Provence, France With the consent of the person concerned, who is my brother, I would like to ask you to admit to your establishment Vincent Willem van Gogh, artist, age 36, born at Groot-Sundert Netherlands, at present living in Arles. . . . As his confinement is required more to prevent a recurrence of previous attacks rather than because his mental condition is at present affected, I hope that you will find no inconvenience in granting him the liberty to paint outside the establishment when he wishes to do so. On May 8, 1889, Vincent was admitted to the hospital asylum and, on admission, was "perfectly calm and explained his case himself to the director as a man fully conscious of his condition."2 The following month, in mid June, asymptomatic, and supported by the structured life of the asylum, he painted The Starry Night. Vincent van Gogh 1853-1890, Dutch, The Starry Night, 1889. Oil on canvas. 29 × 36¼ in. Courtesy of the Museum of Modern Art, New York, NY; acquired through the Lillie P. Bliss Bequest. Vincent was initially hospitalized in Arles on December 24, 1888, after the notorious episode when he apparently threatened Gauguin with a razor and, later that night, cut off the lower part of his own left ear. He presented the ear fragment to a prostitute; much as a matador does to his lady after the death of the bull, although he had no recollection of these events. Vincent suffered 3 attacks in Arles, from December 24, 1888, to January 19, 1889, from February 4 to February 18, 1899, and February 26 to mid April 1889. Although he seemed fully recovered between episodes and was treated by a local physician, 30 citizens of Arles petitioned the mayor asking that Vincent be returned to his family or committed to an asylum stating that "he does not dispose of his full mental faculties, that he indulges in excessive drinking after which he finds himself in such a state of excitement that he does not know what he says or does and that his instability inspires public fear."2 His friend Signac reported that Vincent ate hardly anything and what he drank was always too much. After spending a day in the blazing sun he would "take his seat on the terrace of a café. And the absinthes and brandies would follow each other in quick succession."2 During his episodes he reported both visual and auditory hallucinations, writing to his sister that he "didn't in the least know what I said, what I wanted, and what I did."1 When confronted with his neglect and alcohol use, he wrote to Theo "I admit all that, but at the same time it is true that to attain the high yellow note that I attained last summer, I had to be pretty well keyed up."1 His home in Arles was the famed "Yellow House" that he and Gauguin shared for 2 months in an aborted attempt to establish the Studio of the South. This was to be an art colony that would promulgate a new postimpressionist movement in art that would express the religious impulse with an authentic emotional immediacy and directness that they felt must be restored in the modern era. Vincent's father and grandfather were ministers in the Dutch Reform Church and, after initially failing as an art dealer he, too, had pursued the ministry and lived for a time as an evangelist until his efforts to identify with the poor and lead a Christ-like life proved too much for the authorities of the church. Subsequently, he turned away from traditional religion, preferring a religion of nature. Although stimulated toward a religious vocation by his family, Blumer3,4 suggests that his heightened religiosity might also have been linked to underlying temporal lobe epilepsy. The painting is the culmination of his examination of the night sky initiated a year earlier with Starry Night Over the Rhône. An avid reader, he had written1 to his sister Anna then that he sought to reproduce in his painting the feeling that Walt Whitman elicited in him in his poetry when Whitman wrote of "the great starlit vault of heaven." The Starry Night is an imaginative reconstruction of natural images. Vincent wrote that the "imagination alone can lead us to the creation of a more exalting and consoling nature than a single brief glance at reality."5 Yet he preferred to accurately reflect nature, noting that he may "exaggerate and sometimes change a motif but in the end I never invent."5 Thus, The Starry Night depicts the eastern predawn sky as Vincent saw it from his room at Saint-Rémy at about 4 AM in mid June. The position of the morning star, Venus near the cyprus tree on the left, and the waning moon, with its aureole, are astronomically consistent6 with the early morning sky of June 19, 1889, the day he said he completed the The central image of interlocking clouds may be drawn from his knowledge of popular depictions of the whirlpool galaxy M51. Out of these elements, with the intervention of his imaginative genius, The Starry Night has become a visionary image with its network of pulsating white, orange, and blue stars above the village surrounded by wheat fields and an olive grove. Although the sky is in turmoil, the overall effect of the painting is an invigorating calmness. For Vincent, this may be an image of psychological mastery following the suffering that he had experienced. The cloudlike images in the center of the sky assume the archetypal form of a mandala, a symmetrical form that frequently emerges as psychological conflicts come into balance. The flaming cyprus tree dwarfs the traditional church steeple on the right. The olive trees seem to echo the undulating currents in the sky. It is as if the tidal wave of his illness represented by the turbulence in the sky and the flowing lines on earth have now been sublimated into a composition that documents his newfound stability. Yet despite the balance found here, the looming dark cypress, which is on the viewer's left, the funeral tree and symbol of death in this region of France, may portend another episode of illness. Indeed, in July, a month after completing this painting, van Gogh suffered another attack. His temperamental difficulties were a lifelong problem in his relationships with others. He was exquisitely sensitive to loss and rejection and responded with depressed moods. Epilepsy was the diagnosis he was given at the time in both Arles and Saint-Rémy. Blumer reviews3,4 the psychiatric aspects of temporal lobe epilepsy and applies diagnostic criteria to Vincent's illness, arguing convincingly that Vincent's presentation is consistent with the psychosis of epilepsy and interictal dysphoric disorder. It is proposed that Vincent's facial asymmetry may have resulted from a birth injury that led to mesial temporal sclerosis. The cylothymic quality of his moods has led Jamison7 to a diagnosis of bipolar disorder, or at least, periods of major depression and hypomania. Arnold8 has proposed the diagnosis of acute intermittent porphyria with attacks initiated by his poor nutrition and use of absinthe, alcohol, turpentine to mix paints and clean brushes, pinene, and camphor for insomnia. Regardless of the diagnosis he received, all authors agree that his use of absinthe,8 the "cocaine of the artists of the last century,"9 may have contributed to his attacks. Because of its toxicity, absinthe was subsequently banned in France and throughout the world. A major ingredient in absinthe is alpha thujone a convulsant that blocks the γ-aminobutyric acid type A GABAA receptor chloride It is proposed that when Vincent was released from the hospital in Arles, his return to the use of alcohol and absinthe precipitated the recurrence of his attacks. After diagnosing his condition as epilepsy, Dr Ray, his physician in Arles, used a bromide salt, the standard medication available at the time for treatment. Vincent seemed to respond and wrote to Theo that "the unbearable hallucinations have ceased, and are now reduced to simple nightmares, in consequence of taking bromide of potassium, I think."1 Potassium bromide may well have benefited him, as it functions as an anticonvulsant that also affects the GABAergic Yet when he entered the asylum in Saint-Rémy, his custodian physician discontinued its use. Vincent probably suffered from partial complex seizures temporal lobe epilepsy as well as a mood disorder aggravated by stress and his concerns about continued support from Theo. His illness may have been exacerbated by his chronic use of absinthe, brandy, turpentine, and camphor. Ironically, an ornamental tree, the thuja tree, Thuja occidentalis, a source for alpha thujone was planted over his grave where it remained for 15 years. When his coffin was disinterred for reburial next to that of his brother Theo, the roots of the thuja tree entwined Alpha thujone, the most toxic compound in absinthe, the drink that may have a played a major role in his psychosis, accompanied him to his grave. The image is copyrighted by The Museum of ModernArt/Licensed by SCALA/Art Resource, New York, NY. Complete Letters of Vincent van Gogh. 3 Boston, Mass Bullfinch Press of Little Brown &Co2000; ME Vincent van Gogh. New York, NY The Alpine Fine Arts Collection Ltd1981; D Dysphoric disorders and paroxysmal affects recognition and treatment of epilepsy-related psychiatric disorders. Harv Rev Psychiatry. 2000;88- 17Google ScholarCrossref A Van Gogh's Starry Night a history of matter and a matter of history. Arts Magazine. 1984;5986- 103Google KR Touched With Fire Manic-Depressive Illness and the Artistic Temperament. New York, NY Simon & Schuster1993; WN Vincent van Gogh Chemicals, Crises, and Creativity. Boston, Mass Birkhauser1992; D Absinthe The Cocaine of the Nineteenth Century. Jefferson, NC McFarland & Co1995; KMSirisoma NSIkeda TNarahashi TCasida JE Alpha-thujone the active component of absinthe gamma-aminobutyric acid type A receptor modulation and metabolic detoxification. Proc Natl Acad Sci U S A. 2000;973826- 3831Google ScholarCrossref HGrunig FGutschmidt UGutierrez RPfeiffer MDraguhn ABruckner CHeinemann U Sodium bromide effects on different patterns of epileptiform activity, extracellular pH changes and GABAergic inhibition. Naunyn Schmiedebergs Arch Pharmacol. 2000;36125- 32Google ScholarCrossref ^{3 IT IS ONE OF RENOIR'S LARGEST PAINTINGS. Luncheon of the Boating Party measures in at 51 by 68 inches. 4. ITS INSPIRATION WAS A POPULAR FRENCH HANGOUT. The Maison Fournaise of Chatou overlooks}

Daftar isi1. The Starry Night 2. Starry Night Over the Rhône 3. Sunflowers Series4. Self Portrait5. The Potatoe Eaters 6. Bedroom in Arles7. Almond Blossoms8. Café Terrace at Night9. The Story of The Irises10. Sunset at Montmajour 11. The Portrait of Doctor GachetVan Gogh atau memiliki nama lengkap Vincent Willem van Gogh merupakan salah satu seniman paling ternama di dunia. Dirinya adalah seorang pendeta sekaligus pelukis pasca impresionis Belanda yang paling berpengaruh terutama bagi dunia seni Barat. Ia lahir di Zundert, Belanda pada tanggal 30 Maret 1853. Lukisan-lukisannya sebagian besar merupakan aliran ekspresionisme yakni gambaran yang sesuai dengan isi hati sang pelukis ketika melihat suatu objek. Van gogh wafat pada 29 Juli 1890 di Perancis. Selama hidupnya, van Gogh telah menciptakan 900 lukisan. Berikut ini adalah karya lukisan van Gogh yang paling fenomenal beserta kisah dibaliknya. 1. The Starry Night Ketika nama Vincent van Gogh disebutkan sebagian besar orang akan langsung teringat pada lukisan The Starry Night. Lukisan tersebut memang menjadi salah satu masterpiece van Gogh yang dibuatnya pada tahun 1889. Hal yang paling menarik dari lukisan ini adalah gambaran langit malam yang berputar-putar sehingga membuat orang yang melihatnya merasa terkagum-kagum. Lukisan yang saat ini tersimpan di The Museum of Modern Art, New York ini mengandung kisah yang menyedihkan. “The Starry Night” ia ciptakan ketika dirinya sedang dalam masa perawatan di Rumah Sakit Saint-Rémy-de-Provence akibat sakit mental yang dideritanya. Lukisan tersebut terinspirasi dari jendela kamar isolasinya bahkan para ahli telah sepakat bahwa van Gogh melukisnya dalam keadaan psikosis. Uniknya van Gogh justru menganggap lukisannya ini menjadi sebuah eksperimen yang Starry Night Over the Rhône Sebelum melukis “The Starry Night”, van Gogh lebih dahulu melukis “Starry Night Over the Rhône yakni satu tahun sebelumnya. Lukisan ini serupa dengan The Starry Night hanya saja pada bagian langit memiliki spiral yang lebih sedikit. Objek dari inspirasinya pun berbeda yakni dari langit malam ketika van Gogh berada di tepi sungai Rhone dekat Rumah Kuning tempat tinggalnya bersama dengan rekan-rekannya. Dalam lukisan ini van Gogh mengungkapkan kekagumannya terhadap pemandangan perairan di kota Arles, Perancis. Lukisan ini kemudian ia berikan kepada temannya yakni Eugène Boch dan dipamerkan Société des Artistes Indépendants di Paris pada tahun 1889. Saat ini Starry Night Over the Rhône berada di Musée d’Orsay, Paris sejak tahun 1975 setelah sebelumnya berada di Buffa, Gallery of Sunflowers SeriesSelain lukisan Starry Night Over the Rhône, van Gogh ketika berada di Arles juga menciptakan karya lainnya yang kemudian disebut sebagai “Sunflowers Series”. Lukisan bunga Matahari ini sebenarnya terdiri dari tujuan rangkaian namun saat ini hanya sia 5 buah saja. Ketujuh rangkaian lukisan tersebut memiliki sketsa dan ide yang sama yakni bunga matahari yang berada di sebuah vas dan tidak begitu mekar dengan segar namun tetap memiliki warna kuning yang cerah. Lukisan matahari menggambarkan suasana hati van Gogh yang sedang bagus. Selain itu pada dasarnya ia sangat menggemari bunga matahari. Hal ini dapat terlihat dari banyaknya lukisan van Gogh yang terdiri dari unsur bunga matahari. Lukisan ini, kini tersimpan di museum yang berbeda-beda diantaranya adalah National Gallery, London, Museum Amsterdam,Tokyo, Munchen, serta Philadelphia di Amerika Self PortraitLukisan Self Portrait diyakini sebagai gambar diri yang terakhir dari seorang van Gogh meskipun beberapa ahli masih meragukannya. Namun semuanya sepakat bahwa lukisan ini menjadi gambar yang paling ikonik mengenai potret seorang Vincent Willem van Gogh. Kisah dibalik lukisan ini pun ada berbagai versinya yakni van Gogh ingin mendokumentasikan dirinya terutama terkait perkembangan fisik dan mentalnya. Namun ada pula yang mengatakan alasan van Gogh melukis dirinya adalah karena dirinya tidak memiliki cukup uang untuk menyewa model. Dalam lukisan ini terdapat surat yang ditulis oleh van Gogh sendiri bahwa dalam lukisan “Self Portrait” wajahnya lebih tenang meski matanya masih menunjukkan sebaliknya namun ia juga memberitahukan pada temannya dirinya sedang berada di tempat yang lebih baik. Saat ini “Self Portrait” yang asli berada di Musée d’Orsay, The Potatoe Eaters “The Potatoe Eaters” adalah lukisan hasil karya Vincent van Gogh yang sketsanya dibuat pada bulan Maret 1885 dan selesai di tahun yang sama. Lukisannya kali ini tidak begitu penuh warna seperti sebelumnya dan lebih banyak mendapat pengaruh dari Jozef Israel. Di dalam lukisan ini tergambar potret para petani yang sedang berkumpul di meja makan. Vincent van Gogh ketika melukis ini sedang berada di Nuenen Belanda. Ia mencoba untuk menggambarkan kehidupan para petani di sana yang kelam. Pada tahun 1887, van Gogh menulis surat untuk saudara perempuannya dan mengatakan bahwa “The Potatoe Eaters” merupakan maha karyanya dan ia sangat bangga bisa menyelesaikan lukisan tersebut. Kita bisa melihat lukisan ini yang asli di Van Gogh Museum, Bedroom in ArlesLukisan Bedroom in Arles ini merupakan karya dari van Gogh yang terdiri dari tiga buah lukisan dan semuanya identik. Objek yang dilukis yakni kamar tidur milik van Gogh sendiri ketika hidup di Place Lamartine di Arles, Bouches-du-Rhone, Prancis atau dikenal juga sebagai Rumah Kuning. Di dalam lukisan ini van Gogh menggambarkan bagaimana suasana kamar dari seorang pelukis. Vincent melukis Bedroom in Arles setelah terserang penyakit yang mengharuskannya berbaring di atas kasur untuk beberapa hari. Ketiga lukisan tersebut berada di tiga musim yang berbeda dimana versi pertama tersimpan di Van Gogh Museum di Amsterdam, versi kedua Art Institute of Chicago di Chicago dan versi ketiga berada di Musée d’Orsay, Paris. 7. Almond BlossomsVincent van Gogh melukis “Almond Blossoms” sekitar tahun 1888–1889. Dalam lukisan ini van Gogh melukis bunga Almond dengan sangat sederhana namun tetap elegan serta mampu menghadirkan suasana menyenangkan dan menggembirakan dari sang pelukis. Ia sendiri mendapatkan inspirasi untuk melukis objek bunga Almond karena sangat tertarik dengan seni jepang terutama dari lukisan Pohon Plum Berbunga Japonaiseries. Tak heran jika lukisan ini banyak mendapat pengaruh dari ukiran kayu ukiyo-e. Selain itu kisah dibalik lukisan ini adalah untuk menyambut kelahiran keponakannya. Ia juga menjelaskan bahwa hatinya sangat senang ketika pepohonan mulai mekar. “Almond Blossom” saat ini berada di Van Gogh Museum, Café Terrace at NightCafé Terrace at Night merupakan karya seni dan Vincent van Gogh yang menjadi awal karya-karya lainnya dengan latar belakang langit malam. Lukisan ini ia ciptakan di sebuah makam di bulan September pada tahun 1888. Lukisan ini baru dipamerkan pada tahun 1891 namun dengan judul yang berbeda yaitu Coffeehouse, in the night atau dalam bahasa Perancis yaitu Café, le soir. Dalam suratnya yang berkaitan dengan lukisan ini van Gogh mengatakan bahwa dirinya sangat menikmati malam di Arles. Ia merasa sangat cocok berada di area tersebut dan dapat menggambar objek-objeknya secara langsung. Malam-Malamnya kini dihiasi dengan warna biru, ungu, dan hijau yang cantik dengan pemandangan sekitar alun-alun yang terang diwarnai belerang pucat, hijau lemon. Lukisan ini kini dilestarikan di Kröller-Müller Museum, The Story of The IrisesLukisan “The Story of The Irises” juga dikenal dengan hanya “Irises” saja yang digambar oleh van Gogh pada bulan Mei 1889. Ia menciptakan lukisan ini di minggu pertama perawatannya di rumah sakit setelah insiden memotong telinganya sendiri. Ia mulai melukis sesaat setelah tiba di rumah sakit dengan duduk di taman sebagai studinya untuk mendapatkan ketenangan. Meski begitu karya nya ini dianggap sebagai lukisan dengan nilai keindahan yang luar biasa dimana mampu menghadirkan cahaya kehidupan dan keindahan alam. Dalam lukisan ini, van Gogh menuliskan “Pandangan dari kejauhan. Iris adalah ruang belajar yang penuh dengan udara dan kehidupan”. Maha karya ini berhasil didapatkan oleh J. Paul Getty Museum, Los Sunset at Montmajour Pada 4 Juli 1888, Vincent van Gogh membuat lukisan dengan objek garrigue dengan berlatar belakang reruntuhan Biara Montmajour. Lukisan ini kemudian dikenal sebagai “Sunset at Montmajour”. Lebih dari satu abad keaslian lukisan ini terus dipertanyakan termasuk yang menjadi koleksi pribadi dari seorang industrialis asal Norwegia Christian Nicolai Mustad. Keaslian lukisan ini baru tervalidasi pada tahun 2013 lalu dan saat ini menjadi salah satu dari koleksi the Van Gogh Museum, Amsterdam. van Gogh ketika melukis “Sunset at the Montmajour” sedang berada di semak-semak berbatu dengan tumbuhan ek kecil di dekatnya di sore hari. Ia mengatakan bahwa sinar kuning yang jatuh di sana layaknya hujan emas yang The Portrait of Doctor GachetVincent van Gogh ketika berada di Rumah Sakit Saint-Rémy-de-Provence tidak hanya melukis lanskap pemandangan tapi juga potret dari seseorang yang tinggal bersamanya. Orang tersebut adalah Dr. Paul Gachet yakni seorang dokter yang membantu dan merawat van Gogh. van Gogh menjadikan dokternya sebagai objek lukisan setelah merasa nyaman dan dekat dengan dr. Gachet. Kedekatannya dengan sang dokter pun ditulis dalam suratnya yang ditujukan kepada saudara perempuannya yang bernama Wilhelmina. Dalam suratnya ia mengatakan bahwa diantara keduanya memiliki kemiripan baik fisik maupun mentalnya.

7Pages. Starry Night Analysis. Vincent ( Starry ‚ Starry Night) is a song written by Don Mclean. Don McClean‚ “Donald‚” III is an American singer-songwriter. He is best known for his 1971 album American Pie. American Pie is best known for McClean’s two hits “American Pie‚” and “Vincent.” “I was sitting on the veranda ^{Action History × Home/ Artists/ Post-Impressionism / Vincent van Gogh/ The Starry Night Vincent van Gogh The Starry Night Vincent van Gogh Original Title De sterrennacht Date 1889; Saint-rémy-de-provence, France Style Post-Impressionism Genre sketch and study Media ink, paper Location Shchusev Museum of Architecture, Moscow, Russia Dimensions 47 x cm Order Oil Painting reproduction Tags houses-and-buildings Tag is correct Tag is incorrect twilight-and-night Tag is correct Tag is incorrect stars-and-planets Tag is correct Tag is incorrect forests-and-trees Tag is correct Tag is incorrect Tree Tag is correct Tag is incorrect monochrome Tag is correct Tag is incorrect Water Tag is correct Tag is incorrect Pattern Tag is correct Tag is incorrect Vincent van Gogh Famous works The Potato Eaters • 1885 Paul Gauguin's Armchair • 1888 Red Vineyards at Arles • 1888 Sower with Setting Sun • 1888 Still Life - Vase with Fifteen Sunflowers • 1888 Irises • 1889 Landscape with House and Ploughman • 1889 Self Portrait with Bandaged Ear • 1889 The Starry Night • 1889 Portrait of Doctor Gachet • 1890 Prisoners Exercising Prisoners Round • 1890 Wheatfield with Crows • 1890 View all 1931 artworks Related Artworks 1-{{getCurrentCount}} out of {{getTotalCount}} LOAD MORE Court Métrage Short Films Brotherhood [2018] Directed by Meryam Joobeur Written by Meryam Joobeur Produced by Maria Gracia Turgeon, Habib Attia Mohamed is deeply shaken when his oldest son Malik returns home after a long journey with a mysterious new wife. Watch now} . 207 366 359 288 347 425 135 421

analisis lukisan the starry night