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3 van gogh&gauguin_1889_self-portraits_slideshare


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3 van gogh&gauguin_1889_self-portraits_slideshare

  1. 1. 1889 Self-Portraits - a Comparison Vincent Van Gogh & Paul Gauguin CLIL - Liceo «Agnesi» Milano Silvia Caldarini
  2. 2. Vincent Van Gogh (1853-1890), Self-Portrait with Bandaged Ear, 1889. Oil on canvas, 60 x 49. London, Courtauld Gallery Paul Gauguin (1848-1903), Self- Portrait, 1889. Oil on wood 79,2 x 51,3 cm. Washington, National Gallery of Art CLIL - Liceo «Agnesi» Milano Silvia Caldarini
  3. 3. The Backstage • In February 1888 Vincent settled at Arles, where he painted more than 200 canvases in 15 months. • During this time he sold no pictures and suffered from recurrent nervous crisis. • He became enthusiastic for the idea of setting up a studio of the South for like-minded artists. CLIL - Liceo «Agnesi» Milano Silvia Caldarini
  4. 4. Van Gogh, Yellow House-The Street, 1888, Amsterdam, Oil on canvas, 76 x 94 cm. Amsterdam, Rijkmuseum Van Gogh, The Bedroom at Arles, oil on camvas, cm.72x90. Rijksmuseum Vincent van Gogh, Amsterdam In May 1888, he rented four rooms on Place Lamartine in Arles. Vincent had finally found a place where he could not only paint but also welcome his friends. CLIL - Liceo «Agnesi» Milano Silvia Caldarini
  5. 5. Van Gogh’s “Studio” could be analogous to Gauguin’s circle in Brittany at Pont- Aven. Towards the end of the year he was joined at Arles by Gauguin. CLIL - Liceo «Agnesi» Milano Silvia Caldarini
  6. 6. The Foundamental Question Paul Gauguin, photo by Louis- Maurice Boutet de Monvel, 1891. Musée Maurice Denis Vincent van Gogh, photo by Jacobus Marinus Wilhelmus via Wikimedia Commons CLIL - Liceo «Agnesi» Milano Silvia Caldarini Van Gogh found rich layers of meaning in natural world. For Gauguin reliance on external appearances marked a lack of creative power. Painting from Imagination / Nature
  7. 7. The Self-Portraits as “Manifesto” of Art Believes Depicted after leaving hospital around 6 January 1889, it confirms his esthetic grounded in nature. He manipulated his image to accord with a symbolic program: “…the face of an outlaw… with an inner nobility and gentleness… symbol of the contemporary impressionist painter” (Gauguin) The drama of the recent events. A Saint or an Outlaw? CLIL - Liceo «Agnesi» Milano Silvia Caldarini network of nuanced coloured touches; crisp strokes; interlaced strokes; predominant elements: the bandage; the Japanese colour print = idyllic view. simplified surfaces; schematic drawing; elements of caricature (= e.g. the halo; the snake; the sidelong gaze and sardonic grin/sneer), a purely mental space.