Largeblossom branches like this against a blue sky were one of Van Gogh’s favourite subjects. Almond trees flower early in the spring making them a symbol of new life. Van Gogh borrowed the subject, the bold outlines and the positioning of the tree in the picture plane from Japanese printmaking.The painting was a gift for his brother Theo and sister-in-law Jo, who had
The Starry Night Malam yang BerbintangLukisan The Starry Night yang relatif abstrak adalah contoh dari penggunaan sapuan kuas tebal yang inovatif dan berani dari van Gogh. Warna biru dan kuning, lukisan yang mencolok serta atmosfer yang berputar-putar telah membuat penasaran pecinta seni selama beberapa Vincent Van Gogh Tanggal 1889 Tempat melihatnya Museum of Modern Art New York CityMengapa Vincent van Gogh melukis The Starry Night?Lukisan Malam Berbintang ini mewakili apa yang bisa dilihat atau diekstrapolasi oleh Van Gogh dari kamar yang dia tempati selama dia tinggal di rumah sakit jiwa di St Rémy de Provence Prancis. Selama masa sulit dalam hidupnya yang tersiksa inilah ia melukis salah satu lukisan paling terkenal dalam sejarah seni, yang sekarang disimpan di MoMA di New Lukisan The Starry NightVincent van Gogh melukis Starry Night pada tahun 1889 selama dia tinggal di rumah sakit jiwa Saint-Paul-de-Mausole dekat Saint-Rémy-de-Provence. Van Gogh hidup dengan baik di rumah sakit; dia diberi lebih banyak kebebasan daripada pasien lainnya. Jika dirawat, dia bisa meninggalkan halaman rumah sakit; dia diizinkan untuk melukis, membaca, dan menarik diri ke kamarnya bahkan diberi sebuah studio untuk melukis. Meskipun dia sesekali kambuh menjadi paranoia dan serangan – secara resmi dia telah didiagnosis menderita epilepsi – tampaknya kesehatan mentalnya mulai pulih. Sayangnya, dia kambuh. Dia mulai menderita halusinasi dan memiliki pikiran untuk bunuh diri saat dia jatuh ke dalam depresi. Karenanya, ada pergeseran tonal dalam kembali menggabungkan warna yang lebih gelap dari awal karirnya dan Starry Night adalah contoh yang bagus dari perubahan itu. Biru mendominasi lukisan itu, membaurkan perbukitan dengan langit. Desa kecil terletak di dasar lukisan dalam warna cokelat, abu-abu, dan biru. Meskipun setiap bangunan tergambar dengan jelas dalam warna hitam, warna kuning dan putih dari bintang dan bulan menonjol di langit, menarik perhatian ke langit. Mereka adalah pemikat perhatian besar dari lukisan Starry Night – Van Gogh. Sumber foto Wikimedia CommonsDetil LukisanPerhatikan sapuan kuas Van Gogh. Untuk langit yang berputar-putar, setiap sapuan warna bergulung-gulung dengan awan di sekitar bintang dan bulan. Di pohon cemara mereka menekuk dengan lekukan cabang. Seluruh efeknya sangat halus dan seperti mimpi. Perbukitan dengan mudah bergulir ke desa kecil di bawahnya. Sebaliknya, kotanya lurus ke atas dan ke bawah, dilakukan dengan garis-garis kaku yang mengganggu aliran sapuan pepohonan kecil kecil melembutkan kota yang tidak fleksibel. Membawa alam ke dalam ketidakwajaran bangunan. Salah satu hal yang paling menarik tentang lukisan ini adalah bahwa lukisan ini sepenuhnya berasal dari imajinasi Van Gogh. Tidak ada pemandangan yang cocok dengan area di sekitar Saint-Paul atau pemandangan dari jendelanya. Sebagai seorang pria yang dengan religius, Ia melukis apa yang dilihatnya, itu adalah perubahan yang luar biasa dari pekerjaan normal Van dalam gaya bermain di alam versus yang tidak alami, mimpi versus kenyataan. Alam bahkan dapat dikaitkan dengan ketuhanan dalam pekerjaan ini. Dalam Alkitab Kejadian 37 9, Joseph menyatakan, “Dan dia bermimpi lagi, dan menceritakannya kepada saudara-saudaranya, dan berkata, Lihatlah, Aku telah bermimpi lebih banyak lagi; dan lihatlah matahari dan bulan dan sebelas bintang membuat penghormatan kepadaku. ” – meramalkan bahwa suatu hari keluarganya akan tunduk padanya sebagai otoritas. Beberapa orang mengaitkan kutipan ini dengan lukisan itu. Mungkin ini merujuk pada keluarga Van Gogh, yang meragukan kesuksesan kariernya kecuali saudara laki-lakinya.Bisa jadi Van Gogh hanya ingin menghirup kekuatan yang lebih tinggi ke dalam karya seninya, karena ia tumbuh dalam rumah tangga yang religius. Bagilah lukisan menjadi tiga bagian. Langit adalah yang ilahi. Ini adalah bagian lukisan yang paling seperti mimpi, tidak nyata, di luar pemahaman manusia dan hanya di luar jangkauan. Turun satu tingkat ke pohon cemara, perbukitan, dan pohon-pohon lainnya di tanah. Mereka menekuk dan berputar, masih sudut lembut yang sesuai dengan pusaran lembut langit. Bagian terakhir adalah desa. Garis-garis lurus dan sudut tajam membaginya dari sisa lukisan, seakan-akan memisahkannya dari “langit” langit. Namun, perhatikan titik-titik pepohonan bergulung-gulung di desa, bagaimana puncak menara gereja menjulang ke langit. Van Gogh membawa Tuhan ke kamu? Van Gogh tinggal di rumah sakit jiwa di Saint-Rémy, Prancis, dirawat karena penyakit mental, ketika dia melukis “The Starry Night.” Dia terinspirasi oleh pemandangan dari jendela Paling Terkenal di DuniaPelukis TerkenalSumber bacaan CleverlySmart, Arts and Culture, MoMAPinter Pandai “Bersama-Sama Berbagi Ilmu” Quiz Matematika IPA Geografi & Sejarah Info Unik Lainnya Business & Marketing PameranVan Gogh, Strarry Night digelar di Museum Toronto secara drive-in.
When one experiences the stars and infinity with great vividness, then despite the routine, life becomes almost enchanted. When I have a terrible need of—shall I say the word?—religion, then I go out at night to paint the stars.—Vincent van Gogh1 ON APRIL 24, 1889, Theo van Gogh2 made the following request to the director of the Hospital of Saint-Paul–de-Mausole in Saint-Rémy-de-Provence, France With the consent of the person concerned, who is my brother, I would like to ask you to admit to your establishment Vincent Willem van Gogh, artist, age 36, born at Groot-Sundert Netherlands, at present living in Arles. . . . As his confinement is required more to prevent a recurrence of previous attacks rather than because his mental condition is at present affected, I hope that you will find no inconvenience in granting him the liberty to paint outside the establishment when he wishes to do so. On May 8, 1889, Vincent was admitted to the hospital asylum and, on admission, was "perfectly calm and explained his case himself to the director as a man fully conscious of his condition."2 The following month, in mid June, asymptomatic, and supported by the structured life of the asylum, he painted The Starry Night. Vincent van Gogh 1853-1890, Dutch, The Starry Night, 1889. Oil on canvas. 29 × 36¼ in. Courtesy of the Museum of Modern Art, New York, NY; acquired through the Lillie P. Bliss Bequest. Vincent was initially hospitalized in Arles on December 24, 1888, after the notorious episode when he apparently threatened Gauguin with a razor and, later that night, cut off the lower part of his own left ear. He presented the ear fragment to a prostitute; much as a matador does to his lady after the death of the bull, although he had no recollection of these events. Vincent suffered 3 attacks in Arles, from December 24, 1888, to January 19, 1889, from February 4 to February 18, 1899, and February 26 to mid April 1889. Although he seemed fully recovered between episodes and was treated by a local physician, 30 citizens of Arles petitioned the mayor asking that Vincent be returned to his family or committed to an asylum stating that "he does not dispose of his full mental faculties, that he indulges in excessive drinking after which he finds himself in such a state of excitement that he does not know what he says or does and that his instability inspires public fear."2 His friend Signac reported that Vincent ate hardly anything and what he drank was always too much. After spending a day in the blazing sun he would "take his seat on the terrace of a café. And the absinthes and brandies would follow each other in quick succession."2 During his episodes he reported both visual and auditory hallucinations, writing to his sister that he "didn't in the least know what I said, what I wanted, and what I did."1 When confronted with his neglect and alcohol use, he wrote to Theo "I admit all that, but at the same time it is true that to attain the high yellow note that I attained last summer, I had to be pretty well keyed up."1 His home in Arles was the famed "Yellow House" that he and Gauguin shared for 2 months in an aborted attempt to establish the Studio of the South. This was to be an art colony that would promulgate a new postimpressionist movement in art that would express the religious impulse with an authentic emotional immediacy and directness that they felt must be restored in the modern era. Vincent's father and grandfather were ministers in the Dutch Reform Church and, after initially failing as an art dealer he, too, had pursued the ministry and lived for a time as an evangelist until his efforts to identify with the poor and lead a Christ-like life proved too much for the authorities of the church. Subsequently, he turned away from traditional religion, preferring a religion of nature. Although stimulated toward a religious vocation by his family, Blumer3,4 suggests that his heightened religiosity might also have been linked to underlying temporal lobe epilepsy. The painting is the culmination of his examination of the night sky initiated a year earlier with Starry Night Over the Rhône. An avid reader, he had written1 to his sister Anna then that he sought to reproduce in his painting the feeling that Walt Whitman elicited in him in his poetry when Whitman wrote of "the great starlit vault of heaven." The Starry Night is an imaginative reconstruction of natural images. Vincent wrote that the "imagination alone can lead us to the creation of a more exalting and consoling nature than a single brief glance at reality."5 Yet he preferred to accurately reflect nature, noting that he may "exaggerate and sometimes change a motif but in the end I never invent."5 Thus, The Starry Night depicts the eastern predawn sky as Vincent saw it from his room at Saint-Rémy at about 4 AM in mid June. The position of the morning star, Venus near the cyprus tree on the left, and the waning moon, with its aureole, are astronomically consistent6 with the early morning sky of June 19, 1889, the day he said he completed the The central image of interlocking clouds may be drawn from his knowledge of popular depictions of the whirlpool galaxy M51. Out of these elements, with the intervention of his imaginative genius, The Starry Night has become a visionary image with its network of pulsating white, orange, and blue stars above the village surrounded by wheat fields and an olive grove. Although the sky is in turmoil, the overall effect of the painting is an invigorating calmness. For Vincent, this may be an image of psychological mastery following the suffering that he had experienced. The cloudlike images in the center of the sky assume the archetypal form of a mandala, a symmetrical form that frequently emerges as psychological conflicts come into balance. The flaming cyprus tree dwarfs the traditional church steeple on the right. The olive trees seem to echo the undulating currents in the sky. It is as if the tidal wave of his illness represented by the turbulence in the sky and the flowing lines on earth have now been sublimated into a composition that documents his newfound stability. Yet despite the balance found here, the looming dark cypress, which is on the viewer's left, the funeral tree and symbol of death in this region of France, may portend another episode of illness. Indeed, in July, a month after completing this painting, van Gogh suffered another attack. His temperamental difficulties were a lifelong problem in his relationships with others. He was exquisitely sensitive to loss and rejection and responded with depressed moods. Epilepsy was the diagnosis he was given at the time in both Arles and Saint-Rémy. Blumer reviews3,4 the psychiatric aspects of temporal lobe epilepsy and applies diagnostic criteria to Vincent's illness, arguing convincingly that Vincent's presentation is consistent with the psychosis of epilepsy and interictal dysphoric disorder. It is proposed that Vincent's facial asymmetry may have resulted from a birth injury that led to mesial temporal sclerosis. The cylothymic quality of his moods has led Jamison7 to a diagnosis of bipolar disorder, or at least, periods of major depression and hypomania. Arnold8 has proposed the diagnosis of acute intermittent porphyria with attacks initiated by his poor nutrition and use of absinthe, alcohol, turpentine to mix paints and clean brushes, pinene, and camphor for insomnia. Regardless of the diagnosis he received, all authors agree that his use of absinthe,8 the "cocaine of the artists of the last century,"9 may have contributed to his attacks. Because of its toxicity, absinthe was subsequently banned in France and throughout the world. A major ingredient in absinthe is alpha thujone a convulsant that blocks the γ-aminobutyric acid type A GABAA receptor chloride It is proposed that when Vincent was released from the hospital in Arles, his return to the use of alcohol and absinthe precipitated the recurrence of his attacks. After diagnosing his condition as epilepsy, Dr Ray, his physician in Arles, used a bromide salt, the standard medication available at the time for treatment. Vincent seemed to respond and wrote to Theo that "the unbearable hallucinations have ceased, and are now reduced to simple nightmares, in consequence of taking bromide of potassium, I think."1 Potassium bromide may well have benefited him, as it functions as an anticonvulsant that also affects the GABAergic Yet when he entered the asylum in Saint-Rémy, his custodian physician discontinued its use. Vincent probably suffered from partial complex seizures temporal lobe epilepsy as well as a mood disorder aggravated by stress and his concerns about continued support from Theo. His illness may have been exacerbated by his chronic use of absinthe, brandy, turpentine, and camphor. Ironically, an ornamental tree, the thuja tree, Thuja occidentalis, a source for alpha thujone was planted over his grave where it remained for 15 years. When his coffin was disinterred for reburial next to that of his brother Theo, the roots of the thuja tree entwined Alpha thujone, the most toxic compound in absinthe, the drink that may have a played a major role in his psychosis, accompanied him to his grave. The image is copyrighted by The Museum of ModernArt/Licensed by SCALA/Art Resource, New York, NY. Complete Letters of Vincent van Gogh. 3 Boston, Mass Bullfinch Press of Little Brown &Co2000; ME Vincent van Gogh. New York, NY The Alpine Fine Arts Collection Ltd1981; D Dysphoric disorders and paroxysmal affects recognition and treatment of epilepsy-related psychiatric disorders. Harv Rev Psychiatry. 2000;88- 17Google ScholarCrossref A Van Gogh's Starry Night a history of matter and a matter of history. Arts Magazine. 1984;5986- 103Google KR Touched With Fire Manic-Depressive Illness and the Artistic Temperament. New York, NY Simon & Schuster1993; WN Vincent van Gogh Chemicals, Crises, and Creativity. Boston, Mass Birkhauser1992; D Absinthe The Cocaine of the Nineteenth Century. Jefferson, NC McFarland & Co1995; KMSirisoma NSIkeda TNarahashi TCasida JE Alpha-thujone the active component of absinthe gamma-aminobutyric acid type A receptor modulation and metabolic detoxification. Proc Natl Acad Sci U S A. 2000;973826- 3831Google ScholarCrossref HGrunig FGutschmidt UGutierrez RPfeiffer MDraguhn ABruckner CHeinemann U Sodium bromide effects on different patterns of epileptiform activity, extracellular pH changes and GABAergic inhibition. Naunyn Schmiedebergs Arch Pharmacol. 2000;36125- 32Google ScholarCrossref

StarryNight Over the Rhone adalah salah satu lukisan Vincent van Gogh Arles pada malam hari, itu dilukis di suatu tempat di tepi sungai yang hanya beberapa menit berjalan dua dari Gedung Kuning di Lamartine Tempat yang Van Gogh menyewa pada saat itu. Langit malam dan efek cahaya pada malam hari disediakan subyek untuk beberapa lukisannya lebih

LukisanStarry Night Karya Vincent Van Gogh Starry Night yang dihasilkan oleh Van Gogh merupakan satu pencapaian yang tinggi dalam sesebuah karya yang dilihat begitu artistic. Vincent Van Gogh adalah seniman yang sangat produktif dan menghasilkan 900 lukisan selama masa hidupnya.
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lukisanvan gogh berjudul : “the starry night” yang disimpan dimuseum of modern art, new york ini banyak menyita pandangan mata siapa saja yang karya van gogh memiliki kecenderungan warna-warna yang cerah, untuk orang yang memiliki jiwa seni yang tinggi maka akan mengetahui apa makna dari
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analisis lukisan the starry night