'Vincent. The Van Gogh Museum in the Hermitage Amsterdam'. Unconventional choices of a world-famous artist
From 29 September 2012 to 25 April 2013
While the Van Gogh Museum is under renovation, until 1 May 2013, its temporary stay at the Hermitage Amsterdam is an opportunity to discover the work of Vincent van Gogh (1853-1890) in an entirely new way. The presentation Vincent traces the artist's fascinating quest throughout his artistic career. In the space of ten years, the autodidact Van Gogh grew from a raw beginner into a true artist with the unique style and character that has made him a world-famous figure to this day. In the Hermitage Amsterdam, this personal history is brought to life by some 75 major paintings, accompanied by a selection of letters, works on paper, and objects from the collection of the Van Gogh Museum. Masterpieces such as Sunflowers (1889), The bedroom (1888), Almond blossom (1890), The potato eaters (1885), and The yellow house (1888), as well as lesser-known works by Van Gogh, illustrate his quest, which is viewed through the lens of the artist’s own personal themes.
Throughout his relatively short artistic career, Vincent van Gogh was constantly pursuing new artistic goals. With exceptional determination, he delved into every facet of his art, including the techniques of painting and the many styles that he encountered. This comprehensive search was an essential part of the path to his own way of painting and his own choice of themes. Despite the widespread image of Van Gogh as an impulsive, creative individual, he was actually a man with clear objectives who was focused on achieving them. He did not draw or paint whatever came to mind; rather, each drawing or painting was a carefully planned effort to move forward as an artist. A number of Van Gogh’s personal objectives are explored in Vincent. The Van Gogh Museum in the Hermitage Amsterdam.
Practice makes perfect
Van Gogh usually called his paintings ‘studies’ to indicate that they were attempts to master a particular technique or become familiar with a certain theme. For example, he made a series of drawings of farmers' hands in preparation for the famous painting that was to prove his mastery: The potato eaters (1885). He also experimented with new techniques during his years in France. Right up to the final month of his life, he was painting studies like Ears of wheat (1890), an exploration of a possible background motif for a portrait. Practice and experiment remained important to Van Gogh, because he believed an artist’s education was never complete: ‘I keep on making what I can’t do yet in order to learn to be able to do it.’
A style of his own
During his brief artistic career, Van Gogh experimented with a wide range of styles before arriving at a style and brushstroke that were entirely his own, and which would eventually make him world-famous. In every stage of his artistic development, he drew inspiration from other artists. In Paris, for instance, he was influenced by the style of the Impressionists and Pointillists, but Montmartre: behind the Moulin de la Galette (1887) clearly shows that he ultimately found his own way of painting.
The effect of colour
Van Gogh was always thinking about the effects of colour in his work. In paintings such as Quinces, lemons, pears and grapes (1887) and Sunflowers (1889), he explored the many gradations of a single colour. At other times, he brought colours into dialogue to make his paintings more compelling and eloquent; two striking examples are Gauguin’s chair (1888) and Irises (1890). Van Gogh became increasingly convinced that colours in themselves had expressive power. For him, colour was the ideal means of conveying an atmosphere or an emotion.
For Van Gogh, peasant life was associated with simplicity, constancy, and rebirth. This theme played a central role throughout his life as an artist, especially during his periods in Nuenen and Provence. In 1885 he wrote to his brother Theo, ‘When I say that I’m a peasant painter, that is really so.’ He thus followed in the footsteps of Jean-François Millet, the master of the peasant genre.
Looking to Japan
Japanese art had an enormous influence on Van Gogh. Both its subject matter and its compositional and stylistic principles formed a major source of inspiration for him. In 1888 he wrote to Theo from Arles, ‘All my work is based to some extent on Japanese art.’ When first becoming acquainted with Japanese art, he made copies of famous prints such as Hiroshige’s Bridge in the rain (1887), but he soon began to enrich his own style with distinctively Japanese elements, such as the approach to perspective and colour. We can see this clearly in paintings such as The harvest (1888) and The Langlois bridge (1888).
The modern portrait
In Auvers, Van Gogh wrote, ‘What I’m most passionate about, much much more than all the rest in my profession – is the portrait, the modern portrait.’ His portraits strive to express the spirit of his age and are executed in his uniquely expressive style. Early in his career, Van Gogh was mainly interested in how to depict people’s heads, as we can see in the many studies of heads that he made. Slowly but surely, his ideas about portraiture changed. In Arles, he wanted to paint ‘modern portraits’ that did justice to the temperament of the model. Examples include The Zouave (1888) and Portrait of Camille Roulin (1888).
The wealth of nature
In Van Gogh’s personal life and in his art, nature played a crucial role. In nature, he found great peace and strength. Because Van Gogh took a broad view of nature, he could always find it close by. He painted overgrown gardens, blossoming orchards, and endless cornfields. And in these pictures, people are never far away. Van Gogh pursued his own, deeply personal vision of nature, sometimes profound and nearly religious, sometimes light-hearted and cheerful.
Van Gogh meets Impressionist favourites from the Hermitage
During the Van Gogh Museum’s temporary stay the Hermitage Amsterdam will also present the exhibition Impressionism: Sensation & Inspiration, Highlights from the Hermitage until 13 January 2013. This double bill of Van Gogh and many of his leading contemporaries will offer a unique survey of prominent nineteenth-century French painters.
The Van Gogh Museum will be located in the Hermitage Amsterdam from 29 September 2012 to 25 April 2013, while the building in Museumplein is temporarily closed to the public for essential renovation work. Thanks to our partnership with the Hermitage Amsterdam, the Van Gogh Museum can keep its permanent collection on display for the many visitors to the city. In May 2013, the Van Gogh Museum will reopen with the exhibition Van Gogh at Work, a celebration of its 40th anniversary.
The Van Gogh presentation in the Hermitage will be accompanied by the publication Vincent by Leo Jansen and Renske Suijver, with a contribution by Ann Blokland. Van Gogh Museum Publications, €19.95. Available in English, Dutch and French.
Note for the press (not for publication):
Images can be downloaded from the image bank at www.vangoghmuseum.com/press. Image bank: Vincent. The Van Gogh Museum in the Hermitage Amsterdam.
User name: vangogh. Password: vincent1890.
The press opening of Vincent. The Van Gogh Museum in the Hermitage Amsterdam will take place on 28 September 2012.