Original subtitles

Субтитры подогнал «Симон»

Субтитры подогнал «Симон»

«With a few confident strokes, with the same ease as if it was as simple as buttoning your waistcoat, I must manage to do a figure with a few strokes. That will keep me busy all winter. Once I have that, I will be able to do people strolling along the boulevards, the streets, a host of new subjects. Ever yours, Vincent.

Van Gogh never travelled to Japan, yet he had a profound admiration for the art from this country.

And he thought a lot about Japan, about Japanese art, about Japanese artists, but it was of course all based on the prints, the coloured woodblock prints that he collected and that he owned.

And in a way he constructed his own image of Japan and that also shaped his way of looking, of making art inspired by Japanese prints.

This exhibition for many people is a revelation because of course not everybody knows that he was so much influenced by this art, but also he was able to somehow change his style in a very fundamental way.

It's so natural to make an exhibition about finger on Japan because he himself says that it's his biggest inspiration source in the year of 1888 and that's of course the greatest period of his artistic life.

Van Gogh started to copy Japanese prints and he imitated Japanese motifs in the beginning.

And suddenly he went to assimilate Japanese styles and Japanese devices and he tried to borrow some Japanese compositional devices, very flat colours and high horizons and like that.

Also very helpful of course that we have most of the Japanese prints that he bought in Paris and he bought at least 660 of them and we've got the majority of them in our collection.

Not only at Van Gogh's time, which was the 1880s, but already from the 1860s, artists has been fascinated by Japanese art.

Artists like Whistler, Monet, Manet, Rodin, Degas, they all had looked at Japanese art as a kind of completely new way of looking at the world.

They were fascinated by the unusual compositions, the great clarity of lines and forms, the great clarity of lines and forms, the great attention to details from nature for example.

The unusual viewpoints, insisting on the flatness of shapes, using large colour planes surrounded by contours.

This represented a completely new way of looking and artists were using those innovations in their own work.

Many of them were also collecting prints like Van Gogh did.

They had collections and they were using those prints to get new ideas about looking at nature, looking at the world and making new very daring compositions.

Van Gogh was also reading about Japan and Japanese art. For example, the book by Louis Gonze, L'Art Japonaise. This was a very important publication on Japanese art.

It was the first French book on Japanese art, which described extensively different art forms from Japan, so also decorative arts, painting, drawing, and there was a whole chapter on Hokusai for example, who was already at the time the most famous Japanese artist.

Another important book for Van Gogh was Madame Chrysanthemes by Pierre Lothi, a French novelist who had been travelling in Japan and describes the customs and the landscape in Japan and Van Gogh.

He was very enthusiastic about this book.

He would have been one of the few artists who would have not been surprised by Japanese art.

As the Netherlands had had a long relationship with Japan.

He would have known about Japanese culture to a certain extent.

He would have seen objects.

His uncle was in the Navy.

He actually went to Japan.

So even in the family, you would have seen that.

Of course, there were also shops already.

And during the 80s, interest in Japanese art grew also in artistic circles.

Other artists whom he admired, with whom he wanted to be associated with, they were interested in Japanese art.

And they had used the bird's eye view, the strong outlines, the flat colours, the more unrealistic, one could say, representation of nature in their own work.

As Van Gogh always did when he discovered something new, he got wildly enthusiastic and ran with it.

Very fascinated by this vocabulary as well as the subject matter of Japanese art.

That allowed him to associate in a new way.

I think Van Gogh was the most influenced by Japanese art.

Not only in the style and not only in the subject and devices, but also in his own ideals.

And that's quite an extraordinary phenomenon.

And Van Gogh idealized Japan, idealized Japanese people and Japanese painters.

That Japanese dream played a very crucial role for Van Gogh's artistic career.

That's quite different from other artists.

From around 1600 to 1868, Japan was ruled by a feudal military government, the Tokugawa Shogunate.

This era is also known as the Edo period, and it was a time of relative stability, maintained firstly by suppressing social unrest, and secondly, by keeping the country closed to foreigners.

Japan did not want to be influenced by the West, especially not by Catholicism.

A wealthy Japanese merchant class emerged, enjoying a hedonistic lifestyle, known as ukyo, translated into English as the floating world.

They patronized the arts and indulged in the services of high-class courtesans called oiran, and female entertainers known as geisha.

Some limited trading did occur with countries like China, Korea, and the Netherlands, through the trading post of Tajima in Nagasaki.

But others, like America, Russia, and most of Western Europe, remained firmly excluded from this lucrative market.

But by the middle of the 19th century, change was in the air.

1853, when Van Gogh was born, exactly the same year, Commodore Perry from America, he came to Japan and forced Japan to open the doors to foreign countries.

And that's a very symbolic year for Japanese history, and also for Van Gogh himself.

Right?

The first thing about Japan and Europe was in 1853, in 1853.

After that, there were many different types of wikers, but...

In the end, Japan was born in 1853 in 1853.

We had to be in 1853, and we were able to fight abroad abroad.

Продолжение следует...

...вязи и зубы, и поджиг.

Но в доме, мы сняли в доме.

Продолжение следует...

Эду период ended in the summer of 1868...

...сотly after the accession of Emperor Meiji.

Продолжение следует...

в первую очередь, в том, что у нас было доступно к Japan.

И, в том числе, в этом месте,

арт старался двигаться в Амстердам.

И, потом, когда Japan открыла в мире,

в 1853 году,

запрещали запросить на Париж,

на Европе, на гораздо широкий уровень.

В то время, как император Меи,

он hired специалисты

Yo guess this fazer Professor, январь уже обращался us to introduce lithography for the currency.

Dutch engineers, Irish architects to advise on the fortification of the harbors,

German legal experts, etc.

So, he was continuously looking towards the outside for information,

how to set up a modern state in the shortest possible time.

They had a double agenda.

They were keen on collecting information from the Western world.

Они хотели узнать о семье, о милициональной организации, социальной организации,

о проблемах как о жене и инфраструктура.

Но они всегда были сложными отношениями к чему-то,

и к тому, что его потенциал влияние.

Они должны показать их свою историю,

например, на occasion на праздничном празднике.

The first Japanese art history that was written for the world exhibition in Paris

in order to show the whole story of the Japanese art.

In that way, they wanted to present themselves to foreign people

and they got involved in the world of politics.

This opening of the borders allowed not only for trade

trynaся enjoy jokes to come out of the country and into the western world

in Europe and particularly in France, there were collectors who were incredibly interested

in Asian art, objects later also grains, paintings, there was a way of decorating your home

и это способствует создать серьезные коллекции.

Никогда не было журнала, ни было неожиданно,

что не было ни одной из айфы о том, что входит Japanese.

Это частью цели культуры, которую можно не поместить.

Japanese art, конечно, influenced многие артисты в последующем 20-х годов.

Контаклей крылаatraин в стороны рецепта.

Однако33 15-20-2015 года в художественной технике.

Композиторы рассматривались из стандартной технике,

но Storage Room Роцаревла.

Пр Tutaj доработали кое-legаемех Duke Film이에요.

Главную часть Systemа —

Главную Choice Room,越алное

и лучшееS 끼 Queen.

According to him you could find it in the Japanese prints but you could also find it for instance in the beginning of realism and in that case he was talking about beginnings of Dutch 70th century art, so looking for Rembrandt and Franz Hals, which he thought symbolized the same kind of thing.

Vincent van Gogh was born in 1853 in the rural Dutch village of Sundand, where his father was the local Protestant pastor.

He was the eldest of six children and from the age of 16 worked in his uncle's art business, Goopel & Company, in The Hague, London and ultimately Paris.

Every day he was exposed to a diverse range of artwork, but by his early twenties van Gogh had become increasingly disillusioned with this life and sought solace in reading intellectual literature and writing religious texts.

He took up lay preaching in England and the Boronage region in Belgium.

His austere ways and stoic evangelism led to his dismissal, and that provoked a deep despair.

My dear Theo, when you say in your last letter, what a riddle there is in nature, I echo your words.

Life in the abstract is already a riddle.

Reality turns it into a riddle within a riddle.

And who are we to solve it?

All the same, we ourselves form a particle of it, of the society of which we ask, where is it going?

To the devil or to God?

Vincent van Gogh always had a close relationship with his younger brother, Theo, to whom he wrote constantly.

In these detailed and revealing letters, they shared opinions on life, art and literature.

Theo was constantly concerned about his brother's poor finances and failing health.

He encouraged him to find a new purpose in life.

At the age of 27, Vincent decided to pursue a career as an artist.

He moved first to study in Brussels and then developed his practice back in the Netherlands.

We have to remember that he only worked as an artist for 10 years.

He had been working in the Netherlands for five years, drawing for several years before even starting to paint.

And when he painted, he painted mainly in dark colors and he was very much influenced by, for example, the Barbizon School, the French realistic landscape painters,

peasant painters, peasant painters such as Jean-François Millet, and then because he realized that he needed to find a new way for his art that he wouldn't be able to sell his works and to have the necessary contact with other artists.

And he moved to Antwerp to be in a big city again and to be able to look at other artists.

And to be able to look at other art, be in contact with other artists.

My dear Theo, these ducks are one huge Japoneserie.

Fantastic.

Singular.

Strange.

At least, one can see them like that.

I would like to walk with you there to find out whether we look at things the same way.

One could do anything there.

Townscapes.

Figures of the most diverse character.

The ships as the central subject with water and sky in delicate grey.

But above all, Japoneseries.

I mean, the figures there are always in motion.

One sees them in the most peculiar settings.

Everything fantastic.

And interesting contrasts keep appearing out of their own accord.

My studio is quite tolerable, mainly because I've pinned a set of Japanese prints on the walls that I find very diverting.

You know, those little female figures in gardens or on the shore.

Horsemen, flowers, gnarled thorn branches.

The word ukiyo-e consists of two parts.

Ukiyo, which translates as the floating world or the fleeting moment.

And e is an extension which means image of.

And Japanese prints was one of the most common commodities that were brought in.

Japanese dealers and Western dealers, German, French dealers were part of that process.

They were like pinups.

You wanted an image of a geisha that you admired.

You could perhaps afford to actually visit her.

But you could also do the second best thing and just buy an image of her.

And artists and publishers exploited that idea.

We often describe ukiyo-e as being the product of the ukiyo-e quartet.

Which means the involvement of the publisher, the artist, the block cutter and the printer.

It was a character.

We reexperienced in the end of the 17th century.

The art pieces were made that it was made by a music project in the end of the 17th century.

Субтитры создавал DimaTorzok

Субтитры создавал DimaTorzok

So someone like Hokusai producing his famous Great Wave was not the only one involved in the production process.

He was important. He made the primary design, but he had influence of course on details of the printing,

and of the colour use and special effects, but he was not the one to create the final product.

The block carvers and the printers were crucial, and you can see a large degree of quality difference between those craftsmen.

An early impression is highly coveted. The same original print might be worth 200 euros for a very late impression,

but might be 20,000 or 50,000 euros for a really early printing.

The print of the Great Wave that is in the exhibition is an example of how you would want a print like that to be.

It is beautiful, full size. It has no centrefold. Yellow boats have retained their colour.

It is vaguely orange cloud which goes over the top of the print, and all that has been conserved perfectly.

That is quite remarkable. The majority of prints, even the copies of that same design in museum collection, are often quite poor.

To find a good one is extremely difficult nowadays. This is in a way surprising because it is not a rare print.

It must have been applied since 16,000-8,000 copies brought in France everycrazy.

That is was interesting by the� Harper'sФot. It has been also been overly raging in France

with a large-, as well as the costumes paid at the price of liking 1946 b.

But Japanese war don't have every dal from the Paris web orร ü desta foreigners to try the Japanese officer.

Продолжение следует в 19 веке, и продолжение следует до сегодняшнего дня.

Это очень необычная вещь.

Терем «жапонизм», «жапонизм», «жапонизм» в францах,

refers to the interest in Japanese art,

and this was a term that was coined in 1872

by the art critic and collector, Филипп Бурти.

«жапонизм» refers to also this craze for all things Japanese,

but more fundamentally to the influence that Japanese art had

on Western culture and the visual arts.

The whole interest in «жапонизм» in Japan was, in a way,

almost like a fashion that grew pretty suddenly

because these objects came on the market, were promoted,

were collected, were hotly sought after.

«жапонизм» could be found in many, many different levels.

There was, of course, the collecting classes,

the rich people who could afford to buy and adorn their houses,

but you could also go to the department store and find Japanese fans.

Someone like the Goncourt brothers claimed to be almost tastemakers at the time,

who wrote novels which Van Gogh loved to read already in the Netherlands,

but they were also great collectors of Japanese art.

But there were many others, like Siegfried Bing, for example,

was an art dealer who specialised in Asian objects, in particular also Japanese,

but not only.

Major exhibitions were done from the collection of Siegfried Bing

because he had such incredible material.

But he also wrote about Japanese art with his journal,

Le Japon artistique, which became really important.

Talked about Japan, described the landscapes.

Suddenly, people could put an image to it

that was not only a picture or reproduction in a journal.

Another art dealer was Hayashi, who also dealt with Japanese objects,

and there were enough wealthy collectors of Japanese art in Paris at the time.

Hayashi Tadamasa imported hundreds of thousands of items over a ten-year period.

And Hayashi was often in the role of the purveyor of knowledge about Japanese art,

so he was seen as the source of knowledge on the artist, on Hokusai, on Utamaro,

on all the famous ukiyo-e artists.

Hayashi would supply the background information as it was available in Japan.

Hayashi wrote about the spring of Japan, and he compared that to Italy,

and very bright colour and bright sunlight,

and when cherry blossoms are blossoming,

then the whole mountain looks like a pink cloud or something like that.

I think that was enough for European people to dream about the paradise of the Far East.

In 1886, Van Gogh decided that he needed to be at the centre of the artistic world, Paris.

He arrived in Montmartre and moved in with his brother Theo,

who was now building a reputation as an influential dealer, working with young artists.

Van Gogh immersed himself in current artistic developments,

looking at Impressionism and experimenting with neo-Impressionist techniques such as pointillism,

which was considered avant-garde.

But another rich source of inspiration for these artists,

and a constant talking point, was Japanisma.

Always looking for ways to generate income,

and recognising the popularity of Japanese art,

Van Gogh decided on a plan,

to buy a large quantity of Japanese prints from the dealer Secret Bing,

in order to sell them as a profit.

He didn't have the kind of money to buy hox-ice, for instance,

and the ones that he did buy were not that expensive,

in the sense that they would cost you a drink at the bar.

Was he interested in them? Certainly.

He liked their exotism, and he liked their colourfulness,

but the main aim was indeed selling.

We know that from his letters that he buys 660 prints,

and he pays 100 francs for them,

or actually he doesn't pay 100 francs because he pays only 10,

and then later on he says to his brother,

you should go back to Secret Bing and pay the rest of it,

because we should keep this collection.

He has then realised that it's important material for artists,

not just for himself, but also for other artists to work with.

And after this decision to buy this whole lot of Japanese prints,

he then exhibits them in the café that he frequents,

which is the café of his then-lover Agostina Segatori.

He puts them on the walls there, and he hopes to sell them,

but that doesn't work out, so then he keeps them.

And he also gives them away to artists, to friends,

and he's saying they are also learning from it,

so it's a very valuable thing after all.

My dear Theo, it was Rich Bain who said somewhere,

the love of art makes us lose real love.

I find that terribly true.

But on the other hand, real love puts you right off art.

Most of all, I would like to be less of a burden to you,

and that's not impossible from now on.

As far as Miss Segatori is concerned,

that's another matter altogether.

I still feel affection for her,

and I hope she still feels some for me.

When I saw her again, she didn't hurt my feelings,

which she would have done if she was as nasty as people say she is.

As he moved into the artistic circles, as he participated in the discussions,

and he met many, many artists, contemporary artists at the time,

he then realized that there had to be something else,

that in order to be a part of that, you couldn't just use brushstroke and color and paint outside.

But there was so much more going on that if you had to distinguish yourself somehow,

you needed to create a niche, a special way of connecting to something that was utterly modern.

And one of the things that was perfect for that was actually Japanese art.

From the summer of 1887, you can really see something new happening.

And that had to do also with the new friends he was making,

or hanging out with more often, like Emile Bernard or also Paul Gauguin.

Also where he starts to think about new ways of creating imagery.

And it starts with a spectacular painting, and that is the courtism.

He takes different images, different details from various Japanese prints and puts them together.

So he sees a magazine cover with the woman on it.

He takes it, squares it, like the most traditional way of making a copy,

and then puts it on canvas, enlarging it.

And then around it, he uses various imagery of landscapes,

very typically cliché-like Japanese motifs.

What he does and what makes it, I think, such a strong and imposing picture

is not only its size, which is very ambitious for him at that time,

but also the fact that he uses these intense colors, which were not in the originals.

He really brightens up, in particular, the courtesan.

It's just an explosion of color, almost.

And he uses a very strong and distinct brushstroke in there.

Very graphic, a lot of impasto.

You have a sense of paint, which is all very different from the flatness of the Japanese prints.

And it is sort of a tour de force, almost, of trying out what you can do when you use direct sources in your work.

As if you're making a statement about, okay, here I am, and now I'm going to try to be a Japoniste.

For him, it's like trying out a completely new way of looking, a new style with forms and colors and lines that's so different from everything that he's seen before.

So, making copies after, for example, the old masters was a very common way of learning for artists, also at the art academies.

So, when he's looking at Japanese prints and he's trying to unravel their way of working, doing copies helps him get acquainted with this new style.

And you could look at them as imitations, but of course they're much more than that, because he's also adding his own colors, his own brushstroke.

He's adding elements from other prints, so he's making a kind of new thing from these copies.

It's really about making it his own.

I saw Peer Tanguy yesterday, and he put a canvas I had just done in his window.

I've done four since you left, and I have a big one on the go.

I'm well aware that these big, long canvases are hard to sell, but in time people will see that there's open air and good cheer in them.

Now, the whole lot will make a decoration for a dining room or a house in the country.

He was really important for him because he was this paint dealer who had interest in contemporary art.

You could go there, get paint and canvas for exchange for painting sometimes.

He exposed, he presented in his little shop window work by new artists, so it was sort of a meeting place.

You could find works by Cezanne.

You could find works by Seurat or Signac in the windows.

You went there, you met other artists.

It was sort of a place where you could hang out as well.

And Van Gogh sort of set up a very nice relationship, not only on a commercial side, but in particular also on a personal level.

I think they liked each other.

Typically, Van Gogh, he then associates a person with certain ideas, such as an interest in the worker.

So you have him in his dark blue suit, but also the element of Japonisme, again, Buddhism.

So he looks like a Buddha almost in his pose.

Of course, he's also very modern.

While in Paris, Vincent refined his technique and absorbed the many artistic influences the city had to offer.

He actively involved himself with other artists and experimented with materials, colour, perspective and composition.

His passion and intensity sometimes overwhelmed him.

After a series of failed ventures, rejections and disappointments, he became embittered with life in the city.

Van Gogh sought a change and a quieter existence.

So he decided to leave Paris in search of new subjects and new inspiration.

In February 1888, he pinned some Japanese prints to the wall of Theo's apartment as a gift and headed to Provence in the south of France.

My dear Theo,

During the journey, I thought at least as much about you as about the new country I was seeing.

But I tell myself that you will perhaps come here often yourself later on.

It seems to me almost impossible to be able to work in Paris, unless you have refuge in which to recover and regain your peace of mind and self-composure.

Without that, you'd be bound to get utterly numbed.

Now, I tell you that for a start, there's been a snowfall of at least 60 cm all over and it's still snowing.

All doesn't seem any bigger than Breda or more to me.

Before reaching Tarascon, I noticed some magnificent scenery.

Huge yellow rocks, oddly jumbled together, with the most imposing shapes.

In the small valleys between these rocks, there were rows of little round trees with olive green or grey-green foliage, which could well be lemon trees.

But here in Arles the land seems flat.

I noticed some magnificent plots of red earth planted with vines, with mountains in the background of the most delicate lilac.

And the landscape under the snow, with the white peaks against the sky as bright as the snow, was just like the winter landscapes the Japanese did.

The south of France is very different from Japan, but when you look at all the images that he had in mind, and you look at the landscape around Arles, which is also quite flat landscapes with hills in the background, or mountains in the background.

And of course the intensity of the colors, which is very different than in the north with warmer colors, and this is something that he liked in the prints, so he's very happy to find himself in this country and in nature, which reminds him so much of nature in the Japanese prints.

What he did do is to search for colorful motives in the south, and then he was imitating it.

So you see in the beginning only that he took the motive of the orchards, but they do not have much in common with this search for a flat kind of effect.

Because the motives themselves are difficult to combine with flat motives, trees, blossoming, so it's not there yet. He had to conquer that, you could say.

I tend to think that it's very typical that Van Gogh indeed liked the Japanese prints with the most outspoken kind of coloring, because he associated them indeed with, well, the everyday kind of prints, not the connoisseur kind of prints, I tend to think.

Run-of-the-mill kinds of prints with everyday kinds of motives. Those were the things he was after in his own art.

Dear brother, you know, I feel I'm in Japan. I say no more than that, and again, I have seen nothing yet in its usual splendor.

That's why, even while being worried that at the moment expenses are steep and the paintings have no value,

that is why I don't despair of success in this enterprise of going on a long journey in the South.

Here, I'm seeing new things. I'm learning and being treated with a bit of gentleness.

In Arles, Van Gogh does not only find his mature style in painting, one could say, when he really develops a personal vocabulary,

both in the type of imagery as well as in the material he uses.

That does not only happen in painting, but also in his drawing.

He had always been very interested in drawing, had always done that, from the beginning of his career, actually.

But in Arles, he suddenly realizes that he achieves a new level of draftsmanship, one could say.

When we look, for example, at the view of Lacroix, this grand landscape, which he also translated into painting,

but in his drawings, we see this very quick, swift way of using the pen, creating a bird's eye view,

and also the fact that he would make something where all the elements would look very small,

so that you had this mega view into a landscape with lots and lots of tiny detail,

was also something which he actually related to Japanese art.

So we have two elements, japoniste.

One is the big viewpoint, the way of using a technique that could be related to Japan,

as well as this interest, this respect in nature in the smallest details,

the simplest, most modest element of the world, which when you had the right respect for that,

you could actually then go on and capture all of nature.

And also that was something that he took from texts about Japan

and translated that into his framework of japonisme.

My dear Bernard, having promised to write you,

I want to begin by telling you that this part of the world seems to me as beautiful as Japan,

for the clearness of the atmosphere and the gay color effects.

The stretches of water make patches of a beautiful emerald

and a rich blue in the landscapes, as we see it in the Japanese prints.

Pale orange sunsets, making the fields look blue, glorious yellow suns.

However, so far I've hardly seen this part of the world in its usual summer splendor.

The women's costume is pretty, and especially on the boulevard on Sunday

you see some very naive and well-chosen arrangements of color,

and that, too, will doubtless get even livelier in summer.

If you're thinking in terms of motives, he was looking for sunny motives as well.

So the sun is there all the time, just as large as in many of the Japanese prints,

because he just wanted to emphasize that it was just as friendly and just as colorful as in Japan

and thus in the south of France as well.

In fact, he wanted to depict as many flowers as possible in the south,

and he discovered, of course, that the flowers were not there,

because it's too sunny there.

The temperature is simply too high.

So what did he do?

Then he went to the gardens of the people in the city

and started to depict their flowers in their cultivated flowers, you could say, in their gardens,

because he simply wanted to stay in harmony with the idea that you could find flowers there.

So you see that there are all kinds of cliches about the south in connection to the prints that he wants to follow.

It's very strange.

Everything he sees, he describes as Japanese.

Well, it's a kind of crystallization, I should say.

He idealized the country, and everything what he sees in the south of France,

he thinks they're all Japanese.

And his own ideals, he described all of them as Japanese.

Well, we can also use the word opposition, but I would rather say crystallization,

because he attached all his ideals around the nucleus, around the cores of the imaginary Japan.

My dear Theo, you already have a drawing of it.

A farmhouse beside the wide road in the wheat fields.

A meadow full of very yellow buttercups.

A ditch with iris plants, with green leaves, with purple flowers.

The town in the background, some grey willow trees, a strip of blue sky.

If they don't mow the meadow, I would like to do this study again,

because the subject matter was really beautiful, and I had trouble finding the composition.

A little town, surrounded by countryside, entirely covered in yellow and purple flowers.

Ah, that would really be a Japanese dream, you know.

The question is, okay, we see certain elements in his earth,

and we can connect some of them with Japanese art, and some of them we cannot.

And every time we have to balance whether he believed that it was a Japanese element or not.

Because that's, of course, important. We have to view it from his point of view.

So, one of the things, for instance, that's important to realize,

Verhoogh really started to make, indeed, close-ups of nature,

after he had bought all those prints. Not before that.

So, there is influence in the sense that he took that from the prints.

The question is a little bit whether he considered that a Japanese kind of trick.

That's questionable because, actually, what he was doing was something which the impressionists were doing all the time already.

So, I tend to think that he didn't consider that so much as a Japanese kind of thing.

It only became Japanese in the sense when he puts big things on the foreground in order to make the picture flat.

He's making paintings in which you can really see the Japanese influence reflected, but he's incorporated into it into his own style.

He's applying much stronger colors.

That's also, of course, because of the light in the south, but also because these prints have helped him to look at reality in another way.

He still always bases his work on reality. He puts his easel in front of his subject and he's painting that, the landscape or the portrait.

But the way the Japanese prints are made in very large planes of colors with very strong lines,

in a way it's about simplifying your compositions and making them stronger.

And it's about choosing very strong, even garish colors that are not necessarily realistic.

And that adds to the strength of the painting.

And this is something that he very much learns from these examples.

Of course, there's many influences on his work, but this was one that really fitted with what he wanted, what he was striving for.

Dear Theo, now that I've seen the sea here, I really feel the importance there is in staying in the south.

I'm sending you by the same post some drawings of Saint-Marie.

I did the drawing of the boat as I was leaving, very early in the morning.

And I'm working on the painting, a number 30 canvas with more sea and sky on the right.

Look, we love Japanese painting. We've experienced its influence. All the Impressionists have that in common.

So I believe that the future of the new art still lies in the south after all.

But it's bad policy to live there alone when two or three could help each other to live on little.

I would like you to spend some time here. You'd feel it.

After some time your vision changes. You see with a more Japanese eye.

You feel colour differently. I'm also convinced that it's precisely through a long stay here that I will bring out my personality.

The Japanese draws quickly, very quickly, like a flash of lightning, because his nerves are finer, his feeling simpler.

I've been here only a few months. But tell me, in Paris, would I have drawn in an hour the drawing of the boats?

Portraiture became a very important subject matter for Van Gogh in art. Very different from earlier.

And now it was the modern portrait that he was doing.

Modern portrait, of course, had to be, at least in large part, japoniste, because that was the modernity.

So what does one do? A, one has maybe an exotic subject matter, which was perfect in the zouave, a soldier from a regiment,

which had very colourful outfits, was very dashing and very intense, using flat areas of colour that recall, in a way,

the Japanese prints that he had been studying from his memory now, because he had very few Japanese objects with him.

They were sent to him later only by his brother.

But the zouave was from a regiment where they had really dashing and colourful costumes as well.

So what he saw was translated in this way.

Dear Theo, I have a model at last, a zouave.

He's a lad with a small face, the neck of a bull, the eye of a tiger.

And I started doing one portrait and started again on another.

The bust length I painted of him was terribly hard.

In a uniform, the blue of blue.

Enameled saucepans.

Dull orange-red trimmings and two lemon-yellow stars on his chest.

A common blue and very hard to do.

I've stuck his very tanned, feline hat, wearing a bright red cap, in front of a door painted green and the orange bricks of a wall.

So it's a coarse combination of desperate tones that isn't easy to handle.

The study I did of it seems very hard to me.

And yet, I would always like to work on portraits that are vulgar, even garish like that one.

It teaches me.

And that's what I ask of my work above all.

The bright colors, the contrast, the outlines, all that, become a major element in his making an image of a person in front of him.

But more interesting are those portraits where he brings the story of Japan into the painting he makes of someone from Provence.

And the grand example of this is, of course, La Moussme.

My dear Theo,

Now, if you know what a Moussme is, you'll know when you've read L'Otice Madame Chrysontem.

I've just painted one.

It took me my whole week.

I wasn't able to do anything else, having been not too well again.

That's what annoys me.

If I'd been well, I'd have knocked off some more landscapes in between times.

But in order to finish off my Moussme, I had to save my mental powers.

A Moussme is a Japanese girl, Provençal in this case, aged between 12 and 14.

That makes two figures, the zouave and her, that I have.

When he describes it, he really describes sort of the Japanese story that he wants to evoke in that work.

And another example of this bringing together a Japanese or Japanese story with portraits is, of course, the famous self-portrait as Bonds.

My dear Gauguin, I have a portrait of myself, all ash-coloured.

The ashy colour that comes from mixing Vironese with orange lead on a pale background of uniform Vironese with a red-brown garment.

But exaggerating my personality also, I look more for the character of a Bonds, a simple worshipper of the eternal Buddha.

It's a work that he exchanges with Gauguin, his friends, Emile Bernard and Paul Gauguin, who were at that time in Brittany together.

And these are the two friends with whom he most elaborately has been communicating by letter about Japanese art, about Japonisme, about what they were doing, how modern they were in all their work.

And so for him to present himself as a Bonds, that's how he himself calls it, meaning a Japanese monk who was totally dedicated to his art, going away from worldly pleasures, but only focusing on your mission.

All these, of course, thoughts that are part of the message that is being sent here, also something that is being discussed with friends.

And he very strongly wants to make the point that his identity is completely fused with Japoniste concepts.

My dear Bernard, for a long time I've been touched by the fact that Japanese artists very often made exchanges among themselves.

It clearly proves that they liked one another and stuck together, and that there was a certain harmony among them, and that they did indeed live a kind of brotherly life, in a natural way and not in the midst of intrigues.

The more we resemble them in that respect, the better it will be for us.

While in Arles, Vincent started to dream about an artist colony, hoping other artists would join him so they could work and discuss art together.

After some persuasion by Theo, Paul Gauguin made the journey to Arles to stay with Van Gogh in his yellow house.

In preparation for his arrival, an excited Van Gogh made several paintings to decorate the walls, such as the sunflowers and the bedroom.

For two months, they drank and ate together, and painted the same model side by side.

Unfortunately, it didn't end well.

Vincent van Gogh's regime was too intense for Gauguin, and they had a huge argument, ending with Van Gogh cutting off his left ear in a drunken rage.

Gauguin left Arles, and after a period in hospital, Vincent van Gogh decided to check himself into an asylum in Saint-Rémy to recover.

What you do see is that Van Gogh indeed goes to the South of France with the idea that his art should be kind of terribly, it should be consoling.

He's depressive, and apart from that, he already claims that he is an alcoholic, and he doesn't know what the future will mean for him.

But he's hoping that by creating art in harmony with the Japanese prints, he can create a kind of cheerfulness for himself, so that he will be reconciled with the fact that his life, in fact, is very sad.

So when he goes into the asylum and is having again attacks in a different way than before, but after again, he realizes that he has to slow down and not put as much as fantasy in his artwork as he did the year before.

He really believed that aiming for Japanese art had made him psychologically ill during his stay in Arles.

So, Van Gogh had his breakdown at the end of December, 1888.

I think with his breakdown, Van Gogh was shaken to the core in his self-esteem, in his self-confidence.

But immediately after the first breakdown, at the end of December, Japan reappears.

And also in Saint-Rémy, Japan continues to be a very important force as an inspiration for the work he does.

When we think of the close-up views of nature that he does, which relate directly to his reading of Bing's Le Japon Artistique,

where Bing writes elaborately and very beautifully about the respect of the Japanese artist for a single blade of grass, something that Van Gogh picks up.

One of the prints from that journal is on his walls in Arles.

When he goes to Saint-Rémy in May of 1889, he takes these ideas with him and explores them in the garden of the asylum,

in motifs, very importantly, of cut-off trees, where you see only the tree trunk being focused on the ground, looking at the small detail of nature.

He emerges from these periods of illness and creates these amazing works of art.

In spite of his illness, while at Saint-Rémy, Van Gogh created a lot of masterpieces that are considered some of his finest.

Despite recurrent lapses, Van Gogh drew and painted flowers, tree trunks, grasses and insects, partly inspired by Japanese artists' attention to the minute details in nature.

He also returned to copying the works of the old masters he admired, such as Millais, Delacroix and Rembrandt.

After a year in the asylum, Van Gogh felt strong enough to discharge himself and move back closer to Theo, who by this time had married Jo Bonga.

Paris was considered too risky for Van Gogh's fragile state of mind, but the nearby rural village of Auvers-sur-Oise seemed suitable.

The area was popular with artists like Bizarro and Cézanne.

Theo knew of a homeopathic doctor and artist there called Paul Gachet, who agreed to keep an eye on Vincent.

Van Gogh made his way to Auvers-sur-Oise and found a small room at an inn, the Auberge Raveau, where he slept and painted.

After the breakdown in Auro, his Japanese dream was over, but still he was interested in Japanese art.

And in Auvers-sur-Oise, he went to see the Japanese print exhibitions in Paris, in École des Beaux-Arts in Paris.

So he wanted to know real Japan.

That's different from the Japanese dreams, but he was still trying to keep contact with Japan, even in his last months.

Auvers was, of course, the place where Van Gogh passed away, where he's buried.

And after he passed away, and after Gachet passed away, the heritage of Van Gogh was kept by Gachet Junior.

The Japanese became fascinated by Van Gogh in the early 20th century, when first the partial translation of the letters appeared in print in Japan.

And soon afterwards, images of his work arrived, often reproduced in journals, black and white.

That is how the first images of Van Gogh's paintings were introduced to the Japanese audience.

It's very, very interesting that few Japanese people saw Van Gogh's original paintings.

But even without seeing them, they could idealize Van Gogh.

In Auvers-sur-Oise, the son of Dr. Gachet was still living.

And the Japanese people knew that Dr. Gachet Junior, the son, is willing to show Van Gogh's last works to Japanese guests.

So many, many people went to Overshores to see his works and also his graves.

Because what the Japanese thought to be the typical modern artist, that was Van Gogh.

I can't explain why, but Van Gogh was very close to their artistic ideals. That was true.

At the time, right after Van Gogh's death, his fame began to rise, meteorically.

It's extraordinary.

Of course, very convenient. This sounds terrible. But his suicide, the madness, that gave a grand background for the 19th century idea of genius.

Then Emile Bernard published the letters. And so there was, you know, the machine, so to speak, the marketing machine got going.

There's an enormous amount of interest. And the first 10 years of the 20th century, the amount of publications, comments, exhibitions that are made about Van Gogh's work is huge.

So anyone looking for new art, looking for contemporary developments, could not avoid Van Gogh.

When the impressions were very high in Japan, Goho, Cézanne, Monet, and Renaud are very good at the Japanese group.

It's been a very popular group of Japanese people.

But, the interesting thing, Goho is a very popular group of Japanese people who were influenced by Japanese.

It's been a long time since it was a long time to know that it was only about 10, 20 years.

Продолжение следует...

だからそこから始まったと思うんですよ私が好きなゴッホやセザンヌそういう人も学校へあまり行ってませんなぜならだから彼らは自分の独学的な技法と独学的なアイディアで絵を描けたんですあまり学校行ってアカデミー行ってるとそれは全部テクニックばっかりのアートなのでマインド

気持ちが入らないアートが多いんですよだからゴッホの絵はテクニックは大したことありません

でもマインドがすごいスピリットがすごいからあんなに感動するんです初めてバンゴホの絵を見たのは中学生の時だったと思うんですけれども耳を切り落とした自画像を見て

この人の人生はどんな人生だったんだろうっていうのにすごく興味を持ちました彼の人生をたどっていくにつれて描いている絵も一緒に見ていったんですけれども

一つ浮世絵を模写している花咲く梅の木という絵があってそこに両サイドに文字が漢字ですねが描いてあるんですけれどもそれが普通例えば油絵だったら一本の線をちょっとずつなぞって描いたり

する場合もあるのかなと思うんですが彼はこうワンストロークというか一筆を二度書きせずに文字を書いているように見えたのでそこはなんかゴホはそういう意味では分かっていたのかなっていう書を読み解く力があったのかなとかなんかそういうふうにすごく不思議な

気持ちになりました

ワンストローク

When I was 12 years old

and 13 years old

I remember that I was

putting color reproductions

of Van Gogh's paintings

on the wall

I didn't know

I don't know why

but after that

I read all the letters of Van Gogh

then I thought

how is it possible

that this kind of man

who is very difficult to live in society

and can manage to

be a great artist

with the help of the brother

and with a strong passion

and that is moving

and that should have been moving

to the most Japanese artists

in the early period

In current society

an ideal of simplicity

makes life more difficult

and he who has it

this ideal

he merely ends up as

in my case

unable to do what he wants

The Japanese have lived

in very simple interiors

and what great artists

have lived in that country

If a painter is rich

in our society

then he lives in a house

that resembles

a curiosity shop

and that isn't very artistic either

to my taste

and I myself

have suffered greatly

from living so much

in conditions

where order was impossible

that I lost

the notion of order

and simplicity

To be continued

To be continued

Ван Гог, я дала Japan.

И после этого, я дала Ван Гог.

И это международный идеал, или миссионерский,

может происходить в определенных целях,

в определенных целях.

Сегодня, реакция в публике не так же, как 50 лет назад.

Но, ван Гогг, он такой, как икон,

и идеалователь,

и он самый популярный артист в России.

Европа еще облигает хокусей.

Так как это восьмой р 부� çek camp wrong, там уровнем и аэроп discharge выводит.

Не думаю он это никуда не 127 сетями летом и поэтому он был в 시작е, Reason

Deal.

He never wanted to go.

He didn't need to, because what he needed was just a construct with which he could work

to develop his own oeuvre and the meaning of it.

He then brought to life something which didn't exist, but which I think then allows one to

relate with one's own emotions or with one's own imagination, and I think that's a great

part of the attraction of Ingo's work.

Субтитры создавал DimaTorzok

Not knowing it, one couldn't understand the paintings of Delacroix from the point of view of execution, technique,

and because one feels that the colors of the prism are filled in mist in the north.

All of this remains somewhat true.