Van Gogh Screaming Man Painting Van Gogh Art Pieces
A gunshot and a scream reflect through the xanthous business firm, echo across the fjord, and fill a new exhibition at the Van Gogh museum in Amsterdam with pity and terror.
In 1890 Vincent van Gogh fatally shot himself in the French countryside. Iii years later the Norwegian painter Edvard Munch was walking nigh Oslo'south fjord at sunset. As the sun went downwardly, he remembered years later, he was seized by a dreadful vision:
"The air became like blood – with piercing strands of fire ... I felt a great scream – and I actually heard a great scream."
Munch's 1893 crayon cartoon The Scream, on loan from Oslo's Munch Museum, at present hangs well-nigh Van Gogh's Wheatfield under Thunderclouds, which he painted in the final months of his life. The sky for Van Gogh has go a gorgeously thick and wet, withal oppressively dumbo and massive smear of blue and white. Meanwhile the sky for Munch, in The Scream, is a sinister aurora borealis, a radioactive blaze. We are left to gauge what Van Gogh'southward blue soup of a heaven says about his emotional state. Munch leaves no such ambiguity. He portrays himself as a robed, monk-like effigy, his optics dots of hurting in a hairless skull, his mouth an oval of ache.
Other walkers stand insensitive before the fjord. Merely the isolated artist can hear the scream that is violent nature itself apart.
Seeing Munch and Van Gogh side by side is a journey to the birth of expressionism. They never met, and Van Gogh never knew Munch existed – although Munch, who lived until 1944, certainly got to know somewhen about Van Gogh. Nevertheless both artists intuited something similar. They felt the globe crying out to express itself in colours. They heard a music, or a scream, in nature that connected artist and sky, creative person and fields. The way they prepare down this holistic, extreme sensitivity created a new kind of fine art.
Munch: Van Gogh compares some of the greatest masterpieces of two of the greatest modernistic artists. Munch, besides one of his four versions of The Scream, is represented by his even more terrifying vision of a business firm that seems to drip blood, Ruddy Virginia Creeper (1898-1900), his darkly erotic Madonna (1895-97), and many more such shocking revelations of the fin de siecle. Van Gogh replies with works like Starry Dark over the Rhone (1888) and The Xanthous House (1888). Information technology is similar a drama by Strindberg in which the two near intense artists who ever lived rage in mutual madness.
Munch was the friend Van Gogh never found. The one homo who might accept understood him. When he rented the Yellow House in Arles and decorated it with vivid paintings of sunflowers, Van Gogh was dreaming of utopia. He hoped this house would become an art colony where painters worked similar brothers. Instead he got Paul Gauguin as a firm guest and the dream ended in self damage and hospitalisation. Would Munch have been a improve painting companion? In his 1889 painting Summertime Dark: Inger on the Beach, nature is a numinous, living presence that infuses the painting with inner light, just every bit Van Gogh's stars spark in the blueish.
Both these northerners were set alight by French impressionism and both admired Gauguin's abstract, symbolic disrespect. Munch's nightmarish lithographs of solitary souls and depraved sexuality owe more to Gauguin than Van Gogh does, even though information technology was Van Gogh who lived with Gauguin. Simply the similarities between Munch and Van Gogh are ultimately less telling than their differences.
This exhibition casts a radically new lite on the tragedy of Van Gogh. If a psychiatrist were asked which of these painters was affected by mental health bug, which was most troubled, the diagnosis would be like shooting fish in a barrel. Obviously, Munch is the morbid, seriously disturbed artist here. It is Munch who wears sickness on his sleeve. It'due south non just his self-portrait equally a screaming ghoul. What about his impress Jealousy, in which a disguised youth gazes large-eyed into pettiness while a woman shows her body to a voyeuristic homo? Or Red Virginia Creeper, in which claret covers a house and seeps into a muddy path, while the same tortured face gazes into an abyss of horror?
By comparison Van Gogh is gratuitous from all morbidity, despair, or self-compassion. He liked to close his letters "with a handshake" and recommended smoking a pipage, like he did, to stay sane and happy. His paintings, adjacent to those of Munch, are aureate dreams of harmony and hope. He sees a magic in nature, a divine energy. The sound he hears is non a scream but a shout of exultation.
Munch is a macabre poet of darkness, vampires, murder. His art is erotic and perverse. Van Gogh, in the cornfield, is a believer. He is all love.
Until the crows come screaming.
- Munch: Van Gogh is at the Van Gogh Museum, Amsterdam, from 25 September to 17 Jan 2016
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Source: https://www.theguardian.com/artanddesign/2015/sep/23/munch-van-gogh-review-amsterdam-edvard-munch-vincent-van-gogh-scream-birth-of-expressionism
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