Appreciation to Starry Night

The arts are sometimes overlooked, but they're a valuable part of culture and history.

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Appreciation to Starry Night

Postby jerryailily » Thu Apr 25, 2013 3:34 am

Van Gogh's universe can last forever in Starry Night. This is an illusion beyond any attempt of Byzantine or Roman artists have done in the great mystery of Christianity. The close relationship of the outbreak of the stars of Van Gogh and the exploration of space exceeds the mystical belief era. However, this kind of illusion is caused by accurate strokes with an effort. When we know the expressionism paintings, we tend to associate it with brave brushwork together. It is bold, or like flame brush strokes, it comes from the intuition or spontaneous act and is not bound by the rational thought process or rigorous techniques. Van Gogh's paintings uniqueness lies in his independence on the nature or the supernatural experience. And this kind of experience can use a circumspect stroke to prove. The brush strokes are like the artist racking his brains to accurately copy what he is observing now. In a sense, the reality is true, because Van Gogh paints what he has seen. If he saw an illusion, then it was an illusion.

Starry Night is both a close and distant landscape painting, which can be seen from landscape painter Breughel's high scenic techniques in the 16th century, although the source of Van Gogh is more directly concerned with some Impressionist landscapes. The tall white quiver leisurely emerges in front of us; the valley village perches on the protection of the church steeple Enron; all the stars and planets in the universe rotates and outbreaks in the last judgment. This painting was made during his stay in Saint Remy hospital in June 1889. After his second collapse, he was admitted to this hospital. There, his condition was bad sometimes and good at other times. When he was in conscious and full of emotions, he kept drawing. The main colors were blue and violet, with the foreground of dark green and brown, meaning the world boundless night surrounded.

Van Gogh inherited the great tradition of the portrait, which was rare among the artists in his generation. His passionate love for the people made him inevitably draw portraits. He studied people like he did for the nature, from the sketch to the last self-portraits a few months before his death in 1890. It accurately showed the terrible and nervous gaze. A lunatic or a person who was unable to control himself would never draw such a decent and skillful picture. In different levels of blue, some rhythm fibrillation lines represented the beautiful sculpture of the head and strong sense of style of the trunk. All the painting was blue or blue green, except the dark shirt and the head with the red beard. From the head to the trunk, then to the combination of color and rhythm of the background, as well as the subtle changes in the emphasized positions showed that this was a great artist with an excellent grasp of the modeling means. It seemed as if Van Gogh could record all his spiritual attack when he was fully awake.

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