Who is Vincent van Gogh. Vincent van Gogh: biography of the great artist. Van Gogh's life, interesting facts and creativity. Other biography options

According to sociologists, there are three most famous artists in the world: Leonardo da Vinci, Vincent van Gogh and Pablo Picasso. Leonardo is "responsible" for the art of the old masters, Van Gogh for the impressionists and post-impressionists of the 19th century, and Picasso for the abstract and modernists of the 20th century. At the same time, if Leonardo appears in the eyes of the public not so much as a painter as a universal genius, and Picasso as a fashionable "secular lion" and public figure - a fighter for peace, then Van Gogh embodies the artist. He is considered a crazy lone genius and a martyr who did not think about fame and money. However, this image, to which everyone is accustomed, is nothing more than a myth that was used to “hype” Van Gogh and sell his paintings for a profit.

The legend about the artist is based on a true fact - he took up painting when he was already a mature person, and in just ten years he "ran" the path from a novice artist to a master who turned the idea of ​​fine art upside down. All this, even during the life of Van Gogh, was perceived as a "miracle" that had no real explanation. The artist's biography was not full of adventures, such as the fate of Paul Gauguin, who managed to be both a stock broker and a sailor, and died of leprosy, exotic for a European layman, on the no less exotic Hiva-Oa, one of the Marquesas Islands. Van Gogh was a "boring hard worker", and, apart from the strange mental seizures that appeared in him shortly before his death, and this death itself as a result of a suicide attempt, there was nothing for the myth-makers to cling to. But these few "trump cards" were played by true masters of their craft.

The main creator of the Legend of the Master was the German gallerist and art historian Julius Meyer-Graefe. He quickly realized the scale of the genius of the great Dutchman, and most importantly, the market potential of his paintings. In 1893, a twenty-six-year-old gallery owner bought the painting "Couple in Love" and thought about "advertising" a promising product. Possessing a lively pen, Meyer-Graefe decided to write an attractive biography of the artist for collectors and art lovers. He did not find him alive and therefore was “free” from personal impressions that weighed down the master’s contemporaries. In addition, Van Gogh was born and raised in Holland, but as a painter he finally took shape in France. In Germany, where Meyer-Graefe began to introduce the legend, no one knew anything about the artist, and the art gallery owner started from a “blank slate”. He did not immediately “feel” the image of that crazy lone genius that everyone now knows. At first, Meyer's Van Gogh was a "healthy man of the people", and his work was "harmony between art and life" and a forerunner of the new Grand style, which Meyer-Graefe considered modern. But Art Nouveau fizzled out in a matter of years, and Van Gogh, under the pen of an enterprising German, "retrained" as an avant-garde rebel who led the fight against mossy realist academics. Van Gogh the anarchist was popular in bohemian artistic circles, but he scared the layman away. And only the "third edition" of the legend satisfied everyone. In the "scientific monograph" of 1921 entitled "Vincent", with an unusual subtitle for literature of this kind, "The Novel of the God-Seeker," Meyer-Graefe introduced the public to the holy madman, whose hand was led by God. The highlight of this "biography" was the story of a severed ear and creative madness, which elevated a small, lonely person, like Akaky Akakievich Bashmachkin, to the heights of genius.

Vincent Van Gogh. 1873

About the "curvature" of the prototype

The real Vincent van Gogh had little in common with "Vincent" Meyer-Graefe. To begin with, he graduated from a prestigious private gymnasium, spoke and wrote fluently in three languages, read a lot, which earned him the nickname Spinoza in Parisian artistic circles. Behind Van Gogh was a large family that never left him without support, although they were not enthusiastic about his experiments. His grandfather was a famous bookbinder of old manuscripts for several European courts, three of his uncles were successful art dealers, and one was an admiral and harbor master in Antwerp, in his house he lived when he studied in this city. The real Van Gogh was a rather sober and pragmatic person.

For example, one of the central "god-seeking" episodes of the "going to the people" legend was the fact that in 1879 Van Gogh was a preacher in the Belgian mining region of Borinage. What did Meyer-Graefe and his followers not compose! Here and "a break with the environment" and "the desire to suffer along with the poor and the poor." Everything is explained simply. Vincent decided to follow in his father's footsteps and become a priest. In order to receive the dignity, it was necessary to study at the seminary for five years. Or - to take an accelerated course in three years in an evangelical school according to a simplified program, and even for free. All this was preceded by a mandatory six-month "experience" of missionary work in the outback. Here Van Gogh went to the miners. Of course, he was a humanist, he tried to help these people, but he never thought of getting close to them, always remaining a representative of the middle class. After serving his term in the Borinage, Van Gogh decided to enter an evangelical school, and then it turned out that the rules had changed and the Dutch like him, unlike the Flemings, had to pay tuition. After that, the offended "missionary" left religion and decided to become an artist.

And this choice is not accidental either. Van Gogh was a professional art dealer - an art dealer in the largest company Goupil. The partner in it was his uncle Vincent, after whom the young Dutchman was named. He patronized him. "Goupil" played a leading role in Europe in the trade in old masters and solid modern academic painting, but was not afraid to sell "moderate innovators" like the Barbizons. For 7 years, Van Gogh made a career in a difficult, family-based antiques business. From the Amsterdam branch, he moved first to The Hague, then to London, and finally to the company's headquarters in Paris. Over the years, the nephew of the Goupil co-owner went through a serious school, studied the main European museums and many closed private collections, became a real expert in painting not only by Rembrandt and the Little Dutch, but also by the French - from Ingres to Delacroix. “Being surrounded by paintings,” he wrote, “I kindled for them with a frantic, frenzied love.” His idol was the French artist Jean-Francois Millet, famous at that time for his "peasant" canvases, which Goupil sold at prices of tens of thousands of francs.

The painter's brother Theodor Van Gogh

Van Gogh was going to become such a successful “life writer of the lower classes”, like Millet, using his knowledge of the life of miners and peasants, gleaned in the Borinage. Contrary to legend, the art dealer Van Gogh was not a brilliant amateur like such "Sunday artists" as the customs officer Rousseau or the conductor Pirosmani. Having behind him a fundamental knowledge of the history and theory of art, as well as the practice of trading it, the stubborn Dutchman at the age of twenty-seven began to systematically study the craft of painting. He began by drawing according to the latest special textbooks, which were sent to him from all over Europe by uncles who were art dealers. Van Gogh's hand was put by his relative, the artist from The Hague Anton Mauve, to whom the grateful student later dedicated one of his paintings. Van Gogh even entered first the Brussels and then the Antwerp Academy of Arts, where he studied for three months until he went to Paris.

There, the newly minted artist was persuaded to leave in 1886 by his younger brother Theodore. This former on the rise successful art dealer played a key role in the fate of the master. Theo advised Vincent to give up "peasant" painting, explaining that it was already a "plowed field". And, besides, "black paintings" like "The Potato Eaters" at all times sold worse than light and joyful art. Another thing is the “light painting” of the Impressionists, literally created for success: solid sun and a holiday. The public will appreciate it sooner or later.

Theo the Seer

So Van Gogh ended up in the capital of the "new art" - Paris, and on Theo's advice, he entered the private studio of Fernand Cormon, which was then the "forge of personnel" of a new generation of experimental artists. There the Dutchman came into close contact with such future pillars of post-impressionism as Henri Toulouse-Lautrec, Emile Bernard and Lucien Pissarro. Van Gogh studied anatomy, painted from plaster and literally absorbed all the new ideas that Paris was seething with.

Theo introduces him to leading art critics and his artist clients, who included not only the established Claude Monet, Alfred Sisley, Camille Pissarro, Auguste Renoir and Edgar Degas, but also the "rising stars" Signac and Gauguin. By the time Vincent arrived in Paris, his brother was the head of the "experimental" branch of Goupil in Montmartre. A man with a heightened sense of the new and an excellent businessman, Theo was one of the first to see the advent of a new era in art. He persuaded the conservative leadership of Goupil to allow him to venture into the trade in "light painting". In the gallery, Theo held solo exhibitions of Camille Pissarro, Claude Monet and other impressionists, to whom Paris began to get used little by little. Upstairs, in his own apartment, he held "moving exhibitions" of pictures of impudent youth, which Goupil was afraid to show officially. It was the prototype of the elite "apartment exhibitions" that came into vogue in the 20th century, and Vincent's work became their highlight.

Back in 1884, the Van Gogh brothers entered into an agreement with each other. Theo, in exchange for Vincent's paintings, pays him 220 francs a month and provides him with brushes, canvases and paints of the best quality. By the way, thanks to this, Van Gogh's paintings, unlike the works of Gauguin and Toulouse-Lautrec, who, due to lack of money, wrote on anything, are so well preserved. 220 francs was a quarter of the monthly salary of a doctor or lawyer. The postman Joseph Roulin in Arles, whom the legend made into something like the patron of the "beggar" Van Gogh, received half as much and, unlike the lonely artist, fed a family with three children. Van Gogh even had enough money to create a collection of Japanese prints. In addition, Theo supplied his brother with “overalls”: blouses and famous hats, necessary books and reproductions. He also paid for Vincent's treatment.

All this was not a simple charity. The brothers came up with an ambitious plan to create a market for Post-Impressionist painting, the generation of artists that would replace Monet and his friends. And with Vincent van Gogh as one of the leaders of this generation. To connect the seemingly incompatible - the risky avant-garde art of the bohemian world and commercial success in the spirit of the respectable Goupil. Here they were almost a century ahead of their time: only Andy Warhol and other American popartists managed to immediately get rich on avant-garde art.

"Unrecognized"

In general, the position of Vincent van Gogh was unique. He worked as an artist on a contract with an art dealer, who was one of the key figures in the "light painting" market. And that art dealer was his brother. The restless vagabond Gauguin, for example, who counts every franc, could only dream of such a situation. In addition, Vincent was not a simple puppet in the hands of businessman Theo. Nor was he an unmercenary who did not want to sell his paintings to the profane, which he handed out for nothing to “kindred souls,” as Meyer-Graefe wrote. Van Gogh, like any normal person, wanted recognition not from distant descendants, but during his lifetime. Confessions, an important sign of which for him was money. And being himself a former art dealer, he knew how to achieve this.

One of the main topics of his letters to Theo is by no means seeking God, but discussions about what needs to be done in order to profitably sell paintings, and which painting will quickly find its way to the heart of the buyer. To promote the market, he came up with an impeccable formula: "Nothing will help us sell our paintings better than their recognition as a good decoration for middle-class homes." In order to clearly show how the paintings of the post-impressionists would “look” in a bourgeois interior, Van Gogh himself in 1887 arranged two exhibitions in the Tambourine cafe and the La Forche restaurant in Paris and even sold several works from them. Later, the legend played on this fact as an act of desperation by the artist, whom no one wanted to let into normal exhibitions.

Meanwhile, he was a regular participant in exhibitions at the Salon des Indépendants and the Free Theater - the most fashionable places for Parisian intellectuals of that time. His paintings are exhibited by art dealers Arsene Portier, George Thomas, Pierre Martin and Tanguy. The great Cezanne got the opportunity to show his work at a solo exhibition only at the age of 56, after almost four decades of hard labor. Whereas the work of Vincent, an artist with six years of experience, could be seen at any time at Theo's "apartment exhibition", where the entire artistic elite of the capital of the art world - Paris, visited.

The real Van Gogh is the least like the hermit of legend. He is at home among the leading artists of the era, the most convincing evidence of which is several portraits of the Dutchman painted by Toulouse-Lautrec, Roussel, Bernard. Lucien Pissarro portrayed him talking to the most influential art critic of those years, Fenelon. Van Gogh was remembered by Camille Pissarro for the fact that he did not hesitate to stop the person he needed on the street and show his paintings right at the wall of some house. It is simply impossible to imagine a real hermit Cezanne in such a situation.

The legend has firmly established the idea of ​​​​van Gogh's unrecognizedness, that during his lifetime only one of his paintings "Red Vineyards in Arles" was sold, which now hangs in the Moscow Museum of Fine Arts named after A.S. Pushkin. In fact, the sale of this canvas from an exhibition in Brussels in 1890 for 400 francs was Van Gogh's breakthrough into the world of serious prices. He sold no worse than his contemporaries Seurat or Gauguin. According to the documents, it is known that fourteen works were bought from the artist. This was first done by a family friend, the Dutch art dealer Terstig, in February 1882, and Vincent wrote to Theo: "The first sheep passed the bridge." In reality, there were more sales; there was simply no accurate evidence of the rest.

As for non-recognition, since 1888 the well-known critics Gustave Kahn and Felix Fénelon, in their reviews of the exhibitions of the "independent", as the avant-garde artists were then called, have singled out Van Gogh's fresh and vibrant works. The critic Octave Mirbeau advised Rodin to buy his paintings. They were in the collection of such a discerning connoisseur as Edgar Degas. Even during his lifetime, Vincent read in the Mercure de France newspaper that he was a great artist, the heir of Rembrandt and Hals. He wrote this in his article, entirely devoted to the work of the "amazing Dutchman", the rising star of the "new criticism" Henri Aurier. He intended to create a biography of Van Gogh, but, unfortunately, he died of tuberculosis shortly after the death of the artist himself.

About the mind, free "from the shackles"

But the “biography” was published by Meyer-Graefe, and in it he especially painted the “intuitive, free from the fetters of reason” process of Van Gogh’s creativity.

“Vincent painted in a blind, unconscious ecstasy. His temperament spilled onto the canvas. Trees screamed, clouds hunted each other. The sun gaped like a dazzling hole leading into chaos."

The easiest way to refute this idea of ​​Van Gogh is by the words of the artist himself: “Greatness is created not only by impulsive action, but also by the complicity of many things that have been brought into a single whole ... With art, as with everything else: the great is not something sometimes accidental, but must be created by stubborn volitional tension.

The vast majority of Van Gogh's letters are devoted to the "kitchen" of painting: setting goals, materials, technique. An event almost unprecedented in the history of art. The Dutchman was a real workaholic and claimed: "In art, you have to work like a few blacks and take off your skin." At the end of his life, he really wrote very quickly, a picture could be done from beginning to end in two hours. But at the same time, he kept repeating the favorite expression of the American artist Whistler: "I did it in two hours, but I worked for years to do something worthwhile in these two hours."

Van Gogh did not write on a whim - he worked long and hard on the same motive. In the city of Arles, where he set up his workshop after leaving Paris, he began a series of 30 works related to the common creative task "Contrast". Contrast color, thematic, compositional. For example, pandan "Cafe in Arles" and "Room in Arles". In the first picture - darkness and tension, in the second - light and harmony. In the same row, there are several variants of his famous "Sunflowers". The whole series was conceived as an example of decorating a "middle-class dwelling". We have a well-thought-out creative and market strategy from beginning to end. After seeing his paintings at an exhibition of "independents", Gauguin wrote: "You are the only thinking artist of all."

The cornerstone of the Van Gogh legend is his madness. Allegedly, only it allowed him to look into such depths that are inaccessible to mere mortals. But the artist was not from his youth a half-madman with flashes of genius. Periods of depression, accompanied by seizures similar to epilepsy, for which he was treated in a psychiatric clinic, began only in the last year and a half of his life. Doctors saw this as the effect of absinthe, an alcoholic drink infused with wormwood, whose destructive effect on the nervous system became known only in the 20th century. At the same time, it was precisely during the period of exacerbation of the disease that the artist could not write. So the mental disorder did not "help" Van Gogh's genius, but hindered it.

The famous story with the ear is very doubtful. It turned out that Van Gogh could not cut him off at the root, he would simply bleed to death, because he was helped only 10 hours after the incident. His only lobe was cut off, as stated in the medical report. And who did it? There is a version that this happened during a quarrel with Gauguin that took place that day. Gauguin, experienced in sailor fights, slashed Van Gogh on the ear, and he had a nervous attack from everything he had experienced. Later, to justify his behavior, Gauguin made up a story that Van Gogh, in a fit of madness, chased him with a razor in his hands, and then crippled himself.

Even the painting “Room at Arles”, whose curved space was considered a fixation of Van Gogh’s insane state, turned out to be surprisingly realistic. Plans have been found for the house where the artist lived in Arles. The walls and ceiling of his dwelling were indeed sloping. Van Gogh never painted by moonlight with candles attached to his hat. But the creators of the legend have always been free with the facts. The ominous picture "Wheat Field", with a road going into the distance, covered with a flock of ravens, they, for example, announced the last canvas of the master, predicting his death. But it is well known that after it he wrote a whole series of works, where the ill-fated field is depicted compressed.

The "know-how" of the main author of the Van Gogh myth, Julius Meyer-Gref, is not just a lie, but the presentation of fictional events mixed with true facts, and even in the form of impeccable scientific work. For example, the true fact that Van Gogh liked to work in the open air because he did not tolerate the smell of turpentine, which is diluted with paints, was used by the "biographer" as the basis for a fantastic version of the reason for the suicide of the master. Allegedly, Van Gogh fell in love with the sun - the source of his inspiration and did not allow himself to cover his head with a hat, standing under its burning rays. All his hair was burned, the sun baked his unprotected skull, he went crazy and committed suicide. Late self-portraits of Van Gogh and images of the dead artist made by his friends show that he did not lose the hair on his head until his death.

"Insights of the holy fool"

Van Gogh shot himself on July 27, 1890, after his mental crisis seemed to have been overcome. Shortly before that, he was discharged from the clinic with the conclusion: "Recovered." The very fact that the owner of the furnished rooms in Auvers, where Van Gogh lived in the last months of his life, entrusted him with a revolver, which the artist needed to scare away crows while working on sketches, suggests that he behaved absolutely normally. Today, doctors agree that the suicide did not occur during a seizure, but was the result of a combination of external circumstances. Theo got married, had a child, and Vincent was oppressed by the thought that his brother would only deal with his family, and not their plan to conquer the art world.

After the fatal shot, Van Gogh lived for two more days, was surprisingly calm and steadfastly endured suffering. He died in the arms of his inconsolable brother, who was never able to recover from this loss and died six months later. The firm "Goupil" for a pittance sold all the works of the Impressionists and Post-Impressionists, which Theo Van Gogh had accumulated in the gallery in Montmartre, and closed the experiment with "light painting". Vincent van Gogh's paintings were taken by Theo's widow Johanna van Gogh-Bonger to Holland. Only at the beginning of the 20th century did total fame come to the great Dutchman. According to experts, if it were not for the almost simultaneous early death of both brothers, this would have happened back in the mid-1890s and Van Gogh would have been a very rich man. But fate decreed otherwise. People like Meyer-Graefe began to reap the fruits of the labors of the great painter Vincent and the great gallery owner Theo.

Who has Vincent taken over?

The novel about the god-seeker "Vincent" by an enterprising German came in handy in the situation of the collapse of ideals after the massacre of the First World War. A martyr of art and a madman, whose mystical work appeared under the pen of Meyer-Graefe as something like a new religion, such a Van Gogh captured the imagination of both jaded intellectuals and inexperienced townsfolk. The legend pushed into the background not only the biography of a real artist, but also perverted the idea of ​​\u200b\u200bhis paintings. They saw in them some kind of mess of colors, in which the prophetic "insights" of the holy fool are guessed. Meyer-Graefe turned into the main connoisseur of the "mystical Dutchman" and began not only to trade in Van Gogh's paintings, but also to issue certificates of authenticity for works that appeared under the name of Van Gogh on the art market for a lot of money.

In the mid-1920s, a certain Otto Wacker came to him, performing erotic dances in Berlin cabarets under the pseudonym Olinto Lovel. He showed several paintings signed "Vincent" in the spirit of the legend. Meyer-Graefe was delighted and immediately confirmed their authenticity. In total, Wacker, who opened his own gallery in the trendy Potsdamerplatz district, threw more than 30 Van Goghs on the market before rumors spread that they were fake. Since it was a very large sum, the police intervened. At the trial, the dancer-gallery owner told the “provenance” story, which he “fed” his gullible clients. He allegedly acquired the paintings from a Russian aristocrat, who bought them at the beginning of the century, and during the revolution he managed to take them out of Russia to Switzerland. Wacker did not name his name, arguing that the Bolsheviks, embittered by the loss of the "national treasure", would destroy the family of an aristocrat who remained in Soviet Russia.

In the battle of experts that unfolded in April 1932 in the courtroom of the Berlin district of Moabit, Meyer-Graefe and his supporters stood up for the authenticity of Wacker's Van Goghs. But the police raided the studio of the dancer's brother and father, who were artists, and found 16 fresh Van Goghs. Technological expertise has shown that they are identical to the canvases sold. In addition, chemists found that when creating the “paintings of the Russian aristocrat”, paints were used that appeared only after the death of Van Gogh. Upon learning of this, one of the “experts” who supported Meyer-Graefe and Wacker said to the stunned judge: “How do you know that Vincent did not move into a congenial body after death and still does not create?”

Wacker received three years in prison, and Meyer-Graefe's reputation was destroyed. Soon he died, but the legend, in spite of everything, continues to live to this day. It was on its basis that the American writer Irving Stone wrote his bestseller Lust for Life in 1934, and the Hollywood director Vincente Minnelli made a film about Van Gogh in 1956. The role of the artist there was played by actor Kirk Douglas. The film earned an Oscar and finally confirmed in the minds of millions of people the image of a half-mad genius who took upon himself all the sins of the world. Then the American period in the canonization of Van Gogh was replaced by the Japanese.

In the Land of the Rising Sun, the great Dutchman, thanks to the legend, was considered something between a Buddhist monk and a samurai who committed hara-kiri. In 1987, the Yasuda Company bought Van Gogh's Sunflowers at an auction in London for $40 million. Three years later, the eccentric billionaire Ryoto Saito, who identified himself with the Vincent of the legend, paid $82 million for Van Gogh's "Portrait of Dr. Gachet" at an auction in New York. For a whole decade it was the most expensive painting in the world. According to Saito's will, she was to be burned with him after his death, but the creditors of the Japanese who had gone bankrupt by that time did not allow this to be done.

While the world was rocked by scandals around Van Gogh's name, art historians, restorers, archivists and even doctors, step by step, explored the true life and work of the artist. A huge role in this was played by the Van Gogh Museum in Amsterdam, created in 1972 on the basis of a collection that was donated to Holland by Theo Van Gogh's son, who bore the name of his great uncle. The museum began to check all the paintings of Van Gogh in the world, weeding out several dozen fakes, and did a great job of preparing a scientific publication of the brothers' correspondence.

But, despite the great efforts of both the museum staff and such luminaries of vango studies as the Canadian Bogomila Velsh-Ovcharova or the Dutchman Jan Halsker, the legend of Van Gogh does not die. She lives her own life, giving rise to regular films, books and performances about the "holy madman Vincent", who has nothing to do with the great worker and pioneer of new paths in art, Vincent van Gogh. This is how a person works: a romantic fairy tale is always more attractive for him than the “prose of life”, no matter how great it may be.

1853-1890 .

The biography below is by no means a complete and thorough study of the life of Vincent van Gogh. On the contrary, this is only a brief overview of some of the important events in the chronicle of Vincent van Gogh's life. early years

Vincent van Gogh was born in Grote Zundert, Netherlands on March 30, 1853. A year before the birth of Vincent van Gogh, his mother gave birth to her first, stillborn child - also named Vincent. Thus Vincent, being the second, became the eldest of the children. There have been many suggestions that Vincent van Gogh was psychologically traumatized as a result of this fact. This theory remains a theory because there is no real historical evidence to support it.

Van Gogh was the son of Theodor van Gogh (1822-85), pastor of the Dutch Reformed Church, and Anna Cornelia Carbenthus (1819-1907). Unfortunately, there is practically no information about the first ten years of Vincent van Gogh's life. Since 1864 Vincent spent a couple of years at a boarding school in Zevenbergen, and then continued his studies at the King Wilhelm II School in Tilburg for about two years. In 1868, Van Gogh left his studies and returned home at the age of 15.

In 1869, Vincent van Gogh began working for Goupil & Cie, an art dealer firm in The Hague. The Van Gogh family has long been associated with the world of art - Vincent's uncles, Cornelis and Vincent, were art dealers. His younger brother Theo worked as an art dealer all his adult life and, as a result, had a huge impact on the subsequent stages of Vincent's career as an artist.

Vincent was relatively successful as an art dealer and worked for Goupil & Cie for seven years. In 1873 he was transferred to the London branch of the company and quickly fell under the spell of England's cultural climate. In late August, Vincent rents a room in the home of Ursula Leuer and her daughter Eugenia at 87 Hackford Road. Vincent is thought to have been romantically inclined towards Eugenia, but many early biographers mistakenly refer to Eugenia by her mother's name, Ursula. It can be added to the years of name confusion that the latest evidence suggests that Vincent was not in love with Eugenia, but was in love with his compatriot named Caroline Haanebeek. True, this information remains unconvincing.

Vincent van Gogh spent two years in London. During this time he visited many art galleries and museums and became a great admirer of British writers such as George Eliot and Charles Dickens. Van Gogh was also a great admirer of the work of British engravers. These illustrations inspired and influenced Van Gogh in his later life as an artist.

Relations between Vincent and Goupil & Cie became more tense, and in May 1875 he was transferred to the Paris branch of the firm. In Paris, Vincent is engaged in paintings that were not very attractive to him in terms of personal tastes. Vincent leaves Goupil & Cie at the end of March 1876 and returns to England, remembering where he spent two, for the most part, very happy and fruitful years.

In April, Vincent van Gogh began teaching at the Reverend William P. Stokes School in Ramsgate. He was responsible for 24 boys aged 10 to 14. His letters show that Vincent enjoyed teaching. After that he began teaching at another boys' school, the Rev. T. Jones parish of Slade in Isleworth. In his spare time, Van Gogh continued to visit galleries and admire the many great works of art. He also devoted himself to Bible study - spending many hours reading and rereading the Gospels. In the summer of 1876, it is time for a religious conversion for Vincent van Gogh. Although he grew up in a religious family, he did not imagine that he would seriously consider dedicating his life to the Church.

As a means of making the transition from teacher to priest, Vincent asks Reverend Jones to give him more clergy duties. Jones agreed and Vincent began to speak at prayer meetings in the parish of Turnham Green. These talks served as a means of preparing Vincent for a goal he had long been working toward: his first Sunday sermon. Although Vincent himself was delighted with this prospect as a preacher, his sermons were somewhat lackluster and lifeless. Like his father, Vincent had a passion for preaching, but he lacked something.

After visiting his family in the Netherlands for Christmas, Vincent van Gogh stays in his homeland. After a short work in a bookstore in Dordrecht in early 1877, Vincent left for Amsterdam on May 9th to prepare for the entrance exams to the university, where he was to study theology. Vincent learns Greek, Latin, and math, but eventually drops out after fifteen months. Vincent later described this period as "the worst time of my life". In November, after a three-month probationary period, Vincent fails to enter the missionary school in Laeken. Vincent van Gogh eventually arranged with the church to begin probationary preaching in one of the most rugged and impoverished areas in Western Europe: the Borinage coal mining region, Belgium.

In January 1879, Vincent took up his duties as a preacher to the miners and their families in the mountain village of Wasmes. Vincent felt a strong emotional attachment to the miners. He saw and sympathized with their terrible working conditions, and as their spiritual leader, did everything possible to lighten the burden of their lives. Unfortunately, this altruistic desire reached such fanatical proportions that Vincent began to give away most of his food and clothing to the poor people under his care. Despite Vincent's noble intentions, van Gogh's asceticism was strongly condemned by Church officials and removed from his post in July. Refusing to leave the area, Van Gogh moved to a nearby village, Cuesmes, where he lived in extreme poverty. The following year, Vincent struggled to get by day by day and, although unable to help the village of people in any official capacity as a clergyman, he still chose to remain a member of their community. The next year was so hard that the question of survival for Vincent van Gogh was every day. And although he could not help people as an official representative of the church, he remains a village. A notable occasion for Van Gogh, Vincent decided to visit the home of Jules Breton, a French artist he admired. Vincent had only ten francs in his pocket and walked the entire 70 km to Courrières, France to see Breton. However, Vincent was too timid to get through to Breton. So without a positive result and absolutely discouraged, Vincent returned back to Cuesmes.

It was then that Vincent began to paint miners, their families and life in harsh conditions. At this turning point in fate, Vincent van Gogh chooses his next and final career path: as an artist.

Vincent van Gogh as an artist

In the autumn of 1880, after more than a year of poverty in the Borinage, Vincent went to Brussels to begin his studies at the Academy of Fine Arts. Vincent was inspired to start training with financial support from his brother Theo. Vincent and Theo have always been close, both as children and through most of their adult lives, they maintained a constant correspondence. Based on this correspondence, and there are more than 800 letters, the idea of ​​Van Gogh's life is based.

1881 would prove to be a turbulent year for Vincent van Gogh. Vincent successfully studies at the Academy of Fine Arts in Brussels. Although biographers have different opinions on the details of this period. In any case, Vincent continues to study at his own discretion, taking examples from books. In the summer, Vincent again visits his parents, who already live in Etten. There he meets and develops romantic feelings for his widowed cousin Cornelia Adrian Vos Stricker (Key). But Key's unrequited love and a break with his parents lead to his imminent departure to The Hague.

Despite the failures, Van Gogh works hard and improves under the guidance of Anton Mauve (a famous artist and his distant relative). Their relationship was good, but it deteriorated due to tension when Vincent started living with a prostitute.

Vincent van Gogh met Christina Maria Hornik, nicknamed Sin (1850-1904), at the end of February 1882 in The Hague. She was already pregnant with her second child at that time. Vincent lived with Sin for the next year and a half. Their relationship was turbulent, partly due to the complexity of the characters of both personalities, and also because of the imprint of a life of complete poverty. From Vincent's letters to Theo, it becomes clear how well Van Gogh treated the Sin children, but drawing is his first and most important passion, the rest fades into the background. Sin and her children posed for dozens of Vincent's drawings, and his talent as an artist grew considerably during this period. His earlier, more primitive drawings of miners in the Borinage give way to a much more refined manner and emotion at work.

In 1883, Vincent began to experiment with oil paints, he used oil paints before, but now this direction is his main one. In the same year, he breaks up with Sin. Vincent leaves The Hague in mid-September to move to Drenthe. For the next six weeks, Vincent leads a nomadic life, moving throughout the region, working on landscapes and images of peasants.

For the last time, Vincent returns to his parents' home, now in Nuenen, at the end of 1883. Over the next year, Vincent van Gogh continued to improve his skills. He created dozens of paintings and drawings during this period: weavers, counters and other portraits. The local peasants turned out to be his favorite subjects - partly because Van Gogh felt a strong kinship with the poor working people. There is another episode in Vincent's romantic life. This time it's dramatic. Margot Begemann (1841-1907), whose family lived next door to Vincent's parents, was in love with Vincent and the emotional turmoil in the relationship leads her to attempt suicide by poison. Vincent was greatly shocked by this incident. Margo eventually recovered, but this incident greatly upset Vincent. He himself, in letters to Theo, repeatedly returned to this episode.

1885: First Great Works

In the first months of 1885 Van Gogh continued his series of portraits of peasants. Vincent viewed them as a good practice where you can improve your skills. Vincent works productively during March and April. At the end of March, he takes a break from work due to the death of his father, with whom relations have been very tense in recent years. Several years of hard work, improvement of craftsmanship, technology, and in 1885 Vincent approaches his first serious work, The Potato Eaters.

Vincent worked on The Potato Eaters during April 1885. In advance, he prepared several sketches and worked on this painting in the studio. Vincent ball is so inspired by success that even criticism from his friend Anthony Van Rappard only led to a break. This is a new stage in the life and skill of Van Gogh.

Van Gogh continues to work in 1885, he does not calm down and at the beginning of 1886 he enters the Art Academy in Antwerp. He once again comes to the conclusion that formal training is too narrow for him. Vincent's choice is practical work, the only way he can hone his skills, as evidenced by his "Potato Eaters". After four weeks of study, Van Gogh leaves the Academy. He is interested in new methods, techniques, self-improvement, all this Vincent can no longer get in Holland, his path lies in Paris.

New Beginning: Paris

In 1886, Vincent van Gogh arrives unannounced in Paris to visit his brother Theo. Prior to this, in letters he wrote to his brother, in need of moving to Paris for further development. Theo, in turn, knowing the difficult nature of Vincent, resisted this move. But Theo had no choice and his brother had to be accepted.

The period of life in Paris for Van Gogh is important in terms of his role in the transformation as an artist. Unfortunately this period of Vincent's life (two years in Paris) is one of the least documented. Since the description of Van Gogh's life is based on his correspondence with Theo, and this Vincent lived with Theo (Montmartre district, rue Lepic, house 54) and naturally there was no correspondence.

However, the importance of Vincent's time in Paris is clear. Theo, as an art dealer, had many contacts among artists and Vincent soon entered this circle. During his two years in Paris, Van Gogh visited the early Impressionist exhibitions (where there were works by Edgar Degas, Claude Monet, Auguste Renoir, Camille Pissarro, Georges Seurat and Sisley). There is no doubt that Van Gogh was influenced by the Impressionists, but he always remained true to his own unique style. Over the course of two years, Van Gogh adopted some of the techniques of the Impressionists.

Vincent enjoy painting around Paris during 1886. His palette began to move away from the dark, traditional colors of his homeland and would include the brighter hues of the Impressionists. Vincent became interested in Japanese art, Japan in that period of its cultural isolation. The Western world has become fascinated by everything Japanese and Vincent acquires several Japanese prints. As a result, Japanese art influenced Van Gogh and throughout the rest of his work, this is read.

Throughout 1887, Van Gogh honed his skills and practiced a lot. His mobile and stormy personality does not calm down, Vincent, sparing his health, eats poorly, abuses alcohol and smoking. His hopes that by living with his brother he would be able to control his expenses did not come true. Relations with Theo are strained. .

As was often the case throughout his life, the bad weather during the winter months makes Vincent irritable and depressed. He is depressed, wants to see and feel the colors of nature. The winter months of 1887-1888 are not easy. Van Gogh decided to leave Paris after the sun, his road lies in Arles.

Arles. Studio. South.

Vincent van Gogh moved to Arles in early 1888 for a variety of reasons. Tired of the hectic energy of Paris and the long winter months, Van Gogh yearns for the warm sun of Provence. Another motivation is Vincent's dream of creating a kind of artist's commune in Arles, where his comrades from Paris can find refuge, where they can work together, support each other in achieving common goals. Van Gogh boarded the train from Paris to Arles on February 20, 1888 inspired by his dream for a prosperous future and watches the landscape pass by.

No doubt Van Gogh was not disappointed by Arles in his first few weeks there. In search of the sun, Vincent saw Arles unusually cold and covered with snow. This must have been discouraging for Vincent, who left everyone he knew behind to find warmth and recovery in the south. However, the bad weather was short-lived and Vincent began to paint some of his most beloved work in his career.

As soon as the weather warmed up, Vincent wasted no time in creating his work outdoors. In March, the trees woke up and the landscape looked somewhat gloomy after the winter. However, after a month, the buds on the trees are visible and Van Gogh paints flowering gardens. Vincent is pleased with his ability to work and feels renewed along with the gardens.

The following months were happy. Vincent rented a room at the Café de la Gare at 10 Place Lamartine at the beginning of May and rented his famous "Yellow House" (at 2 Place Lamartine) for the studio. Vincent won't actually be moving into the Yellow House until September.

Vincent works hard during the spring and summer and starts sending Theo his pieces. Van Gogh is often perceived today as an irritable and lonely person. But in reality, he enjoys the company of people and does his best during these months to make friends with many. Although deeply lonely at times. Vincent never lost hope of creating an artists' commune and began a campaign to persuade Paul Gauguin to join him in the south. The prospect seems unlikely because Gauguin's relocation would require even more financial assistance from Theo, who had reached their limit.

At the end of July, Van Gogh's uncle died and left a legacy to Theo. This financial influx allows Theo to sponsor Gauguin's move to Arles. Theo was interested in this move as a brother and as a business person. Theo knows that Vincent would be happier and calmer in the company of Gauguin, and Theo also hoped that the paintings he would receive from Gauguin, in exchange for his support, would be profitable. Unlike Vincent, Paul Gauguin is not entirely sure of the success of his work.

Despite the improvement in Theo's financial situation, Vincent remained true to himself and spent almost everything on art supplies and furnishings in the apartment. Gauguin arrived in Arles by train early in the morning on 23 October.

In the next two months this move will be decisive and disastrous for both Vincent van Gogh and Paul Gauguin. Initially, Van Gogh and Gauguin got along well, working on the outskirts of Arles, discussing their art. Weeks passed, the weather worsened, Vincent van Gogh and Paul Gauguin were forced to stay at home more and more often. The temperament of both artists, forced to work in the same room, gives rise to many conflicts.

Relations between Van Gogh and Gauguin deteriorated during December. Vincent wrote that their heated arguments became more and more frequent. December 23 Vincent van Gogh, in a fit of madness, mutilated the lower part of his left ear. Van Gogh cut off part of the left earlobe, wrapped it in cloth and gave it to a prostitute. Vincent then returned to his apartment, where he lost consciousness. He was discovered by the police and admitted to the Hôtel-Dieu hospital in Arles. After sending the telegram to Theo, Gauguin immediately left for Paris without visiting Van Gogh in the hospital. They will never meet in person again, although their relationship will improve..

During his stay in the hospital, Vincent was under the care of Dr. Felix Ray (1867-1932). The first week after the injury was crucial to Van Gogh's life - both mentally and physically. He suffered a great loss of blood and continued to suffer from severe seizures. Theo, who had rushed from Paris to Arles, was certain that Vincent would die, but by the end of December and into the first days of January, Vincent had made an almost complete recovery.

The first weeks of 1889 were not easy for Vincent van Gogh. After recovering, Vincent returned to his Yellow House, but continued to visit Dr. Ray for observations and wear a bandage on his head. After his recovery, Vincent was on the rise, but money problems and the departure of his close friend, Joseph Roulin (1841-1903), who accepted a better offer and moved with his family to Marseille. Roulin was a dear and faithful friend of Vincent most of the time in Arles.

During January and early February, Vincent worked hard, during which time he created "Sunflowers" and "Lullaby". However, on February 7, Vincent's next attack. He was taken to the Hotel-Dieu hospital for observation. Van Gogh is in the hospital for ten days, but then returns to the Yellow House.

By this time, some of the citizens of Arles became alarmed at Vincent's behavior and signed a petition detailing the problem. The petition was presented to the mayor of the city of Arles, ultimately the chief of police, ordered Van Gogh to go to the Hôtel-Dieu hospital again. Vincent remained in the hospital for the next six weeks and was allowed to leave in order to paint. It was a productive but emotionally difficult moment for Van Gogh. As in the case a year before, Van Gogh returns to the flowering gardens around Arles. But even when he creates one of his best works, Vincent understands that his condition is unstable. And after a discussion with Theo, he agrees to voluntary treatment at a specialist clinic in Saint-Paul-de-Mausole in Saint-Remy-de-Provence. Van Gogh leaves Arles on May 8th.

Deprivation of liberty

Upon arrival at the clinic, Van Gogh was placed under the care of Dr. Theophile Zacharie Peyron Auguste (1827–95). After studying Vincent, Dr. Peyron is convinced that his patient suffers from epilepsy - a diagnosis that remains one of the most likely to determine Van Gogh's condition, even today. Being in the clinic puts pressure on Van Gogh, he was discouraged by the screams of other patients and bad food. This atmosphere depresses him. Van Gogh's course of treatment included hydrotherapy, frequent immersions in a large bath of water. Although this "therapy" was not cruel, it was in any case the least useful in terms of helping to restore Vincent's mental health.

As the weeks passed, Vincent's mental state remained stable and he was allowed to resume work. The staff was encouraged by Van Gogh's progress, and in mid-June, Van Gogh creates Starry Night.

The relatively calm state of Van Gogh does not last long, until mid-July. This time, Vincent tried to swallow his paints, as a result, he was limited in access to materials. After this aggravation, he quickly recovers, Vincent is drawn by his art. A week later, Dr. Peyron allows Van Gogh to resume his work. The resumption of work coincided with an improvement in mental state. Vincenta writes to Theo, describing her poor physical condition.

For two months, Van Gogh could not leave his chamber and writes to Theo that when he goes out into the street, he is seized by a strong loneliness. In the coming weeks, Vincent once again overcomes his anxieties and resumes work. During this time, Vincent plans to leave the St. Remy clinic. He expresses these thoughts to Theo, who begins to make inquiries about possible alternatives for medical care for Vincent - this time much closer to Paris.

Van Gogh's mental and physical health was fairly stable throughout the remainder of 1889. Theo's health is improving, he will help organize an exhibition Octave Maus, in Brussels, in which six paintings by Vincent were shown. Vincent is delighted with the venture and remains highly productive throughout this time.

On December 23, 1889, a year after the attack, when Vincent cut off his earlobe, a new week-long attack strikes Van Gogh. The aggravation was serious and lasted about a week, but Vincent recovers quickly enough and resumes painting. Unfortunately, Van Gogh suffers from a large number of seizures during the first months of 1890. These exacerbations become frequent. Ironically, at this time, when Van Gogh was probably at his most mentally depressed, his work is finally beginning to receive critical acclaim. News of this leads Vincent to hope to leave the clinic and return north.

After consulting, Theo realizes that the best solution for Vincent would be to return to Paris, under the care of Dr. Paul Gachet (1828-1909), an internist in Auvers-sur-Oise near Paris. Vincent agrees to Theo's plans and completes his treatment at Saint-Remy. On May 16, 1890, Vincent van Gogh left the clinic and boarded an overnight train to Paris.

"Sadness will last forever....

Vincent's journey to Paris was uneventful and he was met by Theo upon arrival. Vincent stayed with Theo, his wife Joanna and their newborn son, Vincent Willem (named Vincent) for three pleasant days. Having never liked the hustle and bustle of city life, Vincent felt some tension and decided to leave Paris for the quieter Auvers-sur-Oise.

Vincent met Dr. Gachet shortly after his arrival in Auvers. Although initially impressed by Gachet, Van Gogh later expresses serious doubts about his competence. Despite his misgivings, Vincent finds himself a room in a small hotel owned by Arthur Gustave Ravoux and immediately begins to paint around Auvers-sur-Oise.

Over the next two weeks, Van Gogh's opinion of Gache softens. Vincent was pleased with Auvers-sur-Oise, here he was given the freedom that was denied in Saint-Remy, and at the same time provided him with broad themes for his painting and graphics. The first weeks in Auvers were pleasant and uneventful for Vincent van Gogh. June 8 Theo, Joe and the child came to Auvers to visit Vincent and Gachet. Vincent spends a very pleasant day with his family. Apparently, Vincent appeared to be completely restored - mentally and physically.

Throughout June, Vincent remained in good spirits and was extremely productive, producing "Portrait of Dr. Gachet" and "Church at Auvers". The initial calm of the first month at Auvers was interrupted when Vincent received word that his nephew was seriously ill. Theo is going through the most difficult time: uncertainty about his own career and future, current health problems and his son's illness. After the child's recovery, Vincent decided to visit Theo and his family on July 6 and took the early train. Very little is known about the visit. Vincent soon tires and quickly returns to the quieter Auvers.

During the next three weeks, Vincent resumed his work and, as can be seen from his letters, was quite happy. In the letters, Vincent writes that he is currently feeling well and is calm, comparing his condition with last year. Vincent was immersed in the fields and plains around Auvers and produced some brilliant scenery throughout July. Vincent's life becomes stable, he works hard.

Nothing foreshadowed such a denouement. On July 27, 1890, Vincent van Gogh leaves for the fields with an easel and paints. There he took out a revolver and shot himself in the chest. Vincent managed to walk back to the Ravoux Inn, where he collapsed into bed. The decision was made not to attempt to extract the bullet in Vincent's chest, and Gachet wrote an urgent letter to Theo. Unfortunately, Dr. Gachet did not have Theo's home address and had to write to him at the gallery where he worked. This did not cause a major delay and Theo arrived the next day.

Vincent and Theo remained together during the last hours of Vincent's life. Theo was devoted to his brother, holding him and speaking to him in Dutch. Vincent seemed resigned to his fate and Theo later wrote that Vincent wanted to die himself when Theo I was sitting at his bedside. Vincent's last words were "The sadness will last forever."

Vincent van Gogh died at 1:30 am. July 29, 1890. Costel Auvers refused to allow Vincent to be buried in his cemetery because Vincent had committed suicide. The nearby village of Meri, however, agreed to allow burial and the funeral took place on 30 July.

Vincent Willem van Gogh is a Dutch artist who laid the foundations of the Post-Impressionist movement and largely determined the principles of the work of modern masters.

Van Gogh was born on March 30, 1853 in the village of Groot Zundert in the province of North Brabant (Noord-Brabant), bordering Belgium.

Father Theodore Van Gogh is a Protestant clergyman. Mother Anna Cornelia Carbentus (Anna Cornelia Carbentus) - from a family of respected bookseller and bookbinding specialist from the city (Den Haag).

Vincent was the 2nd child, but his brother died immediately after birth, so the boy was the eldest, and after him five more children were born in the family:

• Theodorus (Theo) (Theodorus, Theo);
• Cornelis (Cor) (Cornelis, Cor);
• Anna Cornelia (Anna Cornelia);
• Elizabeth (Liz) (Elizabeth, Liz);
• Willemina (Vil) (Willamina, Vil).

They named the baby in honor of his grandfather, a minister of Protestantism. This name was supposed to be given to the first child, but due to his early death, Vincent got it.

Memories of relatives paint Vincent's character as very strange, capricious and wayward, naughty and capable of unexpected antics. Outside the home and family, he was brought up, quiet, polite, modest, kind, distinguished by a striking intelligent look and a heart full of sympathy. However, he avoided peers and did not join their games and fun.

At the age of 7, his father and mother enrolled him in school, but a year later he and his sister Anna were transferred to home schooling, and a governess took care of the children.

At the age of 11, in 1864, Vincent was assigned to a school in Zevenbergen. Although it was only 20 km from his native place, the child could hardly bear the separation, and these experiences were remembered forever.

In 1866, Vincent was determined as a student at the educational institution of Willem II in Tilburg (College Willem II in Tilburg). The teenager made great strides in mastering foreign languages, spoke and read French, English, and German perfectly. Teachers also noted Vincent's ability to draw. However, in 1868 he abruptly dropped out of school and returned home. He was no longer sent to educational institutions, he continued to receive education at home. The famous artist's memories of the beginning of his life were sad, childhood was associated with darkness, cold and emptiness.

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Business

In 1869, in The Hague, Vincent was hired by his uncle, who bore the same name, whom the future artist called "Uncle Saint". Uncle was the owner of a branch of the Goupil & Cie company, which was engaged in the examination, evaluation and sale of art objects. Vincent acquires the profession of a dealer and makes significant progress, so in 1873 he was sent to work in London.

Working with works of art was very interesting to Vincent, he learned to understand the fine arts, became a regular visitor to museums and exhibition halls. His favorite authors were Jean-François Millet and Jules Breton.

The story of Vincent's first love belongs to the same period. But the story was not clear and confusing: he lived in a rented apartment with Ursula Loyer (Ursula Loyer) and her daughter Eugene (Eugene); biographers argue about who was the subject of love: one of them or Carolina Haanebik (Carolina Haanebeek). But whoever the beloved was, Vincent was refused and lost interest in life, work, art. He begins to read the Bible thoughtfully. During this period, in 1874, he had to transfer to the Paris branch of the company. There he again becomes a frequenter of museums and is fond of creating drawings. Hating the activity of the dealer, he ceases to bring income to the company, and he is fired in 1876.

Teaching and religion

In March 1876, Vincent moved to Great Britain, and entered a free-of-charge teacher at a school in Ramsgate. At the same time, he is thinking about a career as a clergyman. In July 1876, he moved to a school in Isleworth, where he additionally assisted the priest. In November 1876, Vincent reads a sermon and is convinced of the mission to carry the truth of religious teaching.

In 1876, Vincent arrives at his home for the Christmas holidays, and his mother and father begged him not to leave. Vincent got a job in a bookstore in Dordrecht, but he does not like the trade, all the time he devotes to translating biblical texts and drawing.

Father and mother, rejoicing in his desire for religious service, send Vincent to Amsterdam (Amsterdam), where he, with the help of a relative, Johaness Stricker, prepares in theology for university admission, and lives with his uncle, Jan Van Gogh. Gogh), who had the rank of admiral.

After enrolling, Van Gogh was a theology student until July 1878, after which, disappointed, he refuses further studies and flees from Amsterdam.

The next stage of the search was associated with the Protestant missionary school in the city of Laken (Laken) near Brussels (Brussel). The school was led by Pastor Bokma. Vincent gains experience in composing and delivering sermons for three months, but leaves this place as well. Information from biographers is contradictory: either he quit his job himself, or he was fired because of carelessness in clothes and unbalanced behavior.

In December 1878, Vincent continues his missionary service, but now in the southern region of Belgium, in the village of Paturi. Mining families lived in the village, Van Gogh selflessly worked with children, visited houses and talked about the Bible, cared for the sick. To feed himself, he drew maps of the Holy Land and sold them. Van Gogh showed himself as an ascetic, sincere and tireless, as a result, he was given a small salary from the Evangelical Society. He planned to enter the Gospel School, but the education was paid, and this, according to Van Gogh, is incompatible with true faith, which cannot be associated with money. At the same time, he submits a request to the management of the mines to improve the working conditions of the miners. He was refused, deprived of the right to preach, which shocked him and led to another disappointment.

First steps

Van Gogh finds calm at the easel, in 1880 he decides to try his hand at the Brussels Royal Academy of Arts. He is supported by his brother Theo, but a year later, training is abandoned again, and the eldest son returns to the parental roof. He is absorbed in self-education, he works tirelessly.

He feels love for his widowed cousin, Kee Vos-Stricker, who raised her son and came to visit the family. Van Gogh is rejected, but persists, and he is kicked out of his father's house. These events shocked the young man, he flees to The Hague, immerses himself in creativity, takes lessons from Anton Mauve, comprehends the laws of fine art, makes copies of lithographic works.

Van Gogh spends a lot of time in neighborhoods inhabited by the poor. The works of this period are sketches of courtyards, roofs, lanes:

• Backyards (De achtertuin) (1882);
• Roofs. View from Van Gogh's Studio" (Dak. Het uitzicht vanuit de Studio van van Gogh) (1882).

An interesting technique that combines watercolors, sepia, ink, chalk, etc.

In The Hague, he chooses a woman of easy virtue named Christine as his wife.(Van Christina), which he picked up right on the panel. Christine moved to Van Gogh with her children, became a model for the artist, but she had a terrible character, and they had to leave. This episode leads to a final break with parents and loved ones.

After breaking up with Christine, Vincent leaves for Drenth, in the countryside. During this period, the artist's landscape works appear, as well as paintings depicting the life of the peasantry.

Early work

The period of creativity, representing the first works made in Drenthe, is distinguished by realism, but they express the key characteristics of the individual style of the artist. Many critics believe that these features are due to the lack of an elementary art education: Van Gogh did not know the laws of the image of a person, therefore, the characters of the paintings and sketches seem angular, ungraceful, as if emerging from the bosom of nature, like rocks, which are pressed by the vault of heaven:

• "Red Vineyards" (Rode wijngaard) (1888);
• "Peasant Woman" (Boerin) (1885);
• The Potato Eaters (De Aardappeleters) (1885);
• "The Old Church Tower in Nuenen" (De Oude Begraafplaats Toren in Nuenen) (1885) and others.

These works are distinguished by a dark palette of shades that convey the painful atmosphere of the surrounding life, the painful situation of ordinary people, the sympathy, pain and drama of the author.

In 1885, he was forced to leave Drenthe, as he displeased the priest, who considered drawing debauchery and forbade the locals to pose for pictures.

Parisian period

Van Gogh travels to Antwerp, takes lessons at the Academy of Arts and additionally in a private educational institution, where he works hard on the image of the nude.

In 1886, Vincent moved to Paris to Theo, who worked in a dealer office that specialized in transactions for the sale of art objects.

In Paris in 1887/88, Van Gogh takes lessons at a private school, learns the basics of Japanese art, the basics of the impressionistic manner of writing, the work of Paul Gauguin (Pol Gogen). This stage in the creative biography of Wag Gogh is called light, in the works the leitmotif is soft blue, bright yellow, fiery shades, the writing style is light, betraying movement, the “stream” of life:

• “Agostina Segatori in het Café Tamboerijn”;
• "Bridge over the Seine" (Brug over de Seine);
• "Daddy Tanguy" (Papa Tanguy), etc.

Van Gogh admired the Impressionists, met celebrities thanks to his brother Theo:

• Edgar Degas;
• Camille Pissarro;
• Henri Toulouse-Lautrec (Anri Touluz-Lautrec);
• Paul Gauguin;
• Emile Bernard and others.

Van Gogh was among good friends and like-minded people, he was involved in the process of preparing expositions, which were organized in restaurants, bars, theater halls. The audience did not appreciate Van Gogh, they recognized them as terrible, but he plunges into teaching and self-improvement, comprehends the theoretical basis of color technique.

In Paris, Van Gogh created about 230 works: still lifes, portrait and landscape painting, cycles of paintings (for example, the “Shoes” series of 1887) (Schoenen).

It is interesting that the person on the canvas acquires a secondary role, and the main thing is the bright world of nature, its airiness, richness of colors, and their subtlest transitions. Van Gogh opens the newest direction - post-impressionism.

Blossoming and finding your own style

In 1888, Van Gogh, worried about the misunderstanding of the audience, leaves for the southern French city of Arles (Arles). Arles became the city in which Vincent realized the purpose of his work: do not strive to reflect the real visible world, but with the help of color and simple techniques to express your inner "I".

He decides to break with the Impressionists, but the features of their style for many years appear in his works, in the ways of depicting light and air, in the manner of arranging color accents. Typical for impressionist works are series of canvases on which the same landscape, but at different times of the day and under different lighting conditions.

The attractiveness of the style of Van Gogh's heyday is in the contradiction between the desire for a harmonious worldview and the awareness of one's own helplessness in the face of a disharmonious world. Full of light and festive nature, the works of 1888 coexist with gloomy phantasmagoric images:

• "Yellow House" (Gele huis);
• "Gauguin's Armchair" (De stoel van Gauguin);
• "Cafe terrace at night" (Cafe terras bij nacht).

The dynamism, the movement of color, the energy of the master's brush is a reflection of the artist's soul, his tragic searches, impulses to understand the surrounding world of living and non-living things:

• "Red Vineyards in Arles";
• "The Sower" (Zaaier);
• "Night Cafe" (Nachtkoffie).

The artist plans to establish a society that unites young geniuses who will reflect the future of mankind. To open the society, Vincent is helped by Theo's means. Van Gogh assigned the leading role to Paul Gauguin. When Gauguin arrived, they quarreled to the point that Van Gogh almost cut his throat on December 23, 1888. Gauguin managed to escape, and Van Gogh, repentant, cut off part of the lobe of his own ear.

Biographers evaluate this episode differently, many believe that this act was a sign of insanity, provoked by excessive consumption of alcoholic beverages. Van Gogh is sent to a mental hospital, where he is kept under strict conditions in the ward for violent lunatics. Gauguin leaves, Theo takes care of Vincent. After the course of treatment, Vincent dreams of returning to Arles. But the inhabitants of the city protested, and the artist was offered to settle next to the Saint-Paul hospital (Saint-Paul) in Saint-Rémy-de-Provence (Saint-Rémy-de-Provence), near Arles.

Since May 1889, Van Gogh has been living in Saint-Remy, during the year he writes more than 150 large things and about 100 drawings and watercolors, demonstrating mastery of halftones and contrast techniques. Among them, the landscape genre prevails, still lifes that convey mood, contradictions in the author's soul:

• "Starry Night" (Nightlights);
• "Landscape with olive trees" (Landschap met olijfbomen), etc.

In 1889, the fruits of Van Gogh's work were exhibited in Brussels, met with rave reviews from colleagues and critics. But Van Gogh does not feel joy from the recognition that has finally come, he moves to Auvers-sur-Oise, where his brother lives with his family. There he constantly creates, but the oppressed mood and nervous excitement of the author are transmitted to the canvases of 1890, they are distinguished by broken lines, distorted silhouettes of objects and persons:

• "Country road with cypress trees" (Landelijke weg met cipressen);
• "Landschap in Auvers after the rain" (Landschap in Auvers na de regen);
• "Wheat field with crows" (Korenveld met kraaien), etc.

On July 27, 1890, Van Gogh was mortally wounded by a pistol. It is not known whether the shot was planned or accidental, but the artist died a day later. He was buried in the same town, and 6 months later his brother Theo also died of nervous exhaustion, whose grave is located next to Vincent.

For 10 years of creativity, more than 2100 works have appeared, among which about 860 are made in oil. Van Gogh became the founder of expressionism, post-impressionism, his principles formed the basis of fauvism and modernism.

A series of triumphal exhibition events took place posthumously in Paris, Brussels, The Hague, Antwerp. At the beginning of the 20th century, another wave of shows of the works of the famous Dutchman took place in Paris, Cologne (Keulen), New York (New York), Berlin (Berlijn).

Paintings

It is not exactly known how many paintings Van Gogh painted, but art historians and researchers of his work tend to figure about 800. In the last 70 days of his life alone, he painted 70 paintings - one a day! Let's remember the most famous paintings with names and descriptions:

The Potato Eaters appeared in 1885 in Nuenen. The author described the task in a letter to Theo: he sought to show people of hard work who received little remuneration for their work. The hands that cultivate the field receive its gifts.

Red vineyards in Arles

The famous painting dates from 1888. The plot of the picture is not fictional, Vincent tells about it in one of the messages to Theo. On the canvas, the artist conveys the rich colors that struck him: thick red vine leaves, a piercing green sky, a bright purple rain-washed road with golden highlights from the rays of the setting sun. The colors seem to flow one into another, convey the author's anxious mood, his tension, the depth of philosophical reflections about the world. Such a plot will be repeated in the work of Van Gogh, symbolizing life eternally renewed in labor.

night cafe

"Night Café" appeared in Arles and presented the author's thoughts about a man who destroys his own life on his own. The idea of ​​self-destruction and a steady movement towards madness is expressed by the contrast of blood-burgundy and green colors. To try to penetrate the secrets of twilight life, the author worked on the painting at night. The expressionistic style of writing conveys the fullness of passions, anxiety, painfulness of life.

Van Gogh's legacy includes two series of works depicting sunflowers. In the first cycle - flowers laid out on the table, they were painted in the Parisian period in 1887 and soon acquired by Gauguin. The second series appeared in 1888/89 in Arles, on each canvas - sunflower flowers in a vase.

This flower symbolizes love and fidelity, friendship and warmth of human relationships, beneficence and gratitude. The artist expresses the depths of his worldview in sunflowers, associating himself with this sunny flower.

"Starry Night" was created in 1889 in Saint-Remy, it depicts the stars and the moon in dynamics, framed by a boundless sky, eternally existing and rushing in the infinity of the Universe. The cypress trees in the foreground strive to reach the stars, while the village in the valley is static, motionless and devoid of aspirations for the new and the infinite. The expression of color approaches and the use of different types of strokes conveys the multidimensionality of space, its variability and depth.

This famous self-portrait was created in Arles in January 1889. An interesting feature is the dialogue of red-orange and blue-violet colors, against which there is an immersion into the abyss of a distorted human consciousness. Attention attracts the face and eyes, as if looking deep into the personality. Self-portraits are the artist's conversation with himself and with the universe.

Almond Blossoms (Amandelbloesem) are created in Saint-Rémy in 1890. The spring flowering of almond trees is a symbol of renewal, of a born and growing life. The uniqueness of the canvas lies in the fact that the branches hover without a foundation, they are self-sufficient and beautiful.

This portrait was painted in 1890. Bright colors convey the significance of every moment, brush work creates a dynamic image of man and nature, which are inextricably linked. The image of the hero of the picture is painful and nervous: we peer at the image of a sad old man, immersed in his thoughts, as if he had absorbed the painful experience of years.

"Wheat Field with Crows" was created in July 1890 and expresses the feeling of approaching death, the hopeless tragedy of life. The picture is filled with symbolism: the sky before a thunderstorm, approaching black birds, roads leading to the unknown, but inaccessible.

Museum

(Van Gogh Museum) opened in Amsterdam in 1973 and presents not only the most fundamental collection of his creations, but also the work of the Impressionists. This is the first most popular exhibition center in the Netherlands.

Quotes

1. Among the clergy, as among the masters of the brush, despotic academicism reigns, dull and full of prejudice;
2. Thinking about future hardships and hardships, I could not create;
3. Painting is my joy and comfort, giving me the opportunity to escape from life's troubles;
4. I want to express in my paintings everything that is hidden in the heart of an insignificant person.

Vincent Willem Van Gogh - Dutch artist and graphic artist; the largest representative of post-impressionism. Born March 30, 1853 in the small Dutch village of Grot-Zundert, located near the Belgian border. The father of the future artist was a Protestant pastor, and his mother was the daughter of a bookseller. Vincent was the second child in a large family, but since the elder brother died in infancy, he remained with the elder.

Already at the age of 16, he worked for a company selling paintings. Although he was not an excellent businessman, he had a boundless love for painting. The life of the artist has changed dramatically in the two years spent in London. His work was so well paid that he could not deny himself anything. During this period, Vincent actively attended exhibitions in art galleries. On the way to a glorious career, love prevented. A young art dealer fell unconsciously in love with a woman who was already engaged, after which he closed himself in.

He became indifferent to his work, and when he returned to Holland, he fell into religion. From 1886 he lived with his brother in Paris. There he studied painting with F. Cormon, and also met Pissarro, Gauguin and other prominent artists. He draws with bright and clear sketches in the style of the Impressionists. By the age of 27, he already knew for sure that he wanted to be a professional artist. By nature, Van Gogh was very kind and compassionate. He could distribute money and clothes to people in need, even when he himself was not particularly well off.

Life slowly improved, but another personal crisis followed. The widowed cousin, whom he had liked for a long time, refused him, which he was very worried about. This spat caused him to move to The Hague. In 1888, he moved to Arles, as France had long become his second home. The locals avoided him, considering him abnormal. Despite this, he made new acquaintances there and made many good friends. For some time they were in close contact with Gauguin, but after a serious quarrel, he almost killed him by attacking with a razor. In the same period, he cut off his ear, after which he was placed in a psychiatric clinic.

The madness of Van Gogh was already known. The treatment did not give the desired result, as the artist was tormented by hallucinations. In 1890, he went to see his brother Theo, who had just had a son named Vincent after him. The disease seemed to recede and life began to improve again. However, in July of that year, Van Gogh committed suicide. He died by shooting himself in the chest with a pistol. In the last moments of his life, his brother Theo, who loved him dearly, was next to him.

Vincent Van Gogh. This name is familiar to every student. Even in childhood, we joked among ourselves “you draw like Van Gogh”! or “well, you are Picasso!”… After all, only the one whose name will forever remain in the history of not only painting and world art, but also humanity is immortal.

Against the backdrop of the fate of European artists, the life path of Vincent van Gogh (1853-1890) stands out in that he discovered his craving for art quite late. Until the age of 30, Vincent did not suspect that painting would become the ultimate meaning of his life. The vocation ripens in him slowly, in order to break out like an explosion. At the cost of labor almost on the verge of human capabilities, which will become the lot of his rest of his life, during the years 1885-1887, Vincent will be able to develop his own individual and unique style, which in the future will be called "impasto". His artistic style will contribute to the rooting in European art of one of the most sincere, sensitive, humane and emotional trends - expressionism. But, most importantly, it will become the source of his work, his paintings and graphics.

Vincent van Gogh was born on March 30, 1853 in the family of a Protestant pastor, in the Dutch province of North Brabant, in the village of Grotto Zundert, where his father was in the service. The family environment determined a lot in the fate of Vincent. The Van Gogh family was ancient, known since the 17th century. In the era of Vincent van Gogh, there were two traditional family activities: one of the representatives of this family was necessarily engaged in church activities, and someone in the art trade. Vincent was the eldest, but not the first child in the family. A year earlier, he was born, but his brother died soon after. The second son was named in memory of the deceased by Vincent Willem. After him, five more children appeared, but only with one of them would the future artist be connected by close fraternal ties until the last day of his life. It would not be an exaggeration to say that without the support of his younger brother Theo, Vincent van Gogh as an artist would hardly have taken place.

In 1869, Van Gogh moved to The Hague and began to trade paintings in the Goupil firm and reproductions of works of art. Vincent works actively and conscientiously, in his free time he reads a lot and visits museums, and draws a little. In 1873, Vincent begins a correspondence with his brother Theo, which will last until his death. In our time, the letters of the brothers are published in a book called “Van Gogh. Letters to Brother Theo” and you can buy it in almost any good bookstore. These letters are moving evidence of Vincent's inner spiritual life, his searches and mistakes, joys and disappointments, despair and hopes.

In 1875, Vincent was assigned to Paris. He regularly visits the Louvre and the Luxembourg Museum, exhibitions of contemporary artists. By this time, he is already drawing himself, but nothing foreshadows that art will soon become an all-consuming passion. In Paris, there is a turning point in his spiritual development: Van Gogh is very fond of religion. Many researchers attribute this condition to the unhappy and one-sided love that Vincent experienced in London. Much later, in one of his letters to Theo, the artist, analyzing his illness, notes that mental illness is their family trait.

From January 1879, Vincent received a position as a preacher in Vama, a village located in the Borinage, an area in southern Belgium, the center of the coal industry. He is deeply struck by the extreme poverty in which the miners and their families live. A deep conflict begins, which opens Van Gogh's eyes to one truth - the ministers of the official church are not at all interested in truly alleviating the plight of people who find themselves in inhuman conditions.

Having fully understood this sanctimonious position, Van Gogh experiences another deep disappointment, breaks with the church and makes his final life choice - to serve people with his art.

Van Gogh and Paris

Van Gogh's last visits to Paris were related to his work at Goupil. However, never before had the artistic life of Paris had a noticeable influence on his work. This time Van Gogh's stay in Paris lasts from March 1886 to February 1888. These are two extremely eventful years in the artist's life. During this short period, he masters the impressionistic and neo-impressionistic techniques, which contributes to the lightening of his own color palette. The artist who arrived from Holland turns into one of the most original representatives of the Parisian avant-garde, whose innovation breaks from within all the conventions that fetter the enormous expressive possibilities of color as such.

In Paris, Van Gogh communicates with Camille Pissarro, Henri de Toulouse-Lautrec, Paul Gauguin, Emile Bernard and Georges Seurat and other young painters, as well as with the paint dealer and collector dad Tanguy.

last years of life

By the end of 1889, at this difficult time for himself, aggravated by fits of insanity, mental disorders and a craving for suicide, Van Gogh received an invitation to take part in the exhibition of the Salon des Indépendants, organized in Brussels. At the end of November, Vincent sends 6 paintings there. On May 17, 1890, Theo has a plan to settle Vincent in the town of Auvers-sur-Oise under the supervision of Dr. Gachet, who was fond of painting and was a friend of the Impressionists. Van Gogh's condition is improving, he works hard, paints portraits of his new acquaintances, landscapes.

July 6, 1890 Van Gogh arrives in Paris to Theo. Albert Aurier and Toulouse-Lautrec visit Theo's house to meet him.

From the last letter to Theo, Van Gogh says: “... Through me, you took part in the creation of some canvases that even in a storm keep my peace. Well, I paid with my life for my work, and it cost me half my sanity, that's right… But I'm not sorry.”

Thus ended the life of one of the greatest artists not only of the 19th century, but of the entire history of art as a whole.