The Drinkers (1890) was painted during Vincent Van Gogh’s time in the Saint-Paul-de-Mausole asylum in Saint-Remy-de-Provence, a small town in the south of France. Van Gogh was highly productive during this time, but he struggled to maintain confidence in his own abilities as painter. To retrain himself, he made a number of copies after the works of artists he admired, which freed him from having to produce original compositions and allowed him to concentrate instead on interpretation. Van Gogh borrowed this composition from a black and white print after Honore-Victorin Daumier, but the vibrant colors were his own invention. The greenish palette may be an allusion to the notorious alcoholic drink, Absinthe.
This still life, Bouquet of Flowers in a Vase (1890) is not mentioned in Vincent Van Gogh’s letters and has puzzled scholars as to its place in his artistic production. The subject enjoys a certain rapport with the mixed bouquet of summer flowers he made in Paris; the quasi-abstract floral wallpaper design in Berceuse of Arles , and the white porcelain vase in the Irises of Saint-Remy (both paintings also on exhibit at The Met). However, the palette and style of this painting, especially its distinctive blues and ochers and graphic, brick-shape hatchings, link it firmly with the landscapes made just prior to his death in Auvers on July 29, 1890.
Photographed in the Metropolitan Museum of Art in NYC.
Rose Painting Near Van Gogh’s Grave By Julian Schnabel (All Photos By Gail)
Confession: Julian Schnabel is not an artist whose work I particularly admire. To me, his stuff almost always seems uninspired, phoned in, and, well, just plain ugly. I do not think that I am alone in that opinion. Schnabel’s latest exhibit, New Plate Paintings, which is his first solo show at Pace Gallery since leaving Gagosian, is a collection of nearly-identical variations on a theme: paintings depicting pink roses on a bed of greenery, which is notable for being painted on a relief of broken dishes mounted on the canvas.
Inspired by the roses growing in the cemetery near Vincent Van Gogh’s grave in Auvers-sur-Oise, France, these works are have the same title, Rose Painting Near Van Gogh’s Grave, with an identifying roman number added. Well, it beats the laziness of calling each piece “Untitled.”
There is no denying that the works look pretty, but painting a floral still life on broken dishes, so that the jagged, pointy bits can stand in for leaves, is the kind of idea that would be considered wildly clever if you were participating in a high school art show, or local crafts fair. Is that really all he’s got in the wheelhouse?
Maybe its the physical scale of each piece that qualifies them as impressive, but justifying a $900,000 price tag on piece of comparatively unintesting art just because your name is Julian Schnabel seems a bit contemptuous. Plus, Schnabel has been doing the plate paintings for almost three decades already. Yawn city.
Andy Warhol once said that, “Art is what you can get away with.” This is still a valid sentiment.
New Plate Paintings By Julian Schnabel will be on Exhibit Through March 25th, 2017 at Pace Gallery, Located at 510 West 25th Street in the Chelsea Gallery District
While recovering from a mental breakdown at a hospital in Saint-Remy, Vincent Van Gogh created this depiction of the Alpilles, a low mountain range in the southern French town. Van Gogh‘s characteristic heavy impasto and bold, broad brushstrokes activate the terrain and sky. In his letters, the artist wrote: “I rather like the ‘Entrance to a Quarry’ — I was doing it when I felt this attack coming on — because to my mind the somber greens go well with the ocher tones; there is something sad in it which is healthy, and that is why is does not bore me. Perhaps that is true of the ‘Mountain’ too. They will tell me that mountains are not like that and that there are black outlines of a finger’s width. But after all it seemed to me it expressed that passage in [Edouard] Rod’s book [Le sens de la vie, 1889] . . . about a desolate country of somber mountains, among which are some dark goatherds’ huts where sunflowers are blooming.”
Photographed in the Thannhauser Collection Galleries at the Guggenheim Museum in NYC
Painted in June of 1889, The Starry Night is likely Dutch Post-Impressionist painter Vincent van Gogh’s most popular work on canvas. “This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big,” van Gogh wrote to his brother Theo, from France. Rooted in imagination and memory, The Starry Night embodies an inner, subjective expression of van Goghs response to nature. In thick, sweeping brushstrokes, a flamelike cypress unites the churning sky and the quiet village below. The village was partly invented, and the church spire evokes van Gogh’s native land, the Netherlands.
Oh my, Bacon things just get more and more creative, as you can see by this lovely version of Vincent Van Gogh’s famous oil painting, Starry Night, as recreated in bacon and other delicious pork products. Learn how to reconstruct your own bacon masterpiece at This Link.