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Van Gogh the Tweaker
For a long time, it's been something of a dirty secret, violating ideas about great artistic originality: Vincent van Gogh frequently made copies of his own work. Now, in an about face, what is seemingly the least original aspect of van Gogh's method is offering a close up glimpse into the strange, obsessive intensity of his creative process.
His curious practice of copying himself provides the impetus for a new exhibition, "Van Gogh Repetitions," which opens on Saturday at the Phillips Collection in Washington and then travels to Cleveland.
In the 19th century, when the academy ruled, making copies played a central role in professional art training. Students often worked for years carefully copying plaster casts of ancient sculptures before they were allowed to make an original painting. Some never went on to do anything else.
But during the 20th century, this practice fell into disrepute. It came to be viewed as anti artistic. At its most extreme, copying can easily drift into forgery, a criminal act. Because of this modern distaste for copying, van Gogh's replicas of his own work, which he called rptitions, have sometimes even been dismissed by overly vigilant scholars as fakes.
Continue reading the main story
The exhibition brings together 13 instances in which van Gogh made more than one version replica hermes jewelry of a work and often multiple versions. In the show's catalog, a team of scholars and conservators, led by William Robinson and Eliza Rathbone, assemble and analyze documents that are clues to when van Gogh made a copy of what. Perhaps most significant, this team uses new technical evidence, such as X rays and high resolution digital imagery, firmly to resolve questions about the sequence of these works that have confounded scholars and fans of van Gogh until now.
An international group of van Gogh scholars Louis van Tilborgh, a curator at the Van Gogh Museum in Amsterdam; Timothy J. Standring at the Denver hermes enamel bangle replica Art Museum, curator of "Becoming van Gogh"; and Cornelia Homburg, a curator hermes bangles replica of "Van Gogh: Up Close" applaud this effort. They note that it increases our understanding of van Gogh and shows what authentic works possess that fakes lack. Mr. Standring said that the show invites viewers to "establish perhaps their own conclusions."
A specific pair of paintings by van Gogh one in Cleveland, the other in Washington inspired the exhibition. In May 1889, van Gogh made two very similar versions of the same painting: "The Large Plane Trees (Road Menders at Saint Rmy)," now in the Cleveland Museum of Art, and "The Road Menders," in the Phillips Collection. Despite their different titles, the paintings are virtually identical in their outlines so close that van Gogh may have traced one to paint the other.
Their existence has long been known; they were shown side by side at a van Gogh exhibition in Cleveland in 1948. But, partly because the whole process of making copies has been viewed as morally suspect, the exact relationship of the two works has never been studiously examined.
In addition, van Gogh made a number of little improvements in the second version, at the Phillips. "You can see he moved the street lamp to the left to make it stand out," Mr. Robinson said. "He added more lines to the tree. He even added an additional figure of a man digging on the far right."
Which of the two paintings is better? If you think copying is bad, then clearly the Cleveland version is better. Unfortunately, we don't have van Gogh's vote. But in other instances he often declared that he considered the replica the better painting, the more significant work of art.
In letters to his brother Theo, van Gogh frequently declared that he viewed the repetitions as an opportunity to improve and clarify his initial composition, since he was able to work more slowly and carefully than when painting outdoors with gawking bystanders and shifting light. In many of his copies (as illustrated in this exhibition), van Gogh's brush work is smoother, more careful and more deliberate than in the first version. As he explained to Theo, he could transform a painting from a direct transcription of a scene into a true work of the imagination.
Closely examining the two versions of the road mending scene inch by inch can be tiring, but that's a small challenge compared with sorting out what van Gogh was up to when he made three versions of his bedroom at Arles, and six paintings and three drawings of the postman Joseph Roulin.
What's surprising is how different the six postman paintings appear when side by side. In one, the eyebrows are bushy; in another they are a wiggly horizontal line. Sometimes we see the left ear, sometimes we don't. We start to read in personality traits: Some of the postmen stare us down, and others look distracted or self absorbed or possibly even slightly crazed.
"In the case of 'The Road Menders' and 'The Large Plane Trees,'" Mr. Robinson said, "it's easy to tell which came first. But in the case of the nine postmen, the variables are so large that art historians are still arguing the point."
"By the time he got to the later versions of the group," he said, "van Gogh wasn't working from a single model, but was drawing from three or four earlier versions and combining them in new ways."
The nine postmen are not so much repetitions, then, but variations on an idea, not unlike the way a composer like Bach created successive variations on a theme in music. In a seeming paradox, van Gogh was never more inventive than hermes clic clac bracelet replica when copying himself.
For a long time, it's been something of a dirty secret, violating ideas about great artistic originality: Vincent van Gogh frequently made copies of his own work. Now, in an about face, what is seemingly the least original aspect of van Gogh's method is offering a close up glimpse into the strange, obsessive intensity of his creative process.
His curious practice of copying himself provides the impetus for a new exhibition, "Van Gogh Repetitions," which opens on Saturday at the Phillips Collection in Washington and then travels to Cleveland.
In the 19th century, when the academy ruled, making copies played a central role in professional art training. Students often worked for years carefully copying plaster casts of ancient sculptures before they were allowed to make an original painting. Some never went on to do anything else.
But during the 20th century, this practice fell into disrepute. It came to be viewed as anti artistic. At its most extreme, copying can easily drift into forgery, a criminal act. Because of this modern distaste for copying, van Gogh's replicas of his own work, which he called rptitions, have sometimes even been dismissed by overly vigilant scholars as fakes.
Continue reading the main story
The exhibition brings together 13 instances in which van Gogh made more than one version replica hermes jewelry of a work and often multiple versions. In the show's catalog, a team of scholars and conservators, led by William Robinson and Eliza Rathbone, assemble and analyze documents that are clues to when van Gogh made a copy of what. Perhaps most significant, this team uses new technical evidence, such as X rays and high resolution digital imagery, firmly to resolve questions about the sequence of these works that have confounded scholars and fans of van Gogh until now.
An international group of van Gogh scholars Louis van Tilborgh, a curator at the Van Gogh Museum in Amsterdam; Timothy J. Standring at the Denver hermes enamel bangle replica Art Museum, curator of "Becoming van Gogh"; and Cornelia Homburg, a curator hermes bangles replica of "Van Gogh: Up Close" applaud this effort. They note that it increases our understanding of van Gogh and shows what authentic works possess that fakes lack. Mr. Standring said that the show invites viewers to "establish perhaps their own conclusions."
A specific pair of paintings by van Gogh one in Cleveland, the other in Washington inspired the exhibition. In May 1889, van Gogh made two very similar versions of the same painting: "The Large Plane Trees (Road Menders at Saint Rmy)," now in the Cleveland Museum of Art, and "The Road Menders," in the Phillips Collection. Despite their different titles, the paintings are virtually identical in their outlines so close that van Gogh may have traced one to paint the other.
Their existence has long been known; they were shown side by side at a van Gogh exhibition in Cleveland in 1948. But, partly because the whole process of making copies has been viewed as morally suspect, the exact relationship of the two works has never been studiously examined.
In addition, van Gogh made a number of little improvements in the second version, at the Phillips. "You can see he moved the street lamp to the left to make it stand out," Mr. Robinson said. "He added more lines to the tree. He even added an additional figure of a man digging on the far right."
Which of the two paintings is better? If you think copying is bad, then clearly the Cleveland version is better. Unfortunately, we don't have van Gogh's vote. But in other instances he often declared that he considered the replica the better painting, the more significant work of art.
In letters to his brother Theo, van Gogh frequently declared that he viewed the repetitions as an opportunity to improve and clarify his initial composition, since he was able to work more slowly and carefully than when painting outdoors with gawking bystanders and shifting light. In many of his copies (as illustrated in this exhibition), van Gogh's brush work is smoother, more careful and more deliberate than in the first version. As he explained to Theo, he could transform a painting from a direct transcription of a scene into a true work of the imagination.
Closely examining the two versions of the road mending scene inch by inch can be tiring, but that's a small challenge compared with sorting out what van Gogh was up to when he made three versions of his bedroom at Arles, and six paintings and three drawings of the postman Joseph Roulin.
What's surprising is how different the six postman paintings appear when side by side. In one, the eyebrows are bushy; in another they are a wiggly horizontal line. Sometimes we see the left ear, sometimes we don't. We start to read in personality traits: Some of the postmen stare us down, and others look distracted or self absorbed or possibly even slightly crazed.
"In the case of 'The Road Menders' and 'The Large Plane Trees,'" Mr. Robinson said, "it's easy to tell which came first. But in the case of the nine postmen, the variables are so large that art historians are still arguing the point."
"By the time he got to the later versions of the group," he said, "van Gogh wasn't working from a single model, but was drawing from three or four earlier versions and combining them in new ways."
The nine postmen are not so much repetitions, then, but variations on an idea, not unlike the way a composer like Bach created successive variations on a theme in music. In a seeming paradox, van Gogh was never more inventive than hermes clic clac bracelet replica when copying himself.
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