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Van Gogh




Vincent Van Gogh. The Bedroom in Arles. October 1888, September 1889. 


A room in Arles : 3 paintings , 1 analysis ! But which are the differences ? 

We show you what none of the 3 museums will never say to you ! 



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Vincent Van Gogh. The Bedroom in Arles. October 1888, September 1889. 

The first version of the Room in Arles is an oil on canvas of 28,5 X 35 inches. It was carried out in October 1888 and is in the Van Gogh Museum in Amsterdam. The second version was carried out in September
1889 with St Remy of Provence, it makes 29 x 36,5 inches, it is preserved at the institute of Arts of Chicago. The third version is smaller 22,3 X 29,5 inches, painted also in September 1889 with St Rémy, it is preserved at the Museum of Orsay to Paris. A room in Arles : 3 paintings , 1 analysis ! But which are the differences ? We show you what none of the 3 museums will never say to you ! 

Amsterdam: 

The painting is painted in October 1888, before the arrival in Arles of Paul Gauguin who arrives on October 23rd, 1888. In the yellow house of the Lamartine place in Arles, Vincent wants to found a community of artists to the manner of the Japanese artists. At that time Vincent suffers from loneliness, the month of before in September 1888 it carried out the Cafe by Night of which it will write in Theo that it constitutes the opposite of what it shows in the room in Arles. “ I have just finished a painting which represents an interior of café by night lit by lamps. Some poor prowlers of night sleep in a corner. The room is painted in red and in it under gas green billiards which projects an immense shade on the floor. In this painting there are six or seven different reds since the red blood to the tender pink making opposition to as many pale or dark greens. “
This painting is very symbolic : Van Gogh is given up by her friends, and those which are still there are indifferent for him. What illustrates that are the given up tables, the dispersed chairs and inexpressive people 
present in the scene.
To compensate for a not very conventional prospect due to the fact that the room is located on an angle and that the wall of the bottom is not right, Vincent which wants to express the harmony uses colours which are not realistic but with dishes of colours to the manner of the Japanese prints. The first painting suffered from moisture the colours changed, Vincent sends it to Theo for a restoration and this one answers him that it would make better do a copy of it. 

The point of view of the spectator is above the bed. 

The bed is on the right tension fields between 2 naturals points of interest. The chair close to the bed and the washstand are on the left superior natural point of interest.

Pictorial space can be divided into zones - colours. The blue ones and the orange ones dominate occupy each one 40% of pictorial space. The 2 tables, the 2 cushions, the 2 panes of the window, the mulching of the 2 chairs, cloths and the towel, all these elements functioning per pairs, are multiple points which arise in green the artist thus expresses a will of balance and union. The bedroom in Arles, symbolically, is the image of the community of artists that Vincent wanted to found.

Vincent distorts the prospect by transforming the verticals and the horizontal ones into oblique lines. Even the creep age distances are not right. 

Details : 

In the bedroom Vincent works with zones of plain colours. In the Cafe of Night it uses its usual key made of multiple oblique features, broken, in circles, arabesques… 

The light comes from in bottom on the left. On the painting there does not exist any shadow. The most luminous Zones are the bed, the wall of right-hand side, the top of the wall of left. 

Colours : Contrast between complementary colours. 

Similar paintings.

Vincent Van Gogh. The Corn Field on Fund of Mountain.

In a letter with his brother Theo, Vincent declares that this Corn Field could be similar to the Bedroom in Arles. It is seen well here that the colours of the Corn Field are much clearer. The painting preserved at Amsterdam suffered from the moisture which obscured the colours. This explains the colours much clearer versions of Chicago and Paris. 

Ando Hiroshige. The Sakawa River.

As far as Hokusai Ando Hiroshige is at the origin of the passion of the impressionists for the Japanese painters. Japonism as one calls it at the time explains by the attraction of the great compositions chromatic and asymmetrical which comprise few colours, 4 or 5, but these same colours are taken again at various places of the painting.

Chicago : 

11 months later Vincent carry out the version of Chicago, very small little larger, 29 x 36,5 inches. It gives up making restore the first version of the 
work, and with St Remy it finds the luminous colours which it used in the painted pictures of day in Arles. It is in Arles which Vincent understands that cold colours like the green and blue, used in tones very clear, hang the light as much as the hot colours like the yellow and the orange one. The dominant colour of this second version is the green - blue. This very 
clear green is present on the ground, on the panes of the window and especially compared to the version of Amsterdam the green disappears from the cushions, of the cloth of the towel hung on the left. In the straw of the chairs it is mixed with orange. By using the arrow in bottom on the right you can compare the 3 versions of the painting. 

The point of view of the spectator is above the bed. A little higher than the original version. 

The bed is on the right tension fields between 2 naturals points of interest. The chair close to the bed and the washstand are on the left superior natural point of interest. 

Pictorial space can be divided into zones - colours.
The blue ones and the orange ones dominate and occupy each one 40% of pictorial space. The 2 tables, the 2 cushions, the 2 panes of the window, the mulching of the 2 chairs, cloths and the towel, all these elements functioning per pairs, are multiple points which arise in green and white. Thus the mirror and the painting with top-of the bed take part too.
The artist thus expresses a will of balance and union. The Room in Arles, symbolically, is the image of the community of artists that Vincent wanted to found. Greens of the first version were replaced by white. 

Vincent distorts the prospect by transforming the verticals and the horizontal ones into oblique lines. 

Details : Note the differences of the tonalities and colours. 

Light : In this version the light comes from the half-opened window. 

Colours : Contrast between complementary colours. 

Similar paintings.

Vincent Van Gogh. The Corn Field on Fund of Mountain.

In a letter with his/her brother Theo, Vincent declares that this Corn Field could be similar to the Bedroom in Arles. It is seen well here that the colours of the Corn Field are much clearer. The painting preserved at Amsterdam suffered from the moisture which obscured the colours. This explains the colours much clearer versions of Chicago and Paris. 

Ando Hiroshige. The Sakawa River.

As far as Hokusai Ando Hiroshige is at the origin of the passion of the impressionists for the Japanese painters. Japonism as one calls it at the time explains by the attraction of the great compositions chromatic and asymmetrical which comprise few colours, 4 or 5, but these same colours are taken again at various places of the painting.


Paris : 
Always with St Rémy of Provence Vincent carries out a third version of the Room in Arles, smaller, 22,3 X 29,5 inches to offer to his sister. This time the dominant colour is blue then the green One finds identical colours in Roulottes (1888), the Bridge of Trinquetaille (1888) and the Unloading of a Boat Sands (1888) paintings that Vincent realized in Arles the previous year. Compared to the version of Chicago blue is much more luminous, there is less of greens, although Vincent found the exact colour of the green used in Arles. Blue is a colour much colder than the green however this smaller format is the most luminous painting of the 3 versions. Here also by using the arrow in bottom on the right you can compare the 3 pictures. 

The point of view of the spectator is above the bed. 
As on the version of Chicago.

The bed is on the right tension fields between 2 naturals points of interest. The chair close to the bed and the washstand are on the left superior natural point of interest.

Pictorial space can be divided into zones - colors.
Blue most clearer and the orange ones dominates and occupies each one 40% of pictorial space. The 2 tables, the 2 cushions, the 2 panes of the window, cloths and the towel, all these elements functioning per pairs, are multiple points which arise in green and white.
The artist thus expresses a will of balance and union. The Room in Arles, symbolically, is the image of the community of artists that Vincent wanted to found. There is less of greens than in the second version. The blue ones are of a more luminous colour.

Vincent distorts the prospect by transforming the verticals and the horizontal ones into oblique lines. 
Even the creepage distances are not right. In this version of many lines are shifted towards the line. 

Details : 

The colour of the ground is completely different. 

The orange colour is identical. 

Light : In this version the light also comes from the half-opened window. 

Colours : Contrast between complementary colours. 


Similar paintings.

Vincent Van Gogh. The Corn Field on Fund of Mountain.

In a letter with his brother Theo, Vincent declares that this Corn Field could be similar to the Bedroom in Arles. It is seen well here that the colours of the Corn Field are much clearer. The painting preserved at Amsterdam suffered from the moisture which obscured the colours. This explains the colours much clearer versions of Chicago and Paris. 

Ando Hiroshige. The Sakawa River.

As far as Hokusai Ando Hiroshige is at the origin of the passion of the impressionists for the Japanese painters. Japonism as one calls it at the time explains by the attraction of the great compositions chromatic and asymmetrical which comprise few colours, 4 or 5, but these same colours are taken again at various places of the painting.