The sermons of Vincent van Gogh
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- Startpage
- About Vincent Van Gogh in the history of fine art: Page: 1 | 2 | 3
- The sermons of Vincent Van Gogh: Page 1 | 2 | 3 | 4 | 5
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Another Vincent van Gogh: James Ensor (1860-1949)
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 His painting "Christs entry in Brussels" 1988 was much more revolutionary than Vincent van Goghs works from the same year. He was very wild, while van Gogh was - make no mistake about this - always and under all circumstances very disciplined, orderly and usually also technically first-class. It is easy to check his competence when you look at his drawings.
Because of van Goghs early death, van Gogh and Ensor never met and I think they did not know about each other. They have their ardent preacher morals in common, their intense passions, their use of colors and brushstrokes. Their exchange of ideas would have been extremly interesting. At the Academy in Brussels they missed each other by one year.
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Van Goghs distinct brushstrokes forever: Maurice de Vlaminck (1876-1958) and Tolli (1953-)
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The rhythms of Vincent van Goghs brushstrokes will certainly fascinate forever especially those artists with a profound interest in music.
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Colors and color mixes (called color effects) are two totally different things
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Impressonist painters learned the difference. A popular example: People working with graphics programs on their computer screen soon discover that they cannot mix "the color of gold" out of the basic colors red, green and blue. One can make any color of the sunlight spectrum. But not gold. But there is no doubt that gold exists. Why? Gold is not a color, it is the combined effect of a mix of color spots, usually some shades of yellow and white. The mix is perfect when in addition to all, a polished gold reflects also a suitable background.
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In other words: There are two worlds of colors, those of the sunlight spectrum and those color mixes from combined effects of colored spots.
The impressionist painters were fascinated. They combined color spots of any shape. It is a pity that the modern pigments with metal and Neon were not yet invented (or is it not a pity but a blessing?) Would it have been distasteful, if Monet would have pigmented his waterblue paint with some tiny shattered glass bits? Undoubtfully, God loves reflection effects on water.
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Claude Monet (1840-1926) Detail of Water Lilies (Nymphèas 1903
He composed a lot of paintings out of brushtrokes in many colors to produce a combined effect. In the Orangerie museum in Paris the Monet-hall has a special architecture so that the audience can look from the right angles and the right distance. There is a difference to Vincent van Goghs style. His brushstrokes are all strong, distinct picture elements with their form and size. Monets brushstrokes are blurred and flow into each other. This signals to the brain that the eyes can relax and do not need to focus.
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Georges Seurat (1859-1891) and Camille Pissarro (1830-1903) invented Pointillism, where all paintings consisted of a regular pattern of little color spots. A little bit like coarse offset printing raster. Viewed from a distance you see pictures with an extraordinary variety of color effects.
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