梵高 新读者
作品介绍
'I have also painted 'Une Liseuse de Romans,' the luxuriant
hair very black, a green bodice, the sleeves the color of wine
leafs, the skirt black, the background all yellow, bookshelves with
books. She is holding a yellow book in her hands' (Van Gogh, The
Complete Letters of Vincent van Gogh, Vol. III, London, 1958, no. W
9, p. 448).
So Van Gogh wrote to his sister (fig. 6), Wil, towards the end
of 1888. By the time Une liseuse de romans was painted, van Gogh
had been in Arles for over half a year, and this change of location
had had huge ramifications in his painting. While he had found
Paris stifling, and this had reflected itself in many of his works
executed there, the French countryside had resuscitated the lust
for life that characterises his greatest pictures. He regained
confidence and originality, his own unique manner of expr*essing
the wonders of the world. The mixture of innovation and enthusiasm
with which he painted during this period have led to its being
considered one of the highpoints of his entire artistic career. Une
liseuse de romans is an intimate and exquisite work packed with the
various strands of influence - Japanese art, Gauguin, the South -
which had converged in Arles to produce an artist with an
inimitable and indomitable ability to seemingly recreate on canvas
the stuff of life itself.
One of the main reasons that Van Gogh had headed for the South
of France was that he considered it the closest he could afford to
reach to Japan, a country with which he was obsessed. Some months
earlier he had written to his brother Theo, justifying his stay
there:
'About this staying on in the South, even if it is more
expensive, consider: we like Japanese painting, we have felt its
influence, all the impressionists have that in common; then why not
go to Japan, that is to say the equivalent of Japan, the South?'
(Van Gogh, ibid., Vol. II, no. 500, p. 589).
There were several key factors that attracted Van Gogh to the
art of the Japanese. One of these was the intensity of the artistic
process, the dedication that some of the great Japanese itinerant
artists had shown, wandering like paupers in search of the perfect
aesthetic sight. However another aspect, inspired greatly by the
prints of artists such as Hiroshige, Utamaro and Hokusai, was the
use of fields of bold colour in his works. Van Gogh created his own
brand of cloisonnisme based on the bold, bordered colours in
Japanese prints. Van Gogh discussed this use of contrasting colours
that he had developed in a letter written to his sister shortly
before Une liseuse de romans was painted, explaining that it was in
part a legacy of the Japanese artists he loved so much:
'My dear sister, it is my belief that it is actually one's
duty to paint the rich and magnificent aspects of nature. We are in
need of gaiety and happiness, of hope and love.
'The more ugly, old, vicious, ill, poor I get, the more I want
to take my revenge by producing a brilliant color, well arranged,
resplendent. Jewellers too get old and ugly before they learn how
to arrange precious stones well. And arranging the colors in a
picture in order to make them vibrate and to enhance their value by
their contrasts is something like arranging jewels properly' (Van
Gogh, ibid., Vol. III, W 7, p. 444).
In Une liseuse de romans, the various colours are arranged in
such a way as to create a harmony, each area making its neighbours
sing all the more. The reader herself is thrust into bold relief by
the ardent yellow of the background. These colours, as seen in the
letter the artist had sent his sister describing the work, were
both a product of the artist's enthusiasm and a source of pride for
him. He was daring here to present colour almost for its own sake,
using it to capture his sense of 'gaiety and happiness, hope and
love'. However, Van Gogh has filled the reader herself with subdued
tones, apart from her shoulders and her book. This gives her a
sense of shade, of darkness, and therefore of mystery. At the same
time, it links the painting to its near contemporary, The Sower
(fig. 1), which, despite its rural theme, echoes the composition of
La liseuse de romans.
It is no coincidence that when Van Gogh described this picture
to his brother, he ended the description by saying, 'Gauguin gives
me the courage to imagine things, and certainly things from the
imagination take on a more mysterious character' (Van Gogh, ibid.,
Vol. III, no. 562, p. 104). Van Gogh was not merely referring to
the image itself, but also to the fact that, inspired by Gauguin,
he was painting subjects not from life, but from his heart, mind
and memory. The images that were in his mind he now deemed suitable
to be harnessed on canvas. Van Gogh referred to this process as
'Abstraction', and indeed discussed his use of abstraction with his
friend Emile Bernard with specific reference to this painting (in
letter B 21). For Van Gogh, abstraction meant working from the
mind, or the heart, and not from life. Gauguin was the artist who
gave Van Gogh the inspiration and encouragement to tap into the
mysteries of his own mind, and of the universe, without having to
resort to the real world as a visual key. Instead, he could sit and
conjure up memories, visions, sights that were poignant and
pertinent to him, thereby tapping into a mystic strain of life that
he had formerly ignored. Van Gogh was executing another painting at
the same time as Une liseuse de romans, Un Souvenir du jardin à
Etten (fig. 3), now in the Hermitage Museum, St. Petersburg, and
discussed this painting at some length with his sister. First he
described the painting, and then he defended and explained himself,
tying the use of the bold colours to the memory process which he
here invokes:
'I don't know whether you can understand that one may make a
poem only by arranging colors, in the same way that one can say
comforting things in music.
'In a similar manner the bizarre lines, purposely selected and
multiplied, meandering all through the picture, may fail to give
the garden a vulgar resemblance, but may present it to our minds as
seen in a dream, depicting its character, and at the same time
stranger than it is in reality' (Van Gogh, ibid., Vol. III, no. W
9, p. 448).
This sense of the poetic nature of his memory, of visually
being able to recreate an image, and yet to render it more intense
than the original moment, is both the crux of Van Gogh's painting,
and a great legacy from Gauguin. Although Van Gogh repeatedly
referred to Gauguin as an impressionist painter, it is clear that
neither of the two were exploring any sense of 'impressionnisme',
but were instead seeking a more extreme, more expr*essionistic
means of tapping not into any worldly reality but instead into an
intense, emotional experience of life at its rawest and most
poetic. Writing about the poet Walt Whitman, Van Gogh perhaps
unwittingly set down some words that encapsulate much of his own
art:
'He sees in the future, and even in the present, a world of
healthy, carnal love, strong and frank - of friendship - of work -
under the great starlit vault of heaven a something which after all
one can only call God - and eternity in its place above the world.
At first it makes you smile, it is all so candid and pure; but it
sets you thinking for the same reason' (Van Gogh, ibid., Vol. III,
no. W 8, p. 445).
It is apt that this description is in fact a reference to
books, the subject of Une liseuse de romans and a recurring theme
throughout van Gogh's art, appearing in paintings as diverse as his
painting of Gauguin's chair (fig. 5), simpler still lifes like his
Still Life with French Novels and a Rose painted in Paris (fig. 4),
or his portrait of Mme. Ginoux, L'Arlésienne. Van Gogh was reading
a great deal in the South, finding several authors who seemed to
share aims in one way or another with him: Maupassant, Flaubert,
Zola and Whitman. The first three in particular, all of whose books
tended to be printed with cheap, yellow paper covers, Van Gogh had
entreated his sister to read, along with other Naturalist fiction,
and some have speculated that in Une liseuse de romans, Van Gogh's
only known oil depicting a woman actually reading, not merely
holding, a book, is the artist's highly personal visualisation of
his sister reading one of the books he had so heartily
recommended.
画家简介
文森特·威廉·梵·高(Vincent Willem van
Gogh,或译为“梵高”、"梵谷",1853-1890),荷兰后印象派画家。出生于新教牧师家庭,是后印象主义的先驱,并深深地影响了二十世纪艺术,尤其是野兽派与表现主义。他早期受荷兰画家马蒂斯·玛丽斯的影响以灰暗色系进行创作,直到他搬往巴黎与作为画商的弟弟同住,接触了当时震动了整个巴黎美术界的画家们,画风渐渐被印象派的画家影响,后来经过在野外的长期写生,色调渐渐由灰暗色系变为明亮色系。1890年7月,梵高在麦田里中开枪自杀(亦有说他杀或误杀),年仅37岁。梵高一生中共画了864张油画,1037张素描,150张水彩画,他的水彩画亦十分出众,和油画不分上下。他个人独爱肖像画,一生中画过35幅自画像,11幅向日葵,4幅覆盖在以前的练习画上,7幅在习作的背面,7幅在纸板上画的。在他去世之后,他的作品跻身于全球最着名最珍贵的艺术作品的行列。他的作品目前主要收纳在阿姆斯特丹的梵高美术馆和奥特洛的国立克罗-米勒美术馆。
作品资料
Une liseuse de romans
成交总额
GBP 3,365,250
估价
GBP 3,000,000 - GBP 4,000,000
oil on canvas
29 x 36½in. (73 x 92.7cm.)
Painted in Arles in November 1888
拍卖 6735
IMPRESSIONIST AND MODERN ART (EVENING SALE)
伦敦|2003年6月24日
拍品 55
来源
Cornelis Hoogendijk, Amsterdam; his sale, Frederick Müller,
Amsterdam, 21-22 May 1912, lot 22.
Paul Rosenberg, Paris.
Christian Tetzen-Lund, Copenhagen; his sale, Winkel and
Magnussen, Copenhagen, 10 June 1936, lot 3 (26,700 Kr).
Mrs Karen Krogh, Aarhus, by 1947.
John Hay Whitney, New York, by 1947.
The Texas Contemporary Art Association, Houston, by whom
acquired from the above in 1951.
Marlborough Fine Art, London.
Mr and Mrs Louis Franck, London and Gstaad, by whom acquired
from the above circa 1955.
展览历史
London, Marlborough Fine Art, XIX & XX Century French
Masters, no. 47 (illustrated).
New York, Wildenstein, Van Gogh, March - April 1955, no.
38.
Paris, Galerie Charpentier, Cent Chefs-d'Oeuvre de l'art
Français, 1750-1950, May - September 1957, no. 103.
London, Marlborough Fine Art, A Great Period of French
Painting, June - July 1963, no. 39.
Washington, National Gallery of Art, Post-Impressionism,
Cross-currents in European and American Painting 1880-1906, 1980,
no. 69.
Chicago, The Art Institute of Chicago, Van Gogh and Gauguin:
The Studio of the South, September 2001 - January 2002, no. 60
(illustrated p. 201); this exhibition later travelled to Amsterdam,
Van Gogh Museum, February - June 2002.
Treviso, Casa dei Carraresi, L'impressionismo e l'età di Van
Gogh, November 2002 - March 2003, no. 153 (illustrated catalogue p.
437).
相关文献
J. Meier-Graefe, Vincent, Vol. II, Munich, 1921 (illustrated
pl. 29).
J. Meier-Graefe, Vincent van Gogh, Vol. I, London, 1922
(illustrated pl. 24).
J.B. de la Faille, Vincent van Gogh, Paris & Brussels,
1928, no. 497 (illustrated).
Christian Tetzen-Lund, Samling af moderne Fransk Malerkunst,
Copenhagen, 1934, no. 38 (illustrated pl 25; as 'La liseuse de
roman dans une bibliothèque').
W. Scherjon & W. Jos de Gruyter, Vincent van Gogh's Great
Period, Arles, St Rémy and Auvers sur Oise, Amsterdam, 1937, no.
136.
D. Lord (ed.), Vincent van Gogh: Letters to Emile Bernard, New
York, 1938, letter XXI, pp. 97 & 103.
J.B. de la Faille, Vincent van Gogh, Paris, London, New York,
1939, no. 517 (illustrated p. 366).
The Complete Letters of Vincent van Gogh, Vol. III, London,
1958, no. 562 (pp. 104-105); W9 (p. 448); B21 (p. 522).
Rizzoli (ed.), L'opera pittorica completa di Van Gogh, Milan,
1965, 609.
J. B. de la Faille, The Works of Vincent van Gogh. His
Paintings and Drawings, Amsterdam, 1970, no. F497 (illustrated p.
222).
J. Hulsker, The Complete Van Gogh, Paintings, Drawings and
Sketches, Oxford, 1980, no. 1632 (illustrated p. 375).
I.F. Walther & R. Metzger, Vincent van Gogh, Sämtliche
Gemälde, Vol. II, Arles, Februar 1888 - Auvers-sur-Oise, Juli 1890,
Cologne, 1989 (illustrated p. 454).
R. Dorn, Décoration, Vincent van Gogh's Werkreihe für das
Gelbe Haus in Arles, Hildesheim, Zürich and New York, 1990, pp.
423-424. H. Henkels, 'Cézanne en Van Gogh in het Rijksmuseum voor
Moderne Kunst in Amsterdam: de collectie van Cornelis Hoogendijk
(1866-1911)' in Bulletin van het Rijksmuseum, 41, 1993, no. 3/4 p.
193 (illustrated fig 59).
J. Hulsker, The New Complete Van Gogh, Paintings, Drawings and
Sketches, Amsterdam and Philadelphia, 1996, no. 1632 (illustrated
p. 375).
C. Zemel, Van Gogh's Progress, Utopia, Modernity, and
Late-Nineteenth-Century Art, Berkeley, Los Angeles, London, 1997
(illustrated p. 128, fig. 74).
I.F. Walther & R. Metzger, Vincent van Gogh, The Complete
Paintings, Etten, April 1881 - Paris, February 1888,
Cologne, 2001 (illustrated p. 454).
阴山工作室
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