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Starry Night
Van Gogh's Starry Night is an impossibly vivid painting of a night sky. The artist renders the glowing moon and shimmering stars with as much depth and intensity as a daytime scene. Van Gogh's brush strokes and vivid color palette are characteristic of the Dutch artist's style. Rich royal blues consume the bulk of the canvas, allowing to crescent moon rendered in yellow to pop and glow.
The foreground bears a cluster of cypress trees, rendered in the shade and shadows. The viewer stands immediately behind the cypress trees, on a hill perched over the small European townscape. In the distance are rolling hills that merge and blend into the encroaching clouds. A church steeple and the cypress tree are the only two elements of the Van Gogh composition with vertical, upward momentum. The eye is drawn towards the heavens, and the mind makes the connection between nature's steeple, the tree, and the man-made steeple that defines the...
Both reach toward the skies in their own ways, one because it was born to do so and the other because human hands rendered it so. Reaching upward imparts a sense of hope. Motion is the key element and defining feature of Starry Night, which brings to life an otherwise still evening.
Most of the motion in Starry Night is cyclical and swirling. The central features on the canvas are the light blue swathes of Milky Way or more immediate clouds that undulate in the sky. The steeple of the church points directly at those cloudy swirls. Their circular, spiraling shapes correspond well with the halo-endowed moon and stars, the sensuous rolling hills, and the curvilinear cypress tree in the foreground. Moreover, the swirls impart movement that encourages the viewer's eye to wander freely and joyfully around the canvas. There is also a sense of continuity between the whirlpools of the swirls, the undulating branches of the cypress tree,…
Van Gogh Vincent van Gogh's work is nearly always identifiable instantly, due to the artist's characteristic use of vivid color and his intense, long brushstrokes. However, earlier van Gogh paintings are more subdued than his later canon. Paintings like "The Potato Eaters," for example, rely on darker palettes. After his inspiring encounter with Japanese woodblocks, van Gogh started to incorporate a richer color palette and his brushstrokes become lengthened almost like
By pointing straight up, it is emulating the church steeple, pointing perhaps to God, and Creator that has brought the stars and the moon and the clouds and the land to the people so they could build a village. In the village the lights are on in many of the houses, or are those bright windows merely reflecting the starry splendor from above? In conclusion, Van Gogh's painting "Starry Night"
Although in general he would discuss his work in detail, Van Gogh only mentions this painting twice, in letters 595 and 607. Van Gogh's "Starry Night" cannot be discussed outside of its artistic context. Thus, it is important to note here that Vincent Van Gogh was one of the most famous Post-Impressionist painters of the nineteenth century. Post Impressionism is much more difficult to define than Impressionism. Although there is
Vincent Van Gogh's Artwork Became Famous After His Death Vincent van Gogh is one of the most well-known artists of all time. His works sell for extraordinary sums of money. Many artists like van Gogh became popular only after their death. Vincent contributed much to Western society. His artistic vision laid the groundwork for modern impressionism, abstraction and even expressionism. His technique is still admired today by artists and students
Vincent Van Gogh Sol LeWitt. References book "a world art" 7th ed. central Texas college edition. Written sere, henry m. chapters 4-6 250 words Compare and contrast the use of line in the works of Vincent Van Gogh and Sol LeWitt. Both the works of Vincent Van Gogh and Sol LeWitt are characterized by frequent deployment of bright, contrasting colors to create a particular aesthetic effect. But Van Gogh's use of
There is a woman sitting in a chair, bent forward and resting her face in her right hand. She is looking toward the ground and seems to be very unhappy. The chair is very tall which makes it so that we can see her long dress. She is resting her feet on some type of box, but her feet cannot be seen. This drawing does not appear to have