The Idyllists Tue, 19 Oct 2021 07:39:31 +0000 en-US hourly 1 The Idyllists 32 32 Why “Ratcatcher” is the greatest coming-of-age movie Tue, 19 Oct 2021 07:30:31 +0000

The beauty and flaws of the coming-of-age subgenre is that your own teenage transition is so different from the ones sitting next to you. While Richard Linklater and John Hughes’ western cinema films like to celebrate all his whimsical joys in films like Childhood and The breakfast club, the reality is that, for many, childhood is just a tumultuous journey. Scottish director Lynne Ramsay’s debut feature, Rat Hunter, illustrates this opposite reality, presenting a story of adolescent apprehension, fear and terror.

Set in Glasgow in the 1970s, the landscape that Ramsay orchestrates is bleak, reflecting the realities of those who live in the Scottish city who have often had to survive without running water or proper bathing facilities. It’s a run down city, hampered by a recent trash strike that results in multiple trash bags littered through alleys and street corners acting as a visual reminder of impending locations of invisibility.

As the world around him crumbles, we follow the daily life of James (William Eadie) who witnesses his friend’s accidental death at the very beginning of the film and struggles with his conscience throughout the film. Subtle and dreamlike, Rat hunter is a slow and poetic journey through the grieving experience of a protagonist who cannot yet bear the weight. It is a contemplative study which dissects the solemnity of youth with cold precision.

Rat hunter However, it does not exist in a void of darkness, for Ramsay does well to highlight life’s bright moments, even despite those harsh realities. Communicating James’s grief through astonishing and mind-blowing camera work and uses of magical realism, Ramsay contextualizes his story into a story that can be universally understood, even by those whose realities differ greatly from those of the protagonists.

Even in the dark, there is hope, and as James searches for new life after such trauma, he finds it in a nearby town. Freeing himself from his circumstantial social constraints, he goes to a nearby housing program which is still under construction. Here he frolics into the potential of such a reality, leaving the mess of his neighborhood behind to curiously explore a new playground, with stunning bathrooms sealed in shrink paper and fields of golden crops showing a horizon. heavenly. In a film that so easily mixes hope with fantasy and the harsh truth of reality, it’s hard to tell if such a sequence is even being told in truth, or rather translated through James’ eyes.

Jumping through a large open window frame into a golden field of succulents, James embraces the present despite the reality he finds at home. In search of an escape as his own community merges into the muddy banks of the dark water of Glasgow, James builds a mental escapade, a new world of hope, peace and escape where he hopes to find himself again. one day.

As the best of the coming-of-age genre including The 400 blows and The last picture show, it is not only an interpretation of how children come to define themselves, but it is also a reminder of the constant need to assess one’s own development, even in adulthood. The people of Ratcatcher The slowly sinking Scottish community is in search of new life, although it also longs for hope and faith that such a change will someday happen.


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“I only own two pairs of jeans” – Meet the radical minimalists who learn to live with much less Tue, 19 Oct 2021 01:30:00 +0000 Could you make an Elon Musk and get rid of most of your physical possessions? The Tesla CEO may currently be ranked by Forbes as the richest person in the world, but he’s made his home in a tiny, rented, prefabricated house in Boca Chica, Texas.

usk has promised to sell almost everything it owned last year, including six mansions in California, which is just as good as its new dig is only around 400 square feet.

As the billionaire took these dramatic steps to fund his goal of colonizing the planet Mars, more and more people are joining the minimalism movement, which began as an art movement in the 1960s.

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Van Gogh painting, once looted by the Nazis, could fetch $ 30 million Tue, 19 Oct 2021 01:21:11 +0000

Written by Megan C. Hills, CNN

More than a century after its last public display, a vibrant painting by Vincent van Gogh, once seized by the Nazis, is going to be auctioned off.

A watercolor of a harvest scene, titled “Cornstacks”, depicts women working in the fields in Arles, France, and is expected to sell for up to $ 30 million.

Van Gogh painted the scene in 1888 after retiring to the French countryside amid a period of ill health. During his stay in Arles, he fell in love with the pastoral way of life that surrounded him, and “Meules de wheat” is one of the many works on the theme of harvests that he created during this period.

The auction house behind the sale, Christie’s, said in its catalog that the watercolor demonstrated Van Gogh’s “obsession with Japonism”, which saw him adopt a more graphic style close to engravings. on Japanese wood.

Related Video: How Do Art Auctions Actually Work?

Despite the tranquil scene depicted, the painting has a troubled history. It initially belonged to Van Gogh’s brother, Theo, then changed hands before being bought by Max Meirowsky, a Jewish industrialist, in 1913. Faced with anti-Semitic persecution in Germany, Meirowsky was forced to flee and he entrusted the painting to a German. art dealer in Paris, according to Christie’s.

The watercolor came into the possession of Miriam Caroline Alexandrine de Rothschild, who herself fled to Switzerland after the outbreak of World War II. During the occupation of France, the Nazis looted De Rothschild’s collection, taking, among other things, “Wheatstacks”.

In 1941, the painting was transferred to the Jeu de Paume, a museum used by the Nazis to store and display works of art deemed “degenerate” or otherwise confiscated. According to Christie’s, the “Stacks of Wheat” were then taken to Schloss Kogl Castle in Austria, where they entered an unnamed private collection.

As De Rothschild tried to recover his paintings lost after the fall of the Nazi regime, the Van Gogh eluded him. In 1978 it was acquired by the Wildenstein & Co. Gallery in New York City, where it was purchased by the late art collector Edward Lochridge Cox, a Texan oil mogul with a penchant for Impressionism. The watercolor is part of a larger Christie’s sale of his collection, which includes paintings by other famous artists, including Paul Cézanne and Claude Monet.

Van Gogh painted the scene in 1888 after retiring to the French countryside. Credit: Christie’s Images Ltd 2021

After Cox’s death, a property dispute arose between Cox’s estate and the heirs of Meirowsky and De Rothschild. Christie’s notes in its catalog that the parties have since reached a “settlement agreement,” but declined to comment further on the matter.

The painting was last seen in public in 1905, when it was exhibited as part of a larger Van Gogh retrospective at the Stedelijk Museum in Amsterdam.

Nazi-looted artwork has been at the center of several property disputes in recent years. Among them, “Winter” by impressionist Gari Melchers, confiscated by the Nazis from a Jewish family and recently returned to his descendants, and a portrait of Camille Pissarro at the center of a long-standing disagreement between the university of the Oklahoma and the heir to a French Jewish family.
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Van Gogh work looted by Nazis to be auctioned in New York Mon, 18 Oct 2021 06:30:42 +0000 A watercolor by Vincent van Gogh that was seized by the Nazis during World War II will be sold at auction in New York next month, where it is expected to fetch a price of $ 20 million or more, the auction house has announced. Christie’s auction.

Christie’s is auctioning off the 1888 work, “Wheatstacks,” after facilitating negotiations between the heirs of the Texan oil tanker who now own it and the heirs of two Jewish art collectors who owned it at different times before it was sold. it is not looted by the Nazis. Details of the settlement are confidential, a Christie’s spokesperson said.

“Wheatstacks” will be auctioned on November 11 along with other works of art from the collection of Edwin L. Cox, a Texas oilman who died last year at the age of 99.

The work represents three haystacks dominating the harvest workers on a beautiful summer day.

It was purchased in 1913 by industrialist Max Meirowsky, who fled Germany for Amsterdam in 1938 fearing Nazi persecution.

Meirowsky entrusted “Wheatstacks” to a Paris-based art dealer, who sold it to Alexandrine de Rothschild, a member of the famous Jewish banking family.

Rothschild fled to Switzerland at the start of World War II and his art collection, including van Gogh‘s watercolor, was confiscated by the Nazis during the Occupation.

It is not known where the work was located between the end of the war and the 1970s, but Cox purchased it from the Wildenstein Gallery in New York in 1979.

Giovanna Bertazzoni, vice president of 20th and 21st century art at Christie’s, called the artwork one of van Gogh’s most powerful works on paper to ever appear on the open market.

“Everything is breathtaking: the iconic subject, the perfect state of the gouache, the intensity of the ink in the characteristic hatching and volutes defining the landscape, the ambitious scale of the composition,” she said on Thursday. in a press release.

Ahead of the auction, the watercolor will be on display at Christie’s in London from October 17-21, marking the first time it has been on public display since a 1905 van Gogh retrospective at the Stedelijk Museum in Amsterdam.

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Of all the characters in American horror history, one is above the rest Mon, 18 Oct 2021 02:39:00 +0000

Lana Winters acts as a one-stop-shop for many of our worst fears and makes tangible the recurring themes that “American Horror Story” strives to explore.

“Asylum” refers to a deeply rooted fear shared by most people, that the effort to maintain our beliefs and sanity in a mad world will result in that world perceiving us as “mad”. . Lana is a sane and rational woman when locked in Briarcliff. Not only is she stripped of her identity and agency at the asylum, but she is also forced into aversion therapy to further destroy what she knows to be a perfectly natural sexual preference. Lana is gaslit on the most intimate level, and although literature and film have investigated this dissonance between what is real and what we are told to be real for decades (“Brave New World” comes to me. mind, just like “The Matrix”) is becoming more and more immediate, in which “AHS” has leaned repeatedly.

Lana’s arc also encapsulates a number of other horrors that “AHS” addresses, including the fear of being tampered with, silenced, imprisoned – even raped, assaulted, or killed – simply for being who we are (see : “Freak Show”). Finally, Lana’s pregnancy following violent rape, and her understandable abandonment of a child who will one day become a serial killer, raises fears that we are held responsible for our own disappearance or that of others. . (see: the story of Constance and Tate in “Murder House”).

In addition to speaking directly to a number of general Murphy’s themes, Lana speaks to the viewer about such horrors on another level. In response to one of the (many) “why do people like Lana Winters” discussion threads on the Subtitle AHS, user LittlePugBigSlug explained, “It’s more about empathizing with her. She’s so complex that a part of her looks like a lot of us, and that’s what we get attached to. […] We see each other in her. “

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Paris Fashion Week: Acne Studios and the debate on deconstructed fashion Sun, 17 Oct 2021 19:59:00 +0000

It’s no surprise that high fashion label Acne Studios has made a comeback on the fashion scene.

The Swedish brand returned to Paris Fashion Week last week to host its first fashion show since the start of the COVID-19 pandemic. Acne Studios has launched a fall collection, filled with sheer fabrics, deconstructed silhouettes and vibrant colors.

Acne Studios founder and designer Johnny Johansson has decided to take a fresh approach with his looks this season. Johansson brought square leather jackets, lace-up socks and wooden platform shoes to the track. The designer also went for hues of orange, cerulean blue, pastel yellow and even bright spring green.

The collection had elements of deconstruction, as threads were deliberately hung from the sleeves of the models.

Plain mode writer Rachel Douglass spoke about the historical references within the collection. “Corsets played a huge role in the collection, some designed with Baroque floral designs, reminiscent of medieval-style clothing but with futuristic twists,” Douglass wrote.

This season, the introduction of these futuristic pieces gives way to the deconstructionist movement. To fall under the category of “deconstruction”, clothes must look unfinished or in the process of being finished. They can also be taken apart and put together to form something new through techniques such as mixing fabrics or cutting out already finished silhouettes. There may also be exposed seams, hanging threads, or even holes.

According to Yugen, The origin of deconstructed fashion comes from three designers from the “royal family without a crown of destruction”: Yohji Yamamoto, Rei Kawakubo and Martin Margiela.

During the 1980s, the fashion scene was overrun with designs considered refined and fitted. Yamamoto and Kawakubo sent frayed edges, tears, and layered fabrics to the catwalk, as well as loose, shapeless silhouettes.

These designs inspired designers like Margiela and Vivienne Westwood to create their own versions of deconstructed fashion, as Westwood would include rips and rips in its punk-inspired collections.

The term “deconstructionism” was coined by the French philosopher Jacques Derrida in the 1960s. From the fashion blog Make the unfinished, the term is “normally applied to text, but also describes breaking normal conventions and boundaries.” The term could not only be displayed through fashion, but also through architecture and music.

Even though deconstructionist clothing is made by elite fashion houses, the aesthetic has caught both fans and critics of the movement. The idea of ​​”looking poor” but selling the pieces for a high price made people not like the way the clothes were marketed.

In the 80s, The Washington Post recounted how Bloomingdale’s flaunted a “willow model in a dull colored, ragged and ragged dress”. A small demonstration of homeless people and their advocates formed outside the store. Their position accused the company of making fun of the poor just so the rich could dress like them.

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In 2015, Kanye West’s Yeezy line received the same reviews the distressed rapper-designer was selling sweaters for over $ 1,000.

Yet today there are more fans and critics via Twitter. Among those who support the movement, a Twitter user @samaradanielleb said: “The new deconstructed fashion is exactly what we needed. We are finally entering more futuristic designs.

On the contrary, the user @ sabrinaydm98 said: “Anti-fashion / deconstructed fashion can become a bunch of overpriced rags that are NOT worth the price.”

Ultimately, the era of deconstructed fashion is still here. From the 80s to the present day, we will see other collections highlighting the art of tearing and reassembling textiles.

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Batman trailer reveals how important a good musical score is for a superhero Sat, 16 Oct 2021 20:46:00 +0000

Even completely deaf people can probably hum Danny Elfman’s now iconic “Batman” theme. The same goes for John Williams’ heroic theme for “Superman”. They are sullen, fast-paced soundscapes that instantly summon a mood. Elfman’s eerie gothic tones pair perfectly with Tim Burton’s dark visuals, and Williams’ triumphant melody makes us believe a man can fly. But at one point, as superhero and comic book movies became more and more prevalent, to the point of oversaturation, their sheet music lost some quality.

I think Maybe I could hum the Alan Silvestri theme “Avengers”, but I’m not positive. Beyond that, I can’t even begin to remember the music from the plethora of other Marvel Cinematic Universe movies. They all blend together, sounding pretty much the same as they recycle patterns and rhythms that don’t add much to the scene other than background noise. The music for Christopher Nolan’s Dark Knight trilogy fared a bit better – especially the thrilling score of Hans Zimmer’s “The Dark Knight Rises”. And even though I didn’t like “Man of Steel”, I liked Zimmer’s music for this movie. But these examples seem to be the exception, not the rule.

But why? These are great movies filled with shows – shouldn’t they have memorable music to match? Shouldn’t they be giving us a musical theme that burns into our brains, so much so that if we hear it years later, we immediately recognize it? I think so, but Hollywood apparently disagrees with me. But maybe, just maybe, we’re about to change. Or maybe it’s wishful thinking.

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Northrup King Apartments to house artists in Minneapolis Sat, 16 Oct 2021 13:20:47 +0000

The historic Northrup King campus in northeast Minneapolis, where artists have long established their studios, is fast becoming a place they can live too.

After two years of fundraising, nonprofit developer Artspace finalized its plan to transform three buildings on the sprawling campus into 84 affordable apartments and a cultural center by 2024. Future plans call for the rehabilitation of four more closed buildings. into artist-focused spaces.

The project is being hailed as a victory for the city, which struggles with a lack of affordable housing, and a welcome investment in a century-old complex considered the crown jewel of northeast Minneapolis.

“This Northrup building was the cornerstone of the movement that transformed Northeast into an arts district,” said Kevin Reich, member of Minneapolis City Council, who grew up in the neighborhood. “Every time we add to it, it’s a cause for celebration.”

Construction is slated to begin next year for the $ 43 million project, which was funded by grants and loans from the city, state, citizens and an environmental group.

While 84 new units won’t make a big dent in Minneapolis’ affordable housing crisis, city officials and neighbors are delighted that the 13-acre site west of Central Avenue, with its massive seed elevators and its industrial brick buildings, becomes even more important hub for artists, many of whom are struggling to make ends meet.

“Northeast Minneapolis is quickly getting more expensive,” said Greg Handberg, senior vice president of properties for Artspace. “This is historically the place where the city’s concentration of artists lived and worked, so they are very much in danger of being evaluated.”

The renovation, said Handberg, “is largely about creating a solution for the city’s largest district.”

Creating unique spaces for artists is what Artspace does.

The nonprofit has spent 10 years converting warehouses, tanneries, department stores, feed grain and barn buildings into new homes and galleries for urban artists in Iowa, Colorado, the California, Connecticut, New York and Frogtown, Harrison and Logan Park of the Twin Cities. neighborhoods.

When the city called Artspace in 2017 to see if it was interested in talking to Debbie Woodward, daughter of Northrup King owner and late Twin Cities landowner Jim Stanton, about the site’s purchase, Artspace jumped in.

As a condition of the purchase, Artspace has pledged not to move the 350 painters, potters, weavers, photographers and sculptors who rent the 200 art studios from Northrup King. Since purchasing the huge complex, Artspace has listed it on the National Register of Historic Places.

Northrup King opened in 1917 as a seed sorting and distribution company. Six huge seed silos and several industrial buildings remain on site at 1500 Jackson St. NE. more than 35 years after leaving the seed company.

The brick buildings are found among the studios, restaurants, and breweries of an art-centric district that includes the Thorp Building, Casket Arts Building, Solar Arts Building, and the nearby California Building.

Northrup King is a centerpiece of the studio and annual Art-A-Whirl music festival and home to Art Attack, “First Thursdays” festivals and Open Saturday tours that bring together hundreds for weekly artistic explorations. .

Housing will add a new dimension.

Next year, Artspace will begin transforming two buildings into 163,000 square feet of apartments that will exude the awesome industrial charm that only 105-year-old brick, iron and chunky beam structures can impart.

The plans include art galleries, shared workspaces, a laundry room and secure bicycle storage for residents. A third vacant building will be rehabilitated and will become a cultural and artistic center.

Apartments will be available for artists representing 30% to 80% of Minneapolis median income in the region, or about $ 31,000 to $ 78,500 for a four-person household.

Rents will range from around $ 700 to $ 1,500 per month.

On a recent tour, Artspace’s Handberg showed sweeping views of the city center while envisioning a vibrant future for the long-abandoned spaces.

“I can see shows going on here,” he said, turning on the lights inside a former seed warehouse to illuminate its towering wooden beams, iron accordion doors, coupe doors. -15 feet high fire and its loading docks which flow onto an old rail. Platform.

Dashing in and out of buildings haunted by pigeons, Handberg pointed out a half-dozen six-story seed silos connected high up by a walkway, curving walls and unexpected windows.

“It will all stay. It has to become an art gallery,” said Handberg, stepping over pigeon carcasses and around seed chutes, hoppers, fans and other machinery left behind.

Artspace acts as a project developer. He works with the Minneapolis-based architectural firm Cuningham plus Watson-Forsberg in St. Louis Park and TRI-Construction owned by Black and North Minneapolis as general contractors.

Artspace will add a playground, 150 new parking spaces, landscaping and a new stormwater management system to make the site user-friendly for resident artists and their neighbors.

Artspace spent two years fundraising and received grants or loans from the city of Minneapolis, the state, and the Mississippi Watershed Management Organization.

Pat Vogel, a board member for the Logan Park Neighborhood Association, said she was thrilled to see Artspace redevelop the site instead of an “out-of-state developer” determined to create expensive housing that displaces cash-strapped locals.

“Very affordable housing is what we need, [so Artspace] was well received, ”said Vogel.

Reich appreciates historic preservation and the emphasis on affordability.

“It’s like, wow! We have the only artistic community that [didn’t get gentrified]”, he said.” Instead, he has to keep his character, his people and [even gained] artist accommodation. It adds a whole new dynamic. “

Glass fusion artist Mary Schwartz breathed a long sigh of relief over the future plans for the buildings. She said she can now sleep easy and welcome more artists to the campus that she sees as a second home.

“Phew!” she said. “That will be nice.”

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Vincent van Gogh’s “Starry Night” has captivated audiences for over a century: here are 3 things you might not know about it Fri, 15 Oct 2021 19:51:15 +0000

that of Vincent van Gogh The starry Night (1889) is the most famous celestial scene in the history of art and one of the most beloved paintings in the world. (the phenomenon of Van Gogh’s immersive experience seems to prove that people not only want to watch it, but to be inside this too).

It’s not hard to see why. The Post-Impressionist masterpiece buzzes with a swirling internal energy all of its own. In the foreground of the painting, a cypress ignites against a night sky that resonates with dazzling shades of blue. Van Gogh conjures up a sky that is not static and distant, but alive and moving, and the stars and the moon shine with rings of luminous yellow. Under that brilliant night sky, a village sleeps quietly, seemingly shrouded in the protection of the heavens, a lone church spire striving to touch them.

Besides its formal qualities, a tradition has been built around painting, largely due to the circumstances surrounding its creation. Van Gogh did The starry Night at the Saint-Paul-de-Mausole asylum in Saint-Rémy, in the south of France, where he had voluntarily admitted following a manic episode during which he had sadly mutilated his ear . Many have interpreted the painting as Van Gogh’s contemplation of his own mortality – the cypress was a common symbol of death and mourning, and the artist often associated the stars with the afterlife. In a letter to his brother Theo, he wrote: “But the sight of the stars always makes me dream… Why, I said to myself, would the luminous spots of the firmament be less accessible to us than the black spots of the map of France? As we take the train to go to Tarascon or Rouen, we take death to go to a star.

But while the artist’s masterpiece certainly lends itself to emotional interpretations, it is also the highly regarded result of one of the most productive periods of his career. The asylum of Saint-Paul-de-Mausole was a progressive institution in which patients were encouraged to spend time in nature, and the artist’s brother made sure his brother had a workshop and sufficient time to paint.

There, in the shrouded security of the asylum, Van Gogh experienced some of his brightest and most peaceful moments. He painted his famous Iris during his early days there, and he would continue to paint The starry Night in a few days in June 1889.

Despite the ubiquity of painting in popular culture, The starry Night is still full of wonderful surprises that have been ignored or misunderstood. We’ve uncovered three fascinating facts that might make you see things differently.

Van Gogh painted The starry Night During the day and took an artistic license with the cosmos

The gardens of the monastery of the Saint-Paul-de-Mausole psychiatric hospital, seen from a cell, Saint-Rémy-de-Provence, France. Photo: Albert Ceolan / De Agostini Photo Library via Getty Images.

A common misconception is that Van Gogh painted his magnum opus while looking out the window from his room in the asylum. Although perhaps a less romantic view, the artist actually had a separate painting studio in Saint-Paul-de-Mausole where he worked during the day. This studio had no windows. Van Gogh, however, made sketches from his bedroom window, and in The starry Night, we see the slopes of the Alpilles, a mountain range, visible from his room.

Overall, however, the scene is a composite of precise and invented attributes. Van Gogh inserted the view of the village, for example, and took similar liberties with the sky. Some details are historically accurate: the bright orb in the center-left of the painting was identified by astronomers as the planet Venus, which would have been particularly bright in the summer of 1889. Constellations including Capella, Cassiopeia and Pegasus are also correctly positioned, some astronomers having gone so far as to identify the celestial scene as taking place at 4 am on June 19, 1889. However, just like with his depiction of the village, Van Gogh took a little creative license. The moon is depicted in the crescent phase, however, it would have been in the less evocative waning gibbous phase by the time he painted it..

Its glow is an optical illusion

Detail from The Starry Night (1889).

Detail of The starry Night (1889).

While Van Gogh is often described as the epitome of the lonely and tortured artist, he was anything but out of touch with contemporary conversations about the latest developments in the arts. His discursive letters to his friends Paul Gaugin and Émile Bernard discussed the latest color theories, including the principles of color contrasts that Van Gogh derived from his hero, the neoclassical artist Eugène Delacroix.

In 1889, he wrote to Theo about his recent paintings: “When you will see them sometime […] I could give you a better idea of ​​the things Gauguin, Bernard and I were talking about and dealing with often than I can do in words; it’s not a return to romanticism or religious ideas, no. But through Delacroix, one can express more nature and country, by means of color and an individual style of drawing, than one seems.

For Van Gogh, color was a vehicle for expressing emotion, and the brilliantly hued canvases of his late career largely succeeded in making new shades of paint available on the market. It is the intensity of the light in these colors on the canvas that gives The starry Night its unique shine. The contrasts between the strokes of paint create an optical effect called luminance, in which the brain experiences two simultaneous and competing sensory impulses. Simply put, part of the brain focuses on light and movement, but sees color less distinctly. Another part of the brain, however, will perceive each of the contrasting colors. Van Gogh’s bold and luminous brushstrokes signal these two experiences, creating the vacillating sense for which painting is so famous.

Hokusai Big wave Was an inspiration

Under the wave off Kanagawa (Kanagawa-oki nami-ura), also known as Big wave, from the series “Thirty-six views of Mount Fuji”. Collection of the Museum of Fine Arts, Boston.

Like many Impressionist and Post-Impressionist artists, Van Gogh was deeply influenced by Japanese prints imported to Europe in the 19th century. While we can credit these prints, known as ukiyo-e in Japan – with more general trends, such as the flattening of planes and the use of aerial perspective in Western art, in the case of The starry Night, we see a more direct link. Many art historians believe that Van Gogh was directly inspired by Katsushika Hokusai The great wave off Kanagawa. Side by side, the similarities between rising tidal waves and swirling skies are easy to recognize. Van Gogh even wrote to Theo about the print, saying with a sense of wonder: “These waves are claws, the boat is caught in it, you can feel it.” Although it does not have an imprint of the Big wave with him at the asylum, historian Martin Bailey thinks he may have worked from memory, calling The starry Night “a work of the imagination with all kinds of conscious and unconscious elements that must have entered Vincent’s mind when he was painting.”

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Van Gogh’s watercolor, once seized by the Nazis, will be auctioned off Thu, 14 Oct 2021 22:42:49 +0000

A watercolor by Vincent van Gogh, seized by the Nazis during World War II and not on public display since 1905, is due to be auctioned next month in New York City, where Christie’s experts estimate it could sell for between 20 and $ 30 million.

The proceeds from the sale of the work “Meules de Blé”, created by van Gogh in 1888, will be shared between the current owner – the family of Edwin Cox, a Texan oil businessman – and the heirs of two families. Jews whose predecessors owned the work during World War II.

In a statement, Giovanna Bertazzoni, Christie’s vice-president for 20th and 21st century art, called the image of a French farmyard a “tour de force of exceptional quality”. The auction house said it could set a new world auction record for a work on paper by van Gogh. (The previous highest price was around $ 14.7 million for “La Moisson en Provence” in 1997.)

The watercolor was once owned by Max Meirowsky, a Berlin-based manufacturer, who bought it in 1913.