 梵高 公园一角
作品介绍
Please note the present work has been requested by the Van
Gogh Museum for a major exhibition on Van Gogh and Japan to be held
in Amsterdam and Japan in 2017-2018.
Van Gogh’s Coin de parc belongs to a group of drawings
executed between July 31 and August 3, 1888, in a burst of intense
creativity which now provides a succinct impression of his
increasing artistic confidence and ambition. Determined to persuade
his friend John Peter Russell, the Australian painter, to purchase
one of his oils, Van Gogh produced twelve ink drawings based on the
compositions of his most recent and successful paintings and sent
them to Russell in Brittany. The motif of the present work is
related to an oil painting of early July, Pelouse ensoleillée, but
is in fact an original composition, unlike the other eleven
drawings in the group. The subject was obviously of some
fascination to Van Gogh, who described it to his brother Theo in a
letter written around July 5th: “Here is a new subject. A corner of
a garden with clipped shrubs and a weeping tree, and in the
background some clumps of oleanders. And the lawn just cut with
some long trails of hay drying in the sun, and a little corner of
blue-green sky at the top” (The Complete Letters of Vincent van
Gogh, Greenwich, Connecticut, 1959, no. 508). The motif, which was
taken from one of the gardens in the Place Lamartine which Van Gogh
could see from the Yellow House, was repeated in two further
drawings, one included in a letter to Theo and another which was
sent to Émile Bernard. The garden reappeared in a greatly
transformed state two months later in Le Jardin du Poète.
 Vincent van Gogh, Pelouse ensoleillée, 1888, oil
on canvas, Private Collection
Though Van Gogh admired Russell’s paintings, he also thought
of him as a potential collector, blessed as he was by independent
means. As he wrote to Theo on July 31: “I am working hard for
Russell, I thought that I would do him a series of drawings after
my painted studies; I believe that he will look upon them kindly,
and that, at least I hope so, will bring him to make a deal ... If
we prod Russell, perhaps, he will take the Gauguin that you bought,
and if there is no other way of helping Gauguin, what should be
done? ... When I write him, sending the drawings, it will of course
be to urge him to make up his mind. I have eight [drawings] and
shall do twelve” (The Complete Letters of Vincent van Gogh,
op.cit., no. 516). Ronald Pickvance has described this group of
drawings in the following words: “The twelve drawings for Russell
also display stylistic characteristics distinct from the Bernard
set. They are executed less hastily; as well as being more
finished, they are more stylized. The major distinction lies in the
prevalent use of the dot. Dots infest and overrun every sky; they
also articulate the background and facial modelling in two drawings
of heads” (R. Pickvance in Vincent van Gogh Drawings, Milan, 1990,
p. 232).
 Vincent van Gogh, Tree Trunks in the Grass,
1890, oil on canvas, Rijkmuseum, Kröller-Müller,
Otterlo
In Coin de parc, Van Gogh’s wonderfully varied use of
indicative pen strokes gives the drawing a greater sense of control
and concision. The broad expanse of lawn in the horizontal
compositions is defined by the braided forms of the cut grass
whereas in the vertical drawing the space between the trees is
suggested predominantly by scattered vertical strokes and dots. The
bushes and trees are created through dense patterns of
non-naturalistic strokes of the reed pen, varied in tone to define
the spatial relationship of the branches. The trees on the right
cast dense shadows indicating that the oil painting must have been
painted at a different time of day. Even the upward sloping
signature, painstakingly fitted in between blades of grass in the
bottom left-hand corner, partakes of the delicate precision that
characterizes this exceptional drawing.
The present work remained with John Peter Russell until 1920,
when the work was consigned to auction by his son-in-law Paul
Jouve, in order to raise funds for his return to Australia. The
drawing was subsequently acquired by the Austro-American filmmaker
Joseph von Sternberg, whose remarkable collection of modern
paintings, drawings and sculpture was sold in 1949 at Parke Bernet
in New York. Coin de parc was purchased from that sale by Rudolf
Sieber, the husband of screen siren Marlene
Dietrich.
The authenticity of this work has been confirmed by the Van
Gogh Museum, Amsterdam.
作品细节
 梵高 公园一角  梵高 公园一角  梵高 公园一角  梵高 公园一角
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。梵高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，后来经过长期的野外写生，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。梵高的作品大部分收藏于阿姆斯特丹的梵高博物馆（Van
Gogh Museum）和奥特洛的克罗-米勒博物馆（KRÖLLER-MÜLLER MUSEUM）。
作品资料
COIN DE PARC
Estimate
Signed Vincent (lower left)
Reed pen and ink with traces of pencil on paper
12 1/2 by 9 1/2 in.
31.7 by 24.2 cm
Executed in Arles in 1888.
IMPRESSIONIST & MODERN ART EVENING SALE
14 NOVEMBER 2016 | 7:00 PM EST
NEW YORK
PROVENANCE
John Russell, Belle-Ile-en Mer (acquired from the artist in
1888 and sold: Hôtel Drouot, Paris, March 31, 1920, lot 65)
Galerie Le Garrec, Paris
Kunsthandel d’Audretsch, The Hague
Galerie Lutz, Berlin
Sale: Amsler & Ruthardt, Berlin, (Sammlung D.L.), October
29, 1925, lot 247
Galerie Van Diemen, Berlin
Thannhauser Galleries, New York
Josef von Sternberg, Hollywood (and sold: Parke-Bernet
Galleries, Inc., New York, November 22, 1949, lot 28)
Rudolf Sieber, California (acquired at the above sale)
Josef von Sternberg, Hollywood
Walter Feilchenfeldt, Zürich (acquired from the above in
1963)
Wildenstein & Co. Inc., New York (acquired at the above in
1965)
Audrey Sheldon, New York (and sold by the Estate: Christie's,
New York, October 22, 1980, lot 328)
Private Collection, New York (acquired at the above sale and
sold: Sotheby’s, New York, November 6, 1991, lot 12)
Private Collection, New York
Sale: Sotheby's, London, June 27, 1995, lot 10
Acquired at the above sale by the present owner
展览历史
Hamburg, Galerie Commeter, Französische Malerie des 19, und 20
Jahrhunderts, 1927, no. 53
Los Angeles, Los Angeles County Museum of Art, Exhibition of
the von Sternberg Collection, 1935
Los Angeles, Los Angeles County Museum of Art, The Collection
of Josef von Sternberg, 1943, no. 164, illustrated in the
catalogue
Chicago, The Arts Club of Chicago, Exhibition of Paintings and
Drawings from the Josef von Sternberg Collection, November 1946,
no. 35
New York, Wildenstein & Co, Inc., From Bosch to Klee,
1974, n.n. (listed as drawing 23795)
Cleveland, Cleveland Museum of Art; New Brunswick, New Jersey,
Rutgers University Art Gallery & Baltimore, The Walters Art
Gallery, Japonisme: Japanese Influence on French Art, 1854-1910,
1975-76, no. 192, illustrated in the catalogue
New York, The Metropolitan Museum of Art, Van Gogh in Arles,
1984, no. 79, illustrated in color in the catalogue
Martigny, Switzerland, Fondation Pierre Gianadda, Van Gogh,
2000, no. 67, illustrated in color in the catalogue (titled Jardin
à l'arbre pleureur)
Amsterdam, Van Gogh Museum & New York, The Metropolitan
Museum of Art, Van Gogh, Master Draughtsman, 2005, no. 116,
illustrated in color in the catalogue (titled A Corner of a Garden
in Place Lamartine)
London, Royal Academy of Arts, The Real Van Gogh: The Artist
and his Letters, 2010, no. 102, illustrated in color in the
catalogue (titled A Corner of a Garden in the Place
Lamartine)
相关文献
Jacob Baart de la Faille, L’Oeuvre de Vincent van Gogh,
Catalogue raisonné, Paris & Brussels, 1928, no. 1449, vol. III,
p. 137 & vol. IV illustrated pl. CLVI
Henry Thannhauser, "Van Gogh and John Russell: Some Unknown
Letters and Drawings" in The Burlington Magazine, LXXIII, London,
September 1938, no. 176, cited p. 104
Jacob Baart de la Faille, The Works of Vincent van Gogh: His
Paintings and Drawings, Amsterdam, 1970, no. F1449, illustrated p.
507 (titled View in the Park)
Jan Hulsker, The Complete Van Gogh: Paintings, Drawings,
Sketches, London, 1980, no. 1534, illustrated p. 351 (titled Lawn
with Weeping Tree)
Vincent van Gogh Exhibition (exhibition catalogue), The
National Museum of Western Art, Tokyo, 1985, illustrated in the
catalogue p. 167 (titled Garden with Weeping Tree)
Jacob Baart de la Faille, Vincent van Gogh: The Complete Works
on Paper, Catalogue Raisonné, San Francisco, 1992, no. 1449, vol.
I, p. 377; vol. II, illustrated pl. CLVI
Jan Hulsker, The New Complete Van Gogh: Paintings, Drawings
and Sketches, Revised and Enlarged Edition of the Catalogue
Raisonné, Amsterdam, 1996, no. 1534, illustrated p. 351 (titled
Lawn with Weeping Tree)
Marije Vellekoop, Roelie Zwikker & Monique Hageman,
Vincent Van Gogh Drawings, Volume 4, Arles, Saint-Rémy &
Auvers-sur-Oise, London, 2007, mentioned p. 86 & illustrated p.
165 (titled Grassy Area with Weeping Tree)
Ann Galbally, A Remarkable Friendship: Vincent van Gogh and
John Peter Russell, Melbourne, 2008, mentioned p. 249
Leo Jansen, Hans Luijten & Nienke Bakker, The Letters, The
Complete Illustrated and Annotated Edition, London, 2009, vol. IV,
illustrated in color p. 215 (titled Lawn with a Weeping Tree)
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