梵高《洗衣妇》（THE LAUNDRESS，纽约苏富比2017）

阴山工作室 2018-05-28

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梵高洗衣妇 THE LAUNDRESS 纽约苏富比2017.5 估价150万美元

作品介绍

Executed in 1882, The Laundress dates from the important formative period of Van Gogh’s career when he began to develop many of the key themes that would occupy him throughout his life. Inspired by the life and work of the French painter Jean-François Millet – he read Alfred Sensier’s La vie et l’œuvre de Jean-François Millet in 1881 – and by his own earlier experiences as a missionary and preacher, he turned increasingly to subjects from the rural, peasant life he saw around him. In The Laundress he depicts a woman in the act of spreading out or gathering in cloth laid out in the sun on bleaching fields – a common sight in this part of the Netherlands. Her bent back and the bleak simplicity of her surroundings clearly allude to similar works by Millet and reveal a parallel interest in depicting the common man at work. This motif, of a woman bending to her toil, appeared again in later works in which Van Gogh returned again to exploring themes inspired by Millet, often using earlier drawings and watercolors as source material.

Jacob Isaacksz. van Ruisdael, View of Haarlem with Bleaching Grounds, circa 1665, oil on canvas, Kunsthaus, Zurich

However, as his letters of the period attest, during these years Van Gogh was also exploring a wider range of influences inspired in part by the landscape surrounding him. Writing to fellow-painter Anthon van Rappard in May 1882 he described one such influence: “I do so hope that we’ll be able to go on some more walks here in the neighborhood when the opportunity arises. Because you would certainly find plenty of material in the fish-drying barns in Scheveningen, for example. They’re splendidly Ruisdael-like (I mean like that painting, The bleaching grounds at Overveen)” (quoted in L. Jansen, H. Luijten & N. Bakker, Vincent van Gogh, The Letters, The Complete Illustrated and Annotated Edition, Volume 2: The Hague, 1881-1883, London, 2009, p. 80). He was equally drawn to the literary example of Charles Dickens, commenting on the ‘plastic’ qualities of his descriptive prose. In an interesting parallel, Dickens, who traveled along this stretch of the Northern European coast in the early 1860s, wrote expr*essively of the “bleaching-grounds, rising out of the sluiced fields in an abrupt bare way, disdaining… to be ornamental or accommodating” (C. Dickens, The Uncommercial Traveller, London, 1911 (originally 1866), p. 316).

Jean-François Millet, Two Peasant Women Digging Potatoes, 1885, oil on canvas laid down on panel, Rijksmuseum Kröller-Müller, Otterlo

Whilst there is nothing ornamental in this treatment of the subject, The Laundress nonetheless has a poetic eloquence. Van Gogh had begun working in watercolor in 1881, encouraged by his relationship with the Dutch painter Anton Mauve who was a cousin of his through marriage and a mentor to the younger artist. In a letter to his brother from the same year he described the liberating effect of exploring this new medium: “What a splendid thing water color is to expr*ess atmosphere and distance, so that the figure is surrounded by air and can breathe in it, as it were” (The Complete Letters of Vincent Van Gogh, Greenwich, Connecticut, 1959, no. 163, p. 280).

Vincent van Gogh, The Peasant Women Digging in a Field With Snow, 1890, oil on paper laid down on canvas, Fondation E. G. Bührle Collection, Zurich

He uses it to great effect in the present work, building a remarkable sense of depth and placing the bent figure of the woman in sharp relief against the shadowy trees of the background. Whilst in many of the works of this period Van Gogh adopted the earthy palette that Millet had favored, in the present work he embraces a more descriptive coloration; vivid pinks and purples can be glimpsed in the sky between the trees and this pale, wintry sunlight is reflected in the warm whites of the laundry laid out on the fields. Contrasting this color against the dark silhouettes of the bare-limbed trees and the muted greens of the grass, Van Gogh achieves an imaginative and powerfully evocative treatment of the subject.

作品细节

梵高洗衣妇 THE LAUNDRESS 局部

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

THE LAUNDRESS

10 1/2 by 16 1/8 in.

26.7 by 41 cm

Executed circa December 1883 - February 1884.

PROPERTY FROM THE FAMILY OF EMILE WOLF

Estimate 1,000,000 — 1,500,000

IMPRESSIONIST & MODERN ART EVENING SALE

16 MAY 2017 | 7:00 PM EDT

NEW YORK

The authenticity of this work has been confirmed by the Van Gogh Museum, Amsterdam.

PROVENANCE

(probably) Anna Cornelia van Gogh-Carbentus, Nuenen/Breda (mother of the artist)

Janus Schrauwen, Breda (acquired from the above in 1888)

Jan C. Couvreur, Breda (acquired from the above on August 14, 1902)

Kees Mouwen Jr. & Willem van Bakel, Breda (acquired from the above in 1902-03)

Sale: Frederik Muller, Amsterdam, May 3, 1904, lot 32

Sale: Frederik Muller, Amsterdam, May 12, 1908 lot 140

F. Hennus, Amsterdam

Cornelis Herman Guépin, Santpoort

Sale: Amsterdam, December 15, 1964, lot 36 (Brandt)

Sale: Klipstein & Kornfeld, Bern, June 13, 1968, lot 398

E.J. van Wisselingh & Co., Amsterdam

Emile E. Wolf, New York (acquired from the above on July 11, 1969)

Thence by descent to the present owner

相关文献

Jacob Baart de la Faille, L'Oeuvre de Vincent van Gogh, Catalogue Raisonné, Dessins, Aquarelles, Lithographies, Paris, 1928, vol. III, no. 1087, catalogued p. 59; vol. IV, no. 1087, illustrated pl. LXV (titled Femme ramassant du linge)

Walther Vanbeselaere, De hollandsche periode in het werk van Vincent van Gogh, 1937, illustrated pp. 103, 205 & 410

Jacob Baart de la Faille, The Works of Vincent van Gogh, His Paintings and Drawings, London, 1970, no. F. 1087, illustrated p. 395

Jacob Baart de la Faille, Vincent van Gogh: The Complete Works on Paper, Catalogue Raisonné, San Francisco, 1992, vol. I, no. 1087, catalogued p. 278; vol. II, illustrated pl. LXV

Jan Hulsker, The New Complete Van Gogh, Paintings, Drawings, Sketches, Amsterdam & Philadelphia, 1996, no. 200, illustrated p. 54 (titled Woman Spreading Out Laundry on a Field)

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