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Vincent Van Gogh

(1853 -  1890 ) Wikipedia® : Vincent Van Gogh
GOGH van Vincent Man With An Axe On His Shoulder

Sotheby's /Jun 21, 2016
506,598.30 - 759,897.45
918,212.50

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Variants on Artist's name :

Van Gogh Vincent

 

Artworks in Arcadja
461

Some works of Vincent Van Gogh

Extracted between 461 works in the catalog of Arcadja
Vincent Van Gogh - Studies Of Peasants Working: Sowers And Diggers

Vincent Van Gogh - Studies Of Peasants Working: Sowers And Diggers

Original 1890
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Lot number: 19
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Vincent van Gogh (1853-1890) Studies of Peasants Working: Sowers and Diggers (recto); A Man in front of a Farmstead: Other Sketches (verso) pencil on paper (recto); chalk on paper (verso) 9 3/8 x 12 1/2 in. (23.7 x 31.7 cm.) Executed in Saint-Rémy in January - April 1890 (recto) and spring 1890 (verso) During the opening months of 1890, Vincent van Gogh found himself in increasingly ill health, confined to his room at the psychiatric asylum in Saint Rémy-de-Provence to which he had committed himself the previous May. During this time, his doctors advised against painting, fearful that the swirling colours and expressive force of his compositions were adversely affecting his mental state. As a result, Van Gogh turned to drawing as a creative outlet, working from his imagination and memory, often reverting back to themes which had fascinated him several years earlier in the Netherlands. Perhaps most importantly, he returned to making copies of paintings by some of his favourite artists of the Nineteenth Century, primarily those of Jean-François Millet, working from black-and-white reproductions that he had brought with him to Saint-Rémy. In a letter to his brother Theo, dated 13 January 1890, Van Gogh expressed his admiration for this artist: ‘I find it a very happy thing that in this century there have been painters like Millet … who cannot be surpassed’’’’’’’’ (Van Gogh, quoted in Vincent van Gogh: The Letters, vol. 5, London, 2009, p. 184). Detailing his renewed interest in these paintings, Van Gogh explained to Theo that the works he was producing were not exact copies, but rather ‘translations’’’’’’’’ inspired by the central themes of Millet’’’’’’’’s works. The present sheet contains various studies of figures in action, primarily diggers and sowers, two leitmotifs which correspond directly to Millet’’’’’’’’s representations of the rural working class. For Van Gogh, as with Millet, these diggers embodied the hard life of the peasant, toiling in the fields, turning the soil by hand, as they tried to eke out a living on the land. While some of the figures are indicated by contours alone, there are several, most notably the two diggers in the centre of the upper register, whose bodies are constructed using Van Gogh’’’’’’’’s distinctive parallel hatching of short, powerful lines. A signature technique seen in numerous paintings of this period, these strokes curve slightly as they echo the outlines of the men’’’’’’’’s bodies, lending the two figures an enhanced sense of energy and movement. On the verso, another quick sketch in soft chalk is visible, its lines much looser, its subject less defined than those seen on the recto. A small thatched cottage is just visible along the left hand side, while a farm labourer carrying his tools over his shoulder can be seen walking along a pathway at the centre. Exploring an assortment of poses in a variety of different scales, Van Gogh’’’’’’’’s drawings show his intense fascination with the subject of the working classes, with each graphic stroke offering an insight into the artist’’’’’’’’s unstoppable creative energy at this time, as he sought an alternative means of artistic expression in the face of his own personal suffering.
Vincent Van Gogh - Wever Naar Rechts Gekeerd

Vincent Van Gogh - Wever Naar Rechts Gekeerd

Original 1884
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Lot number: 47B
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Vincent Van Gogh (1853-1890) Wever naar rechts gekeerd (Weaver Facing Right) oil on canvas laid down on panel 14 3/8 x 17 5/8 in. (36.6 x 45 cm.) Painted in 1884 In Drenthe during the final months of 1883, Van Gogh claimed that “painting comes more easily to me; I feel the urge to tackle all sorts of things that I left undone until today” (Letter no. 367; to Theo van Gogh, 16 October 1883). But desperately short of money, he left in early December to live with his parents in Nuenen. He was keen to continue working in oils, and took up an idea he had been pondering since 1880, a series of pictures depicting local weavers engaged in their work. The world-renowned textile industry in Brabant had fallen on hard times, yielding foreign markets to more efficient competition from fully mechanized English manufacturers, while becoming dependent on less lucrative domestic consumption. Most Dutch weavers were independent rural artisans working at home, few of whom could keep up with advances in technology and the consolidation of resources in the cities. Many such erstwhile entrepreneurs, having lost ownership of their looms, joined a growing army of wage-earning workers, who were poorly paid and lived in squalid slums. Van Gogh sought to capture a traditional way of life and a quality of handiwork that was rapidly disappearing. “When I am not with Ma, I’’’’’’’’m at a weaver’’’’’’’’s nearby, where I am working on two painted studies” (Letter no. 427; to Theo, between about 21 and 24 January 1884; probably referring to the present painting and Faille, no. 26). Within a few months Van Gogh completed nearly twenty drawings and watercolors, and seven oil paintings of weavers, including the present canvas. A second group, together with a series of spinners, followed that summer. The slatted wooden looms fascinated Van Gogh; he preferred the oldest pre-industrial examples he could find—some dated from the 18th century. “I’’’’’’’’ll have a lot more hard graft on these looms, but in reality the things are such almighty beautiful affairs... I certainly believe it’’’’’’’’s right that they should be painted” (Letter no. 445; to Theo, 30 April 1884). “Every day I paint studies of the weavers here, which I think are better in technique than the painted studies from Drenthe that I sent you” (Letter no. 428; to Theo, on or about 3 February 1884). The skills that Van Gogh refined while painting this series proved invaluable when he began the two versions of the famous Potato Eaters (Faille, nos. 78 and 82), the masterpieces of his Dutch period, which he completed in April and May 1885.
Vincent Van Gogh - Nature Morte: Vase Aux Glaïeuls

Vincent Van Gogh - Nature Morte: Vase Aux Glaïeuls

Original 1886
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Lot number: 8
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Vincent van Gogh NATURE MORTE: VASE AUX GLAÏEULS 1853 - 1890 Signed Vincent (lower right) Oil on canvas 20 1/8 by 15 3/8 in 51.2 by 38.8 cm Painted in Paris in the summer of 1886. Authentication The authenticity of this work has been confirmed by the Van Gogh Museum, Amsterdam. Théodore Duret, Paris Paul Cassirer, Berlin (acquired from the above in March 1912) Galerie Bernheim-Jeune, Paris Alden Brooks, Paris (acquired by 1928) Private Collection, Los Angeles (and sold: Sotheby Parke-Bernet, New York, May 18, 1983, lot 35) Elwin Litchfield Phillips Jr., Jacksonville, Florida (acquired at the above sale and sold by the Estate: Sotheby’’’’’’’’s, New York, May 11, 1999, lot 129)Acquired at the above sale by the present owner
Vincent Van Gogh - Man With An Axe On His Shoulder

Vincent Van Gogh - Man With An Axe On His Shoulder

Original
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Lot number: 18
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Vincent van Gogh 1853 - 1890 MAN WITH AN AXE ON HIS SHOULDER signed Vincent (lower right) lithographic crayon, watercolour and pencil on paper 46 by 23.4cm. 18 1/8 by 9 1/4 in. Executed in The Hague between October and December 1882. Saleroom Notice Authentication The authenticity of this work has been confirmed by the Van Gogh Museum, Amsterdam.Provenance (probably) Jacques Hageraats, The Hague L.C. Enthoven, Voorburg (probably acquired from the above in the 1900s. Sold: Fred Muller & Co., Amsterdam, 18th May 1920, lot 252) M.S. de Jong, Amsterdam (purchased at the above sale) A.P. de Jong, Johannesburg (by descent from the above) E. Rogoff, Johannesburg (sold: Sotheby's, Johannesburg, 10th May 1984, lot 78) Purchased at the above sale by the parents of the present owners Exhibited Treviso, Casa dei Carraresi, L'Impressionismo a l'età di Van Gogh , 2003, no. 128, illustrated in the catalogueLiterature Jacob Baart de la Faille, L'Œuvre de Vincent van Gogh, Catalogue raisonné , Paris & Brussels, 1928, vol. III, no. 987, catalogued p. 39; vol. IV, no. 987, illustrated pl. XLI Walther Vanbeselaere, De Hollandsche periode in het werk van Vincent van Gogh , Amsterdam, 1937, pp. 91, 170, 192 & 409 Jacob Baart de la Faille, The Works of Vincent van Gogh, His Paintings and Drawings , London, 1970, no. F987, illustrated p. 367 Jan Hulsker, The Complete Van Gogh. Paintings, Drawings, Sketches , New York, 1980, no. 303, illustrated p. 75 (as dating from December 1882 - January 1883) Jan Hulsker, The Complete Van Gogh. Paintings, Drawings, Sketches , New York, 1984, no. 303, illustrated p. 75 (as dating from December 1882 - January 1883) Jacob Baart de la Faille, Vincent van Gogh: The Complete Works on Paper. Catalogue Raisonné , San Francisco, 1992, vol. I, no. 987, catalogued p. 39; vol. II, no. 987, illustrated pl. XLI Jan Hulsker, The New Complete Van Gogh, Paintings, Drawings, Sketches , Amsterdam, 1996, no. 303, illustrated p. 75 (as dating from 1883) Executed in 1882, the present work is a wonderfully evocative drawing of an elderly miner walking through the streets at night - whether setting out to work before sunrise or returning home in the dark we cannot know. The figure trudges towards the viewer as if frozen in time, his pick axe resting heavily on his shoulder, lost in his reverie and seemingly unaware of the observer. Van Gogh's first encounter with coal miners and their families was in 1879 when he arrived in Borinage, a bleak coal-mining district near Mons, as a Protestant missionary and preacher. Upon his arrival in the village of Warmes he wrote to his brother Theo: 'It's a sombre place, and at first sight everything around it has something dismal and deathly about it. The workers there are usually people, emaciated and pale owing to fever, who look exhausted and haggard, weather-beaten and prematurely old [...]. All around the mine are poor miners’’’’’’’’ dwellings with a couple of dead trees, completely black from the smoke, and thorn-hedges, dung-heaps and rubbish dumps, mountains of unusable coal. [Dutch painter Jacob] Maris would make a beautiful painting of it' (quoted in Leo Jansen, Hans Luijten & Nienke Bakker (eds.), Vincent van Gogh. The Letters , New York, 2009, vol. I, letter no. 151, p. 239).   Van Gogh was just 26 years old and his experience living amongst the impoverished community affected him deeply. Inspired by their stoicism and in a bid to ease the burden of their lives, Van Gogh sought to abolish all distance between himself and his suffering neighbours, choosing to give away all his possessions and sleeping as they did on the floor of a hut. The Church strongly disapproved of what they deemed his excessive asceticism and Van Gogh was dismissed from his post after only six months. It was at this moment that Van Gogh discovered his true vocation as an artist, however, deciding to remain in the area for several more months to hone his skills as a draughtsman by drawing the miners and their families and chronicling the harsh conditions of their lives. He wrote to Theo: 'it was in this extreme poverty that I felt my energy return [...]. I couldn’’’’’’’’t tell you how happy I feel to have taken up drawing again' (quoted in ibid ., letter no. 158, p. 256). The empathy Van Gogh had felt for his models in these early, almost primitive, Borinage works is echoed in all of the artist’’’’’’’’s subsequent portraits of working men and women. Although the drawings became increasingly refined and emotion-laden, his subjects remained dignified and never sentimentalised. When Van Gogh took up the theme of miners again in October 1882 with drawings such as the present work, he was in fact living in The Hague and far from the coal mines themselves. His subject here is recognisable by his distinctive white whiskers as Adrianus Zuyderland, one of the artist’’’’’’’’s favourite models who lived in an almshouse nearby. A deaf, seventy-two-year-old pensioner, Zuyderland had small, heavy-lidded eyes, a hooked nose, and a bald pate; tufts of unruly white hair stuck out above his large, protruding ears, and dense mutton-chop whiskers covered his cheeks. ‘I'm very busy with drawings of an orphan man, as the almsmen are usually called here,’’’’’’’’ Van Gogh wrote to Anthon van Rappard. ‘Don’’’’’’’’t you think that the expressions orphan man and orphan woman are just right?’’’’’’’’ (quoted in ibid ., vol. II, letter no. 268, p. 164). Throughout the autumn and winter, Zuyderland came to Van Gogh’’’’’’’’s studio as often as he could. The artist never tired of drawing the old man’’’’’’’’s worn visage, irrevocably marked by adversity and sorrow; finally he had found a model commensurate to his boundless capacity for drawing. In some drawings, Van Gogh depicted Zuyderland standing proud and defiant; in others, the old man cradles his head in his hands in utter defeat. More often, however, Van Gogh captured his model in the midst of humble daily activities, poignant in their very predictability. It was after some experimentation with lithography in November 1882, that Van Gogh began to draw with lithographic crayons directly on paper. He even went back to work over older pencil drawings to add strength to expressive contours and a rich lustre to the shadows, as is believed to be the case in the present work, before applying highlights of opaque white watercolour. Remarkable for its striking monochrome palette with strong contrasts of light and dark,  Man with an Axe on his Shoulder  thus reveals the artist at his most psychologically poignant and technically sophisticated.
Vincent Van Gogh - Femme Semant/peasant Woman Sowing With A Basket

Vincent Van Gogh - Femme Semant/peasant Woman Sowing With A Basket

Original 1881
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Lot number: 304
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Lot 304: Vincent Van Gogh, Femme semant/Peasant Woman Sowing with a Basket, 1881 Condition Report: Professionally restored traces of age. Notes: VAT: Margin scheme Provenance: Jan Dona, The Hague; Galerie D. A. Hoogendyk, Amsterdam; Galerie Hermann Abels, Cologne; Private possession (since 1926) Dimensions: 62.2 x 47.2 cm Artist or Maker: Vincent Van Gogh Exhibited: Cologne 1925 (Kunstsalon Hermann Abels), Gemälde, Graphik, Plastik, cat. p. 44 f. with illus.; Amsterdam 1988/1989 (Rijksmuseum Vincent van Gogh), Van Gogh & Jean François Millet, cat. no. 69, p. 171 with colour illus. ("Zaiiende Vrouw"); until 2015 as a loan at Picasso-Museum, Münster Literature: Walther Vanbeselaere, De Hollandsche Periode (1880-1885) in het werk van Vincent van Gogh, Antwerp 1937, no. 883 (no illus.), p. 54, p. 408; Vincent van Gogh, Sämtliche Briefe, vol. 1. An den Bruder Theo, pub. by Fritz Erpel, Zurich 1967, Letter 150, p. 242 f.; The complete letters of Vincent van Gogh, pub. by New York Graphic Society, Boston 1978, p. 237 ff. Letter 149 ff., September 1881; Vincent van Gogh, De brieven, De volledige, geïllustreerde en geannoteerde uitgave, publ. by Van Gogh Museum, Amsterdam 2009, Deel 1, Brieven 166-193
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