凡高：《星夜》（Starry Night），现存于纽约现代艺术博物馆（Museum of Modern Art，New York）
Starry starry night
paint your palette blue and grey
look out on a summer's day
with eyes that know the darkness in my soul
Shadows on the hills
sketch the trees and the daffodils
catch the breeze and the winter chills
in colors on the snowy linen land
……
The Starry Night (Dutch: De sterrennacht) is a painting by Dutch post-impressionist artist Vincent van Gogh. The painting depicts the view outside his sanitarium room window at night, although it was painted from memory during the day. Since 1941 it has been in the permanent collection of the Museum of Modern Art in New York City. Widely hailed as his magnum opus, the painting has been reproduced many times and is one of his most renowned paintings. [From Wikipedia]
Genesis
In September 1888, while van Gogh was staying in Arles, he executed a painting commonly known as Starry Night Over the Rhone and later he incorporated a pen drawing in a set of a dozen based on recent paintings. Van Gogh claimed to have a "terrible need for religion" when he painted Starry Night Over the Rhone.
Pen drawing by van Gogh, executed after the painting
In mid-September 1889, following a heavy crisis which lasted from mid-July to the last days of August, he thought to include this "Study of the Night" in the next batch of works to be sent to his brother, Theo, in Paris. In order to reduce the shipping costs, he withheld three of the studies ("above-mentioned – Poppies – Night Effect – Moonrise"). These three went to Paris with the shipment to follow. As Theo did not immediately report its arrival, Vincent inquired again, and finally received Theo's commentary on his recent
Subject matter
The center part shows the village of Saint-Rémy under a swirling sky, in a view from the asylum towards north. The Alpilles far to the right fit to this view, but there is little rapport of the actual scene with the intermediary hills which seem to be derived from a different part of the surroundings, south of the asylum. The cypress tree to the left was added into the composition. Of note, is the fact van Gogh had already, during his time in Arles, repositioned Ursa Major from the north to the south in his painting Starry Night Over the Rhone.
Recent commentaries
Sketch of the Whirlpool Galaxy by Lord Rosse in 1845, 44 years before van Gogh's painting
- 160;As pointed out by Simon Singh in his book Big Bang, The Starry Night has striking similarities to a sketch of the Whirlpool Galaxy, drawn by Lord Rosse 44 years before van Gogh's work.
- The painting has been compared to an astronomical photograph of a star named V838 Monocerotis, taken by the Hubble in 2004. The clouds of gas surrounding the star resemble the swirling patterns van Gogh used in this painting.
- Art historian Joachim Pissarro cites The Starry Night as an exemplar of the artist's fascination with the nocturnal.
Legacy
The painting was the inspiration for French composer Henri Dutilleux's orchestral work Timbres, Espace, Mouvement, American poet Anne Sexton's poem "The Starry Night", Canadian composer Giancarlo Scalia's piano composition Starry Night and for Don McLean's song "Vincent", which is also known by its opening words, "Starry, Starry Night." Jack's Mannequin and Something Corporate singer Andrew McMahon has a tattoo of the painting on his arm. The painting has been recreated in the 3d world Second Life by artist Robbie Dingo, and the recreation was filmed and set to Don McLean's song. The painting also made an appearance and had an important role in the fifth season episode "Starry Night" of Boy Meets World. Joe Satriani has a song entitled "Starry Night". Tupac Shakur also wrote a poem dedicated to Van Gogh in his poetry Book: The Rose That Grew From Concrete.[citation needed]
……
1888年2月，35岁的凡高厌倦了巴黎的生活，四处寻找一个可供栖身与创作的世外桃源。当他踏上南下的火车来到普罗旺斯的阿尔（Arles）时，便立刻爱上了这里明媚的阳光和多变的色彩，陶醉于冬雪消融、大地回春的秀丽风光中。正如他在给弟弟提奥(Theo)的信中所说的：“这里的河水是绿色的，天空之蓝犹如日本木雕中的颜色。在橘黄透红色的夕阳下，整个大地呈现一片蓝色……妇女的穿着很漂亮，尤其在星期日，整个城市的颜色给人感觉非常天真和愉快……这里的春天与过去所习惯的大不相同……眼下灼热的阳光开始照射阿尔的土地，到处都是金黄色、青铜色和铜色……那是精妙的色彩，那是极度的和谐……哦，亲爱的提奥，要是你能看到眼下的橄榄林，那该有多好啊呵！……它们是温柔的美丽，是大地的奇迹。”
凡高在阿尔的栖身之地：罗纳河畔拉马丁广场(Place Lamartine)2号的“黄房子” .jpg)
160;
凡高：《黄房子》（Vincent's House in Arles：The Yellow House)，现存于阿姆斯特丹凡高博物馆（Van Gogh Museum，Amsterdam）
The Yellow House is the title generally given to an oil painting by the 19th-century Dutch Post-Impressionist painter Vincent van Gogh.
This title refers to the right wing of the building, 2, Place Lamartine, Arles, France, the house where, on May 1, 1888, Van Gogh rented four rooms, two large ones on the ground floor to serve as atelier and kitchen, and, on the first floor, two smaller ones facing Place Lamartine. The window on the first floor near the corner with both shutters open is that of Van Gogh's guest room, where Paul Gauguin lived for nine weeks from late October, 1888. Behind the next window, with one shutter closed, is Van Gogh's Bedroom. The two small rooms at the rear were rented by Van Gogh at a later time.
The left wing housed a grocery (French: Comestibles, inscribed on the signbord over the marque).
The building suffered various rebuilding, before it was severely damaged in a bombing raid by the Allies on June 25, 1944 and was later demolished.
Van Gogh indicated that the restaurant, where he used to have his meals, was in the building painted pink close to the left edge of the painting (28, Place Lamartine). It was run by Widow Venissac, who was also Van Gogh's landlady, and who owned several of the other buildings depicted.
To the right side of the Yellow House, the Avenue Montmajour runs down to the two railway bridges. The first line, with a train just passing, served the local connection to Lunel, which is on the opposite (that is, right) bank of river Rh244;ne. The other line was owned by the P.-L.-M. Railway Company: it connected Paris via Lyon to Marseille.
In the foreground to the left, there is an indication of the corner of the pedestrian walk, which surrounded one of the public gardens on Place Lamartine. The ditch running up Avenue Montmajour from the left towards the bridges served the gas pipe, which allowed Van Gogh a little later to have gas light installed in his atelier.
Pedigree
This painting never left the artist's estate. Since 1962, it is in the possession of the Vincent van Gogh Foundation, established by Vincent Willem van Gogh, the artist's nephew, and on permanent loan to the Van Gogh Museum, Amsterdam.
凡高：《阿尔的卧室》（Vincent's Bedroom in Arles），现存于阿姆斯特丹凡高博物馆（Van Gogh Museum，Amsterdam）
阿尔的凡高是快乐的。在普罗旺斯绚烂的阳光下，画家激情四溢。生活在阿尔的整整444天是他一生创作生涯中最丰富、最奔放、最辉煌的时期。在这段时间创作的200多幅油画,100多张素描和水彩画和200多封信里都流淌着他奔泻的情感和敏捷的思路，洋溢着他对大自然的眷恋和对生活的热爱。在阿尔浓墨重彩的画布上印着凡高众多传世佳作：
Bedroom in Arles (French: La Chambre à Arles; Dutch: Slaapkamer te Arles) is the title given to each of three similar paintings by 19th-century Dutch Post-Impressionist painter Vincent van Gogh.
Van Gogh's own title for this composition was simply The Bedroom (French: La Chambre à coucher). There are three authentic versions described in his letters, easily discernible from one another by the pictures on the wall to the right.
The painting depicts Van Gogh's bedroom at 2, Place Lamartine in Arles, Bouches-du-Rh244;ne, France, known as his Yellow House. The door to the right was opening to the upper floor and the staircase, the door to the left served the guest room he held prepared for Gauguin. The window in the front wall was looking to Place Lamartine and its public gardens. This room was not rectangular, but trapezoid, with an obtuse angle in the left hand corner of the front wall and an acute angle at the right. Van Gogh evidently did not spend much time on this problem, he simply indicated that there was a corner, somehow.
First version
Van Gogh started the first version mid October 1888 while staying in Arles, and explained his aims and means to his brother Theo:
This time it simply reproduces my bedroom; but colour must be abundant in this part, its simplification adding a rank of grandee to the style applied to the objects, getting to suggest a certain rest or dream. Well, I have thought that on watching the composition we stop thinking and imagining. I have painted the walls pale violet. The ground with checked material. The wooden bed and the chairs, yellow like fresh butter; the sheet and the pillows, lemon light green. The bedspread, scarlet coloured. The window, green. The washbasin, orangey; the tank, blue. The doors, lilac. And, that is all. There is not anything else in this room with closed shutters. The square pieces of furniture must express unswerving rest; also the portraits on the wall, the mirror, the bottle, and some costumes. The white colour has not been applied to the picture, so its frame will be white, aimed to get me even with the compulsory rest recommended for me. I have depicted no type of shade or shadow; I have only applied simple plain colours, like those in crêpes. [2]
Van Gogh included sketches of the composition in this letter as well as in a letter to Gauguin, written slightly later. [3] This version has on the wall to the right miniatures of Van Gogh's portraits of his friends Eugène Boch and Paul-Eugène Milliet.
Van Gogh started the first version mid October 1888 while staying in Arles, and explained his aims and means to his brother Theo:
This time it simply reproduces my bedroom; but colour must be abundant in this part, its simplification adding a rank of grandee to the style applied to the objects, getting to suggest a certain rest or dream. Well, I have thought that on watching the composition we stop thinking and imagining. I have painted the walls pale violet. The ground with checked material. The wooden bed and the chairs, yellow like fresh butter; the sheet and the pillows, lemon light green. The bedspread, scarlet coloured. The window, green. The washbasin, orangey; the tank, blue. The doors, lilac. And, that is all. There is not anything else in this room with closed shutters. The square pieces of furniture must express unswerving rest; also the portraits on the wall, the mirror, the bottle, and some costumes. The white colour has not been applied to the picture, so its frame will be white, aimed to get me even with the compulsory rest recommended for me. I have depicted no type of shade or shadow; I have only applied simple plain colours, like those in crêpes. [2]
Van Gogh included sketches of the composition in this letter as well as in a letter to Gauguin, written slightly later. [3] This version has on the wall to the right miniatures of Van Gogh's portraits of his friends Eugène Boch and Paul-Eugène Milliet.
正是在阿尔居住期间,凡高强烈地爱上了遍地生长的金色向日葵的千姿百态,既有紧闭的苞蕾,也有盛开的花盘,花朵的黄色呈现出丰富的色调，朵朵向阳地热烈绽放着生命的力量。
凡高：《向日葵》（Still Life: Vase with Fifteen Sunflowers），现存于伦敦国家画廊（National Gallery，London）
凡高：《阿尔夜晚的咖啡馆》（Cafe Terrace on the Place du Forum, Arles, at Night），现存于荷兰奥特罗克罗勒-穆勒博物馆（Kr246;ller-Müller Museum，Otterlo）
凡高：《阿尔的吊桥》（Langlois Bridge at Arles），现为巴黎私人收藏
凡高：《罗纳河畔的星夜》（Starry Night Over the Rhone），现存于巴黎德赛博物馆（Musée d'Orsay，Paris）
兴奋之中，他向远在巴黎和布鲁塞尔的朋友寄出了请柬，希望那里的艺术家们都能来到阿尔，共同创造世界上最美的图画。遗憾的是只有高更（Paul Gauguin）一人来了。经过短期的相处后，两人因性格和艺术见解不同而关系恶化。这样的打击，加上9个月的狂热创作，体力和精神均处于极端衰弱的凡高，终于和高更在一次发生口角之后割掉了自己的一只耳朵。不久，他的神经错乱了。因病情不断恶化，凡高进入阿尔附近的圣雷米疗养院（l'h244;pital psychiatrique de Saint Paul de Mausole à Saint-Rémy-de-Provence）进行治疗。
这时他已经进入癫痫状态，眼中扭曲的星夜比起前面罗纳河畔的星夜已是另一番景象…
印象派与日本浮世绘
19世纪中期开始，欧洲由日本进口茶叶，因包装纸印有浮世绘版画图案，其风格也开始影响了当时的印象派画家。1865年法国画家布拉克蒙（Felix Bracquemond）将陶器外包装上绘的系列《北斋漫画》(Hokusai manga)介绍给印象派的友人，引起了巨大反响。当时西方的前卫画家，如马奈(201;douard Manet)、德加(Edgar Degas)、莫奈(Claude Monet)、劳特累克（Henri de Toulouse-Lautrec）、凡高、高更（Paul Gauguin）、克里姆特(Gustav Klimt)、毕加索(Pablo Picasso)、马蒂斯(Henri Matisse)等人都从浮世绘中获得各种有意义的启迪，如：无影平涂的色彩价值，取材日常生活的艺术态度，自由而机智的构图和对瞬息万变的自然的敏感把握等。
凡高曾临摹过多幅浮世绘，并将其元素融入他之后的作品中，例如名作《星夜》中的涡卷图案即被认为是参考了葛饰北斋的《神奈川冲浪里》
(Katsushika Hokusai: The Great Wave off Kanagawa)
凡高临摹浮世绘对比图：
Comparison of a woodblock print by Hiroshige (left) to its copy painted by van Gogh
凡高：《日本趣味：盛开的梅树》（Japonaiserie: Flowering Plum Tree，after Hiroshige)，现存于阿姆斯特丹凡高博物馆（Van Gogh Museum，Amsterdam）
歌川廣重：《龟户梅宅》（Utagawa Hiroshige：Plum Garden in Kameido）
凡高：《日本趣味：大桥骤雨》（Japonaiserie: Bridge in the Rain，after Hiroshige) ，现存于阿姆斯特丹凡高博物馆（Van Gogh Museum，Amsterdam）
歌川廣重：《江户名所百景-夕立》（Utagawa Hiroshige：Thunderstorm at Ohashi）
凡高：《日本趣味:花魁》(Japonaiserie: Oiran，Also known as "The Courtesan", after Kesa239; Eisen)，现存于阿姆斯特丹凡高博物馆（Van Gogh Museum，Amsterdam）
凡高临摹的渓斎英泉（Kesa239; Eisen）原版画
37岁大魔咒
1890年5月，凡高回到巴黎郊外的奥维尔(Auvers-sur-Oise)。当得知一直供他衣食、为他购买颜料和画布的弟弟因结婚生子经济出现拮据时，画家的心被彻底击碎了。“我把钱还给你吧，现在我就去寻找自己的归宿”，在给弟弟写完这段文字后，他持枪来到一片麦田，面对着灿烂的阳光和凋零花瓣的向日葵，对着自己腹部扣动了扳机。凡高用一种"行为艺术"结束了生命离开了人间,时年37岁。悲哉! 那扼杀传奇画家的一枪没有人听到，除了萦绕在麦田之上那37只悲伤的乌鸦可以在凡高最后遗作《麦田上的乌鸦》中做证，凡高的灵魂永远与这37只乌鸦伴留在天国旋转的星空里。
[From Wikipedia] Wheat Field with Crows was painted in July 1890. It is commonly and mistakenly believed that this was Van Gogh's last painting, or even that he shot himself while he was painting it: this is how it was portrayed in the film Lust for Life. However, there is no evidence to support this idea, and Dr. Jan Hulsker's chronology gives seven works following it.
A usual interpretation of this painting is that it shows Van Gogh's troubled state of mind with a dark, forbidding sky, the indecision of three paths going in different directions and the black crows overhead being signs of foreboding or even death.
The artist wrote that he had made three paintings in Auvers of large fields of wheat under troubled skies.
Van Gogh did indeed commit suicide in the same month that he painted this picture. It is generally agreed that he went for a walk in the fields on the evening of July 27, 1890, and shot himself with a revolver, then made his way back home. He was in bed for two days before he died, with his brother Theo at his side.
This painting is in the collection of the Van Gogh Museum in Amsterdam.
The painting was featured in an episode of the series Simon Schama's Power of Art. It was also the inspiration for the fifth segment of Akira Kurosawa's film Dreams
凡高：《麦田上的乌鸦》（Wheat Field with Crows），现存于阿姆斯特丹凡高博物馆（Van Gogh Museum，Amsterdam）
……
Vincent (by Don Mclean) 《星夜》（演唱者：Don Mclean）
Starry starry night 那夜繁星点点
paint your palette blue and grey 你在画板上涂抹着灰与蓝
look out on a summer's day 夏日里轻瞥一眼
with eyes that know the darkness in my soul 便将我灵魂的阴霾洞穿
Shadows on the hills 暗影铺满群山
sketch the trees and the daffodils 树木与水仙花点缀其间
catch the breeze and the winter chills 用雪原斑驳的色彩
in colors on the snowy linen land 捕捉着微风与料峭冬寒
And now I understand 我终于读懂了
what you tried to say to me 你当时的肺腑之言
and how you suffered for your sanity 独醒于众人间的你是那么痛苦
and how you tried to set them free 你多想解开被禁锢者的系绊
They would not listen they did not know how 可他们却充耳不闻,对你视若不见
perhaps they'll listen now 也许，现在听还为时不晚……
Starry starry night 那夜繁星点点
flaming flowers that brightly blaze 鲜花盛放，火般绚烂
swirling clouds in violet haze 紫幕轻垂，云舒云卷
reflect in Vincent's eyes of China blue 都逃不过文森特湛蓝的双眼
Colors changing hue 色彩变化万千
morning fields of amber grain 清晨琥珀色的谷田
weathered faces lined in pain 张张饱经风霜与苦痛的脸
are smoothed beneath the artist's loving hand 在画家笔下渐渐舒展
And now I understand 我终于读懂了
what you tried to say to me 你当时的肺腑之言
and how you suffered for your sanity 独醒于众人间的你是那么痛苦
and how you tried to set them free 你多想解开被禁锢者的系绊
They would not listen they did not know how 可他们却充耳不闻,对你视若不见
perhaps they'll listen now 也许，现在听还为时不晚……
For they could not love you 他们根本不会在乎你
but still your love was true 你对他们的爱却未曾改变
and when no hope was left in sight on that 当最后一点希望都一去不返
starry starry night 在那繁星点点的夜晚
You took your life as lovers often do 你愤然结束自己的生命,如热恋中盲目的人儿一般
But I could have told you Vincent 文森特，我本该告诉你
this world was never meant for one as beautiful as you 像你这样美好的灵魂,本就不该来这肮脏的世间Starry starry night 那夜繁星点点
portraits hung in empty halls 空旷的大厅里画作高悬
frameless heads on nameless walls 无名的墙上无框的肖像
with eyes that watch the world and can't forget 用注视整个世界的双眼,把一切刻在心田
Like the stranger that you've met 就像你曾遇见的匆匆过客
the ragged men in ragged clothes 褴褛的人身着破烂的衣衫
the silver thorn of bloddy rose 血红玫瑰上银白的利刺
lie crushed and broken on the virgin snow 零落成泥、摧折寸断,散落于皑皑雪间
And now I think I know 我终于读懂了
what you tried to say to me 你当时的肺腑之言
and how you suffered for your sanity 独醒于众人间的你是那么痛苦
and how you tried to set them free 你多想解开被禁锢者的系绊
They would not listen they're not listening still 而他们根本不会去听,此刻，仍无人在听
perhaps they never will 也许，永远.........
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