Through the Eyes of Vincent Van Gogh:Selected Drawings and by Barrington Barber

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By Barrington Barber

View the realm as obvious throughout the eyes of the mythical artist Vincent Van Gogh during this follow-up to the wildly winning during the Eyes of Leonardo da Vinci. attractive colour illustrations through Van Gogh are observed by way of informative and pleasing textual content. find out about the subjects, explanations, and meanings in the back of the drawings and work of 1 of the main attention-grabbing artists of the 19th century. All of Van Gogh's significant works are the following, from pictures comparable to that of postman Joseph-Etienne Roulin to the best-known panorama "Starry Night."

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Extra info for Through the Eyes of Vincent Van Gogh:Selected Drawings and Paintings by This Great Master

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Durch Wilhelm Fraengers Untersuchungen ist der Beweis erbracht, daß Dürer den blutigen Sieg über die Bauern verabscheute und daß ihn daher auch Luthers Aufforderung, man solle die Bauern «zerschmeißen, würgen und stechen», geschmerzt und abgestoßen haben muß. Demjenigen «welcher ein Victoria aufrichten wollte, darum daß er die aufrühreri­ schen Bauern überwunden hätte», rät Dürer mit bitterer Ironie, einen Aufbau aus allerlei landwirtschafdichen Ge­ fäßen und Geräten zu errichten und «zu oberst einen traureten Bauren» darauf zu setzen, «der mit einem Schwert durchstochen sei».

Anna), braune und braunrötliche Farben begleiten den helleren Ton und stimmen das Kolorit zu einem sehr eigenartigen Vollklang, das Kolorit wirkt jedoch auch etwas stumpf, als ob Patina auf ihm läge» (Winkler). Die kurz vorher gemalte «Betende Maria» ist wohl eher 21 eine junge Frau, die zu Maria betet. Das Schönste an dem Bild sind die Hände in ihrem Zusammenspiel mit dem milden, ergebungsvollen Gesicht. Die überflüssige, nichts Psychisches aussagende Buntheit stört. Die Beterin trägt einen leuchtend blauen Umhang, der viel von seinem 39 orangefarbenen Futter sehen läßt.

Er hinterließ seiner Witwe rund 6 850 Gulden, zwei Häuser und einen Garten. Er kann kein Anhänger vermögensfeindlicher Sekten ge­ wesen sein. Schwerer wiegt allerdings, daß die städtischen und bäuer­ lichen Revolutionäre - ebenso wie die schweizerischen Reformatoren - fast ausnahmslos bilderfeindlich waren, in Theorie und Praxis Verneiner aller religiösen Kunst. 1521 hatte der Wittenberger Theologe Karlstadt Dürer eine Schrift gewidmet, 1522 gab er mit seiner Schrift «Von Abtuung der Bilden» das Signal zur Bilderstürmerei, ver­ bunden mit einer radikalen Ablehnung der Wissenschaft.

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