Vincent Van Gogh. The Church at Auvers. (June 1890).
The painting was carried out by Vincent after his exit of the asylum of Saint-Rémy-of-Provence, it is established in Auvers-sur-Oise to be neat by Dr. Paul Gachet. It is here that it spends the last 2 months of its life, and, besides this picture, it composes also a hundred other painting. In bottom and on the right of the picture we placed an arrow, with the click the church of Auvers-sur-Oise such as it is today appears, another click and the painting of Van Gogh is of return. On photography the church is massive, static, and rather monumental. The same church seen by Vincent is moving. The building is deformed and while going from one image to another you will realize that all work moves, the sky, the way, the character and even the vegetation. This painting illustrates the influence in the manner of Van Gogh on the expressionist artists. In its Imaginary Museum published in 1947, André Malraux declares: “For the museum, there is neither veneration no more, neither resemblance, any imagination, decoration or possession, but from the images which differ from the things and which are confronted as such. This confrontation of contradictions is an awakening of the search of all the possible one of art, of a re-creation of the universe which gives the highest idea of the man. The man recreates the world, and conquers by art the direction of his life against the lapse of memory and death. ”. Art becomes self-awareness before being representation of reality.
The horizon is low, the sky is of a great dimension. The Church is located on the high part of work, well with the top from the point of view of the spectator. An idea of rise results from this. The eye is then attracted by the character who is moving but we will see that it is the case of the totality of the picture.
The church is centered on the 4 natural points of interests of the painting. Van Gogh uses the tension fields to delimit pictorial space. In bottom ground, in the medium the church, in top sky and the bell-tower.
Pictorial space according to its site is: clearly in the foreground, the hot colors dominate, dark with the background, the cold colors dominate (sky and stained glasses).
The Church does not lean, if one trusts the axis of symmetry it is quite right. They are the broken lines and curved of the roof, the hatchings on the ground, the spirals in the clouds which give an effect of rolling up. All work seems moving. By splitting his key and by breaking the lines the artist gives rise to think that all is in hooter to move.
The way in which the clouds are rolled up in spirals made think of the sky of the starlight night. (1889). (Click to see the analysis).
The irregular lines of the roof make appear the unstable church, like undergoing a distortion.
The hatchings of the ground point out the paving stones of the Terrace of the Coffee the Evening (1888). (Click to see the analysis).
The Church is enlightened line. The light illuminates the building and the ground.
Colors : Contrast between complementary colors.
Similar Painting :
Vincent Van Gogh. The Starry Night. ((1889). The spirals of the sky here are found. Vincent feels the force which lies in nature, it wants to aspire the spectator in work by this immense sky. The goal is to share the emotion felt from nature. Click to see the Analysis.Vincent
Vincent Van Gogh. The Café Terrace, at Night. (1888).
One finds on this painting same blue and yellow contrast in the same tonalities. However the terrace of the coffee was carried out of night. The colors with dominant yellow are on the left tension field between 2 natural points of interest. The sky and a group of passers by is on the line of force right, where the dominant color is blue. There exists a contrast between the colors but also an opposition of spaces. Exactly as in the church at Auvers. (Click to see the analysis).