20th century art | Outside The Lines

Vincent Van Gogh (1853 – 1890) was a Dutch painter whose Post-Impressionist paintings laid the groundwork for Expressionism, influenced the Fauves and greatly affected 20th century art.

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He created more than 2,000 works, including 900 paintings, three of which make up the world’s ten most expensive pieces of art.

Van Gogh was born in 1853 in Groot-Zundert, a village in the southern Netherlands. His father was a minister and three of his uncles were art dealers, two vocations that were to pull Vincent in different directions at various times in his life.

In letters, Vincent has described his youth as “gloomy, cold and barren,” and he left school at 15. With the help of his uncle, he was offered a job with the art dealer Goupil & Cie, and in 1873 was sent to London and from there to Paris. After complaining repeatedly about the commoditisation of art, his job with the art dealership was terminated and Van Gogh returned to England to work as a teacher and minister’s assistant.

In 1879, after failing a course at a Protestant missionary school near Brussels, Van Gogh began a mission in the poor mining district of Borinage in Belgium. Choosing to live in the same poverty-stricken conditions as the local population, he was dismissed for “undermining the dignity of the priesthood” and returned home. His behaviour over the following months led his father to enquire about having Van Gogh committed to an asylum.
Aged 27, Van Gogh eventually took up the suggestion of his brother Theo, now a successful art dealer, to focus on painting. In 1880, he moved to Brussels and studied at the Royal Academy of Art.

Van Gogh’s first major work, The Potato Eaters, was painted in 1885 shortly after his father’s death. Like many of his early works, the painting used sombre colors, especially dark brown, a preference which would make his paintings difficult to sell; buyers’ tastes were now influenced by the bright tones used by the Impressionists.

His palette however, began to change after he moved to Antwerp in 1885. He studied color theory and began using carmine, cobalt and emerald green. But it was while living in Paris from 1886 to 1888, where he met Emile Bernard and Toulouse-Lautrec and came into close contact with Impressionist art, that Van Gogh’s art really began to develop.

He experimented with Pointillism and painted in the sunflower-rich region of Arles with the artist Gauguin. By late 1888 his behavior was becoming difficult however, and fearing that Gauguin was going to abandon him, he stalked the painter with a razor before cutting off his earlobe and giving it to a local prostitute, telling her to “keep this object carefully.” The following year, after suffering from hallucinations and believing that he was being poisoned, Van Gogh was placed in the mental hospital of Saint-Paul-de-Mausole near Arles.

By now, Van Gogh’s work was beginning to be recognized. The critic Albert Aurier called him a “genius,” and Monet declared that his work was the best in a major avant-garde Brussels art show.

The beginnings of success did nothing to help Van Gogh’s depression though, nor did the intervention of the physician Dr. Paul Gachet. On July 27, 1890, he walked into a field, shot himself in the chest with a revolver and died two days later.

Although there has been much speculation about the nature of Van Gogh’s mental illness, he is now recognized as one of the world’s greatest artists and a bridge between 19th century Impressionism and 20th century art.

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Source:

http://en.wikipedia.org/wiki/Vincent_van_Gogh

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Art is subjective. Individuals find themselves attracted to a certain artist, style, or theme when looking for art to inspire positive thought and decor. Upon finding the piece they consider, “just right,” one may seek to understand more about the particular picture or genre of art. However, they contrive their thoughts from a combination of what they already know, research, and see with their own two eyes.

In the early 1900’s this thought process was used to develop a new kind of art — completely subjective in form. It received the title, “op-art,” or optical art. This fresh form of art, not seen before the 20th century, used paint to create an interaction between a lively illusion and a picture plane, which is the flat canvas. Much of the art first produced in this genre (and some of the better known pieces) use only black and white paint or ink. As the art form expanded throughout the century, other elements of color and design were added.

This genre quickly evolved but remained true to its core: op-art is a perceptual experience that derives from manipulating typical visual functions. By painting an illusion onto a flat canvas there is a juxtaposition between what the eye expects to see and what it actually takes in. This is known as the figure-ground relationship.

Such a relationship exists because of edge assessment. For instance, when the boarderlines of one shape can be applied to both the outside of the shape and inside of another, an illusion is created. When placing this illusion on a flat, two-dimensional material, like a canvas, a human’s eye is especially baffled and the individual is likely to see the painting from more than one perspective.

But not all optical illusions are works of art. When an artist strives to deliberately challenge an observer’s eye with this figure-ground relationship, op-art is the goal in mind. In fact, the foundational elements of creating an artistic illusion are simple lines and patterns. With the use of color, op-art expanded because it used certain colors to change how the retina perceived an overall image.

This did not happen until the mid 1900’s, even though many artists trained in the op-art technique showed interest in applying color to their contrasting figure-ground paintings much earlier. Artists like Josef Albers, Bridget Riley, and Julian Stanczak were eager to implement this element. Some time after color was introduced to op-art, photographers also became determined to produce op-art, in black and white, and in color photographs.

Op-art photography became popular in the 1970’s. However, this form of digital manipulation (that became easier with technological developments) lacked the foundational elements most important to op-art: Lines and patterns. For quite some time there was not enough subject matter for photographers to produce artistic illusions; lines and patterns were much easier to paint than capture.

This simplicity is what makes op-art a stroke of genius. It cannot be overlooked that the founders of this art, German artists who studied constructivist philosophy, believed thought provoking art could positively influence society. At the school of Bauhaus, where op-art first originated, great thinkers like Josef Albers developed a new way of seeing the world; by looking on both sides of the same line.