Gogh, Vincent Van

The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles

Average customer rating:

Two Giants Make House Together
Vincent and Paul
Good info, poorly organized; grammatical problems
insight into the mind and soul of the great painter
Well-Researched Art Biography

The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles
Martin Gayford
Manufacturer: Little, Brown and Company
ProductGroup: Book
Binding: Hardcover

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ASIN: 0316769010

Book Description

The mesmerizing true story of Vincent van Gogh and Paul Gauguin in the most celebrated cohabitation in art history.

From October to December of 1888, Paul Gauguin shared a yellow house in the south of France with Vincent Van Gogh. Never before or since have two such towering artists occupied so small a space. They were the Odd Couple of art history--one calm, the other volatile--and the denouement of their living arrangement was explosive. Two months after Gauguin arrived in Provence, Van Gogh suffered a psychological crisis that culminated in his cutting off part of an ear. He was institutionalized for most of the rest of his short life and never saw Gauguin again.

During the brief, exhilarating period they worked together in Arles, these not-yet-famous artists created a stream of masterpieces within the shared studio--including Van Gogh's Sunflowers, which decorated Gauguin's bedroom wall. Making use of Van Gogh's voluminous correspondence and new evidence, Martin Gayford describes not only how these two hallowed artists painted and exchanged ideas, but also the texture of their everyday lives. He tells us what they cooked and how they budgeted their meager finances and entertained themselves, and he movingly relays their inner fears and dreams. Gayford also makes a persuasive analysis of Van Gogh's mental illness--the probable bipolar affliction that led him to commit suicide at the age of 37. THE YELLOW HOUSE is a singular biographical work as dramatic and vibrant as the artists' pictures.

Customer Reviews:

Two Giants Make House Together.......2007-03-15

One of the most famous episodes of disastrous behavior by an artist is the tormented Vincent van Gogh's cutting off his ear. People who don't know anything else about the artist, or anything about art, know about the spectacular self-mutilation. There is more to the story, of course, and the excision of the ear is certainly not the most important part of van Gogh's life, but it did provide a climax to an important episode in that life, the collaboration between van Gogh and Paul Gauguin. In _The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles_ (Little, Brown), art critic Martin Gayford has recreated almost a day-by-day account of the time the two painters lived together, painted together, stimulated one another, and got on each other's nerves. It is a period that art historians have probed ever since van Gogh's postmortem fame, and while there have been recent discoveries made about details of the collaboration, Gayford's book in its chronological account gets close inside the minds of the two giants as they muddled their way through their period as housemates. Though Gayford tells in abbreviated form about what went on in their lives before and after their sharing of the Yellow House, the concentration on this particular period is wonderfully illuminating.

Van Gogh arrived in Arles in February 1888, and on his walks spied the Yellow House, which he leased for five months. He was well known as a loner, but he had long dreamed of making a colony for artists who would collaborate together; it wasn't that they would work jointly on their canvases, but they would "live and paint together - different in individual style but sharing a common aim, exchanging ideas, commenting on each other's work." Vincent's brother Theo, an art dealer in Paris who lent support in multiple ways to his brother, hoped that it would be good for Vincent to have a companion, and offered Gauguin, whose paintings Theo brokered, a stipend to move in. Shortly after Gauguin's arrival, they proceeded out to paint the autumn foliage of Arles. They would carry out their gear, set up a few yards from each other, and work simultaneously on parallel subjects. There are thus fascinating pairs of paintings to show what the two artists made of the same subject. They talked about their work, they criticized and praised, and for the first weeks all was well. Gradually, however, van Gogh began to behave in ways that Gauguin could not accept or change. The exact reason for van Gogh's peculiar behavior has been retrospectively diagnosed with a dozen maladies, but Gayford makes the case (already made by others) that van Gogh had bipolar disorder (also known as manic-depression). In the particular case of the Yellow House there were other strains. "The claustrophobic pattern of life," writes Gayford, "would have put a strain on the most phlegmatic pair of friends."

Toward the end of the collaboration, van Gogh was strained by the chromatic complexities of his portrait _La Berceuse_. He was drinking, and alcohol always made him more erratic, and he was worried about Gauguin's departure; Gauguin had written to Theo, "Vincent and I are absolutely unable to live side by side without trouble caused by incompatibility of temperament and he like I needs tranquility for his work. He is a man of remarkable intelligence whom I esteem greatly, and I leave with regret, but it is necessary." Van Gogh had taken to wandering at night and winding up near Gauguin's bed, disconcerting his companion. At one point, after consuming an absinthe, van Gogh hurled the glass at Gauguin. On 23 December, van Gogh rushed menacingly in the dark upon Gauguin, and (if the report of the latter is to be believed) did so with a straight razor. Gauguin escaped to a hotel, van Gogh returned home, took the razor, and sliced off his ear. Gayford analyzes possible sources for the self-mutilation, from the Gethsemane story to a newspaper report about Jack the Ripper cutting off the ears of one of his victims. The police were called to the Yellow House to pack van Gogh off the to hospital, where in his delirium he called repeatedly for Gauguin. Gauguin, however, claimed that a visit would make things worse, and left for Paris; they never saw each other again. Gauguin indeed was off to the tropics, and van Gogh was off for a year and a half of hospitalizations and remissions and astonishing productivity, ending in his suicide. Gayford's account measures each day and week in the collaboration with fitting detail, and always concentrates on the paintings that the two men produced during the time. It is the paintings, of course, that matter, not the incivility, neuroses, or madness of the painters. Van Gogh himself declared, "Old Gauguin and I understand each other basically, and if we are a bit mad, what of it?"

Vincent and Paul.......2007-03-04

A greatly enjoyable book. While focussed on just nine weeks in Arles, the narriative darts back and forth over the past lives of Van Gogh and Gauguin in the attempt to explain their specific actions that took place in and around the famous Yellow House.

Martin Gayford does not claim to have written an academic history, but one attempting to shed clarifying light on the actual motivations, thoughts and techniques that resulted in some of the Western world's greatest art. I think the author succeeded in his objective.

Good info, poorly organized; grammatical problems.......2007-02-08

Yes, I have loved Van Gogh forever, and I've read many of his bios. This book has loads of fascinating details, but is poorly organized despite its chronological sequence. Gaylord confusingly moves, from 1888, back and forth, creating disjointed scenes of Van Gogh's past, pieces of art (stupidly printed in black and white, when the author talks over and over about the importance of color), or a place, that he loses the content and context constantly.
His editors don't know how to use commas; and his editors don't seem to know when to reorganize his writing in a way that emphasizes Van Gogh.
Tangents on Paul G. are weirdly excessive, yet shed no light on their relationship. Missing is any reasonable discussion of their alleged duel, and yet, the author takes great liberty in suggesting a confrontation amidst the two with Van Gogh carrying an alleged razor (But where is the source of this conclusion)?
Then the info stops. And starts, and is told in a way as manic and unmanageable as Vincent's disease.
This book is worthy for the author's interesting research and revelations. But the book is a poorly organized hodge podge of this research.
Also: he suggests Van Gogh's funeral in Auvers with no further insight. I've been to Vincent's grave in Arles.
The author would have been smart to clarify why Arles as the final resting place of not only Vincent, but his brother, Theo, right next to him as well.
Lots of great data poorly organized; lots of incomplete data, but well worth the price of the book for the facts you can find here and there.
No sound footnotes, vague explanations of translations, and a poor bibliography make me wonder how well the subject was researched.
Lorraine Keenan

insight into the mind and soul of the great painter.......2007-01-10

This book gives us insight into the mind and vision of Van Gogh. A very good read.

Well-Researched Art Biography.......2006-12-12

Most people have heard of Vincent Van Gogh, the famous--or infamous--nineteenth-century artist. He's the one who painted Starry Night and various Sowers and Sunflowers, among a very few. But he is also notorious as the deranged artist who cut off his ear in 1888.

What lead to this act of self-mutilation, this event known as "the Crisis"? In the weeks leading up to the Crisis, Van Gogh shared a cramped studio with another renowned artist, Paul Gauguin. Located in the southern French town of Arles, the Yellow House became the setting for one of art history's oddest pairings.

In hopes of changing the future of art, Van Gogh and Gauguin agreed to a period of collaboration. Great things indeed happened. But with such disparate personalities, the idyll of the artists' dream didn't last.

Martin Gayford presents an intimate look into a critical period in art history. Dogged research not only into letters written by Van Gogh and Gauguin, but through public records and more, has allowed Gayford to surmise what daily life must have been like for the two artists that autumn.

Art enthusiasts interested in either artist's story will find THE YELLOW HOUSE a fascinating study. Casual purveyors, however, might find their attention wanders when Gayford gets into minute details that mean more to an artist than the average person, such as the weather on a given day. Overall, this accounting of "nine turbulent weeks in Arles" is well done. It is less dry than many biographies, and there is a real sense of the rise and fall of the Yellow House studio, and the enormous emotional impact on all those involved.

This is a definite recommendation for readers interested in Vincent Van Gogh, Paul Gauguin, and/or art from that period. Readers who are only interested in the Crisis may be surprised to learn a lot more than they expect, as well.

Reviewed by Christina Wantz Fixemer
12/11/2006

4.5-Books on WUAT = S-Stars on Amazon

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the most original artist of his time
A GREAT JOURNEY WITH VAN GOGH
A Quality Work!!
Didn't see the exhibit? Read the book!
brillant

Van Gogh's Van Goghs
Richard Kendall
Manufacturer: Harry N. Abrams
ProductGroup: Book
Binding: Hardcover

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ASIN: 0810963663

Amazon.com

This lavish but manageable book is the catalog for one of the most successful van Gogh exhibitions ever (at the National Gallery of Art in Washington, D.C., through January 3, 1999, and the Los Angeles County Museum of Art from January 17, 1999, to April 4, 1999). Judging from the haunting, beautifully reproduced paintings and drawings in the book--which range from the iconic to the rarely seen--it is easy to see why hordes of people keep pressing through overcrowded galleries to get a glimpse of the originals. The ones here are all from the Van Gogh Museum, Amsterdam, where most of Vincent's work resides.

Author Richard Kendall does a heroic job of writing van Gogh's tortured story one more time. Few artists have analyzed their own work with the clarity and insight Vincent brought to his. And Kendall relies heavily on Vincent's letters to his brother Theo, giving the reader broad access to the ultimate expert, the painter himself. The wealth of color plates is intoxicating--70 paintings, including The Potato Eaters and other early, gloomy works, a dozen self-portraits, Almond Blossom, Wheatfield with Crows, Butterflies and Poppies, The Bedroom, The Zouave, and The Courtesan (van Gogh's take on a Japanese geisha in full regalia).

It seems trivial to further praise the book's designers for holding it to only 150 pages, but the length makes an important difference. This is a volume that fits comfortably on the lap, to be perused and enjoyed at close range, for hours if you want, and not just displayed in unwieldy glory on a coffee table. --Peggy Moorman

Book Description

The brilliantly colored paintings of Vincent van Gogh (1853-1890) are loved around the world. This stunning volume accompanies the largest exhibition of the artist's works outside the Netherlands in more than 25 years. The show opens at the National Gallery of Art, Washington, D.C., in October 1998 and at the Los Angeles County Museum of Art in January 1999.

This unique group of paintings is from the extraordinary collection of the Van Gogh Museum, Amsterdam, home to the single greatest assemblage of the artist's paintings, drawings, and letters. The collection is based on works acquired directly from the artist by his brother Theo, an art dealer and the source of Vincent's financial and emotional support. Among the museum's treasures reproduced here are some of the best-known images in art: Potato Eaters, The Bedroom, Self-Portrait as an Artist, Harvest, and Wheatfield with Crows.

Richard Kendall's essay addresses Van Gogh's major themes and the different phases of his career. John Leighton contributes a history of the Van Gogh Museum and a biography of the artist.

Richard Kendall is an independent scholar.

John Leighton is director of the Van Gogh Museum

Customer Reviews:

the most original artist of his time.......2004-07-09

Vincent van Gogh is the artist who I feel I relate to most on a personal level. His demons are my demons. His yearning to some day find "the right girl" is my yearning. His spiritual faith in God is my spiritual faith. His weaknesses are my weaknesses. His strengths are my strengths. I'm very fond of van Gogh. He made many mistakes, including getting involved in a doomed love affair with a prostitute, or how he cut off his earlobe in a fit of anguish. Well, okay, I identify with him but that's something I've never been tempted to do haha. Vincent was a troubled and tormented and deeply under-appreciated artist in his day, only managing to sell one or two paintings in his life. Now he is among the very most popular. His works sell for many millions, even minor works.

David Rehak
author of "Love and Madness"

A GREAT JOURNEY WITH VAN GOGH.......2001-11-15

One of the best pieces that I ever read explaining paintings along the different periods which were passed by Van Gogh. Also, it gives a complete ride through his life and personality.

A Quality Work!!.......2000-08-29

I have this book and I am so glad ,I discovered it. I am, a painter,and have always been influenced by Van Goghs work. However most of the books I own do not have very good quality , printing .This book however is excellent! It is very close to , standing in front of the original painting. I would recomend this book to anyone that loves Van Gogh. I am so proud to make this book a part of my art library. Get it while you can!!

Didn't see the exhibit? Read the book!.......2000-05-06

The next best thing if you weren't able to make it to this record-breaking exhibition in Washington and Los Angeles. This book, an overview of the exhibition, is an extremely thorough and interesting overview of the 70 works on display. But it's more than that. I was very impressed with Richard Kendall's commentary in the book. Not only is this a comprehensive and thoughtful look at the "Van Gogh's Van Goghs" exhibition, it's also an excellent look at Van Gogh's life and career--period. I might have expected this--this major exhibition was superb and this catalogue is a worthy companion. Exhibition or not, this book is first-rate.

brillant.......1999-02-08

Interest in Van Gogh heightened with Hollywood movie with Kirk Douglas an Hollywood actor. My mother has a wood painting of sunflowers (l6) and she asked that we research this for her, it has numerous local newspaper clippings taped to the back, which raises even more questions. It is signed Vincent? I saw a one man narrative of Van Gogh's life depicted by his brother Theo, Actor: Jim Jarrett called Vincent. It was much informative of the letters Vincent wrote to Theo. . This enlightened one as to Vincent's odd behavior. Vincent the man. Mr.Kendall, if possible please cooresponde back. My sister is also in contact with you. Thank you for reading this message and any redirect would be appreciated.

Average customer rating:

Another equisite title to accompany a Fondation Beyeler exhibition!

Expressive!
Paul Gauguin , Markus Bruderlin , Donald Kuspit , Francis Bacon , Georg Baselitz , Max Beckmann , Francesco Clemente , Ernst Ludwig Kirchner , Edvard Munch , Pablo Picasso , Egon Schiele , and Vincent van Gogh
Manufacturer: Hatje Cantz Publishers
ProductGroup: Book
Binding: Hardcover

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ASIN: 3775713034
Release Date: 2003-07-02

Book Description

The quality of expressiveness--an outcry of the human soul against the mechanization of life--runs like a red scar through the entire history of modern art and up to the present day. If expressionism is associated first and foremost with the German contribution to Modernism, evoking the artists associated with Die Brcke (Kirchner, Heckel and Nolde) and Der Blaue Reiter (Marc and Kandinsky), but also the Austrian Schiele and Kokoshka, and the Parisian fauves, it nevertheless goes further. Beginning with the fathers of expressionism, Gauguin, van Gogh and Munch, the most important inspirations for a movement laden with emotions and endowed with the furor of rebellion, the red scar bleeds through the expressive tendencies of the interwar artists (Beckmann, Soutine and Picasso) and the postwar artists (Dubuffet, de Kooning and Bacon), and all the way to neo-expressionism (Baselitz, Lpertz, Lassnig) and 80s neo-fauvism (Clemente, Basquiat and Disler), ending with Louise Bourgeois and Bruce Nauman. In accompanying essays, philosopher and art historian Donald Kuspit sets out to trace the meaning of the term "expressive"; curator Markus Brderlin explores expressionism by looking backwards from neo-expressionism; and numerous short texts round off the exploration by focusing on individual works of art.

Customer Reviews:

Another equisite title to accompany a Fondation Beyeler exhibition!.......2005-08-16

The color reproductions are excellent, detailed text is easily read without flipping back and forth between pages, the scholarship is fine, and the book makes an excellent addition to current thoughts on expressionism. Plus, Amazon.com's discounts on fine art books are truly important in helping one build a great art library!

Vincent Van Gogh: The Drawings (Metropolitan Museum of Art Series)

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Vincent Van Gogh: The Drawings (Metropolitan Museum of Art Series)
Colta Ives , Sjraar van Heugten , and Marije Vellekoop
Manufacturer: Metropolitan Museum of Art
ProductGroup: Book
Binding: Hardcover

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Book Description

Vincent van Gogh (1853–1890) believed that drawing was “the root of everything.” A self-taught artist, he succeeded, between 1881 and 1890, in developing an inimitable graphic style. This book traces the artist’s successive triumphs as a draftsman, first in the Netherlands and later in France, highlighting the diversity of his technical invention and the striking continuity of his vision. Given the pivotal role drawings played in Van Gogh’s artistic conception and the rich dialectic they enjoyed with his oil paintings, a small selection of related canvases by the artist is also featured.
This beautiful book presents approximately 120 works in charcoal, ink, graphite, watercolor, and diluted oils. The authors explore enduring questions that surround Van Gogh’s drawings, including their manufacture, artistic precedents, and contribution to Modernism. In addition, the text discusses the significance of the artist’s drawing practice to his development as a painter. The essays and entries feature the most current research on Van Gogh’s drawings and provide fresh interpretations of the motivating influences that shaped the artist’s contributions to the history of drawing.

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Van Gogh and Expressionsim
Patrick Bridgewater , Stefan Koldehoff , Jill Lloyd , Michael Peppiatt , Olaf Peters , Chris Stolwijk , and Vincent van Gogh
Manufacturer: Hatje Cantz
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Binding: Hardcover

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ASIN: 3775719164
Release Date: 2007-03-01

Book Description

From the time of Vincent van Gogh's death in 1890 until the outbreak of World War I, Van Gogh's work came to be seen as the epitome of internationally groundbreaking art--particularly in Germany, where artists like Ernst Ludwig Kirchner and others of Die Brucke (The Bridge) group were fascinated by his technique, his powerful brushwork, his strongly contrasting colors and glowing palette. Vassily Kandinsky and the artists of Der Blaue Reiter (The Blue Rider) movement esteemed van Gogh for rejecting visible reality and penetrating the essence of nature. Austrian artists Egon Schiele and Oscar Kokoschka, on the other hand, were impressed by his soulful expression and insightful psychological portraits. The scholar and curator, Jill Lloyd, who is profoundly knowledgeable in the field of Expressionism, here places an exquisite selection of works by Expressionist artists in the context of van Gogh's most important paintings, documenting the lasting influence of this nineteenth-century Dutch painter on Expressionist art in Germany and Austria.

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Lust for Life
Irving Stone
Manufacturer: Plume
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ASIN: 0452262496

Book Description

LUST FOR LIFE is a fictionalized biography of the Dutch painter, Vincent Van Gogh and is based primarily on Van Gogh's three volumes of letters to his brother, Theo. Van Gogh was a violent, clumsy and passionate man who was driven to the extremity of exhaustion by his fervor to get life -- the essence of it -- into paint. Irving Stone treats the artist with great compassion and gives us a portrait that is sympathetic but fair.

Dear Theo: The Autobiography of Vincent Van Gogh

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Dear Theo: The Autobiography of Vincent Van Gogh

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Vincent Van Gogh: Sunflowers and Swirly Stars (Smart About Art)

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Book Description

"Brad" explores the ups and downs of van Gogh's life and art in this colorful report, featuring Brad's funny cartoons alongside reproductions of classic paintings like Starry Night.

Van Gogh (Getting to Know the World's Greatest Artists)

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Good information, but beware of noose!
great idea for a series
For the price, it is a good book for beginners and children
Van Gogh (Getting to Know The World's Greatest Artists)
Excellent art appreciation but questionable cartoons

Van Gogh (Getting to Know the World's Greatest Artists)
Mike Venezia
Manufacturer: Children's Press (CT)
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Customer Reviews:

Good information, but beware of noose!.......2006-04-30

I loved the fact that there is a children's book out there that contained all of my favorite works by Van Gogh, with text to support it, which can be read by my 7 year old. I don't know, perhaps I'm overprotective, but I didn't think one of the cartoons, showing a stick figure of "Mr. Van Gogh" in a NOOSE was appropriate for my son! (The context was that his students drew it....still, inappropriate! If a student would draw that on any chalkboard in any school district, they would probably be expelled!) I am planning on saving this book, for when he is older, and am looking for a replacement van gogh book for now, with only prints of his masterpieces!

great idea for a series.......2006-03-11

these are a wonderful set of books for children to read to themselves, they are well researched and written. as an art teacher for pre-schoolers I found some of the information too negative, too personal and I really dislike the cartoons, it is too easy for children to focus on those and it detract from the artwork. Still I am glad I bought this one and will buy more, just maybe not to show my students, but to get ideas for teaching to kids.

For the price, it is a good book for beginners and children.......2005-10-07

My 6 year old liked the paintings in the book and while the book did a decent job of covering the basics, I knew enough to fill in the blanks with what I know about the artist. We also went online and researched some of his life and art. It was simple and to the point and since my child is 6 years old, I woudl say this book would be good for her age group and up.

Van Gogh (Getting to Know The World's Greatest Artists).......2003-02-18

This book offered a great resource for my classroom. There is a lot to read about his life and history so I would definitely not use it as a read-aloud. I do however, use this book to point out significant events in his life. The illustrations are light and add humor to an otherwise depressing life. They bring the artist to life and that makes it easier for my students to relate to and it keeps up their interest. Informative and enjoyable, this book is a must have for teachers.

Excellent art appreciation but questionable cartoons.......2002-04-27

Well, we should not have been surprised that Vincent Van Gogh presents a challenge to Mike Venezia, because the tragic life of this particular artist does not especially lend itself to the cartoons that Venezia includes in his Getting to Know the World's Greatest Artists series. On the one hand we are talking about one of the most famous artists of all time, whose paintings now sell for millions and millions of dollars. But on the other hand we have a man who suffered severe emotional problems, cut off his ear, and ended up committing suicide. To be fair, Van Gogh was the epitome of the starving artist, and while none of the cartoons in the book goes too far, the one on the back of Venezia's self-portrait with a paper-cut is over the line given that this is a book for children.

The strength of the book is that Venezia does one of his best jobs of explaining the unique style of the artist with his look at Van Gogh. It is ironic that in a book where the subject presents such problems, Venezia provides ten cartoons in the book, which might be the most I have seen in any of his volumes to date (there are 22 paintings and drawings by Van Gogh). Certainly the cartoons do not reflect the tone of the text, which deals with Van Gogh's problems in a straight-forward manner. But given the fate of the artist, it is hard to find them totally appropriate. Again, to be fair, this is Venezia's format and we could not expect him to abandon it and perhaps he was trying to provide a counterbalance to Van Gogh's self-destructive impulses. Certainly parents should check this one out and make a judgment for their own children, and teachers should do the same thing for their students. A good alternative text, although written for a slightly older audience, is "What Makes a Van Gogh a Van Gogh" put out by The Metropolitan Museum of Art.

The Letters of Vincent van Gogh (Penguin Classics)
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The Letters of Vincent van Gogh (Penguin Classics)
Vincent Van Gogh
Manufacturer: Penguin Classics
ProductGroup: Book
Binding: Paperback

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ASIN: 0140446745

Amazon.com

This thorough collection of van Gogh's letters has been assembled with an artful eye and sensitivity to the artist's thinking. The result is an atypical take on Vincent van Gogh that avoids putting too much stress on his troubled mental state and too much straining by the editor to shape a narrative out of van Gogh's epistolary clues. Instead, we see the thoughtful and contemplative side of this creative genius, as well as his concern for the impact his art and life had on those people closest to him.

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