The Church in Auvers-sur-Oise, View from the Chevet
作者
Vincent van Gogh 文森·梵谷
｜
典藏者
Musee d'Orsay, dist. RMN
After staying in the south of France, in Arles, and then at the psychiatric hospital in Saint-Rémy de Provence, Vincent Van Gogh settled in Auvers-Sur-Oise, a village on the outskirts of Paris.
His brother Théo, concerned with his health, incited him to see Doctor Gachet, himself a painter and a friend of numerous artists, who accepted to treat him. During the two months separating his arrival, on May 21, 1890, and his death on July 29, the artist made about seventy paintings, over one per day, not to mention a large number of drawings.
This is the only painting representing in full the church in Auvers that may sometimes be distinguished in the background of views of the whole village. This church, built in the 13th century in the early Gothic style, flanked by two Romanesque chapels, became under the painter's brush a flamboyant monument on the verge of dislocating itself from the ground and from the two paths that seem to be clasping it like torrents of lava or mud.
If one compares this painting with Claude Monet's paintings of the cathedral in Rouen, painted shortly afterward, one can measure how different Van Gogh's approach was from that of the impressionists. Unlike Monet, he did not try to render the impression of the play of light on the monument. Even though the church remains recognizable, the painting does not so much offer the spectator a faithful image of reality as a form of "expression" of a church.
The artistic means used by Van Gogh anticipate the work of the fauvists and expressionist painters. 在法國南部、阿爾勒、聖雷米普羅旺斯的精神病院逗留後，文森特梵高定居在巴黎郊區的奧維爾村。
他的兄弟泰奧擔心他的健康，慫恿他去看加歇醫生，他本人是一位畫家，也是眾多藝術家的朋友，他接受了治療。在他於 1890 年 5 月 21 日和他於 7 月 29 日去世之間的兩個月裡，這位藝術家創作了大約 70 幅畫，每天一幅以上，更不用說大量的繪畫了。
這是唯一一幅完整地代表奧維爾教堂的畫作，有時可以在整個村莊的景色中脫穎而出。這座教堂建於 13 世紀，採用早期哥特式風格，兩側是兩座羅馬式小教堂，在畫家筆下變成了一座華麗的紀念碑，瀕臨從地面和兩條似乎像激流一樣緊緊抓住它的小徑脫臼熔岩或泥漿。
如果將這幅畫與克勞德·莫奈不久之後繪製的魯昂大教堂畫作進行比較，可以看出梵高的方法與印象派的方法有多麼不同。與莫奈不同，他並沒有試圖在紀念碑上呈現光影的印象。儘管教堂仍然可以辨認，但這幅畫並沒有為觀眾提供真實的真實形象，而是教堂的一種“表達”形式。
梵高使用的藝術手段預示著野獸派和表現主義畫家的作品。
詳細資訊
標題: The Church in Auvers-sur-Oise, View from the Chevet
建立日期: 1890
實際尺寸: w740 x h940 mm
Provenance: Acquired with the participation of Paul Gachet and of an anonymous Canadian donation, 1951
Painter: Vincent van Gogh
Original Title: L'Eglise d'Auvers-sur-Oise, vue du chevet
Credit Line: © Musée d'Orsay, dist. RMN
類型: Oil on canvas
權利: Musee d'Orsay, dist. RMN
外部連結: http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/the-church-in-auvers-sur-oise-7170.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=41a41feee6
His brother Théo, concerned with his health, incited him to see Doctor Gachet, himself a painter and a friend of numerous artists, who accepted to treat him. During the two months separating his arrival, on May 21, 1890, and his death on July 29, the artist made about seventy paintings, over one per day, not to mention a large number of drawings.
This is the only painting representing in full the church in Auvers that may sometimes be distinguished in the background of views of the whole village. This church, built in the 13th century in the early Gothic style, flanked by two Romanesque chapels, became under the painter's brush a flamboyant monument on the verge of dislocating itself from the ground and from the two paths that seem to be clasping it like torrents of lava or mud.
If one compares this painting with Claude Monet's paintings of the cathedral in Rouen, painted shortly afterward, one can measure how different Van Gogh's approach was from that of the impressionists. Unlike Monet, he did not try to render the impression of the play of light on the monument. Even though the church remains recognizable, the painting does not so much offer the spectator a faithful image of reality as a form of "expression" of a church.
The artistic means used by Van Gogh anticipate the work of the fauvists and expressionist painters. 在法國南部、阿爾勒、聖雷米普羅旺斯的精神病院逗留後，文森特梵高定居在巴黎郊區的奧維爾村。
他的兄弟泰奧擔心他的健康，慫恿他去看加歇醫生，他本人是一位畫家，也是眾多藝術家的朋友，他接受了治療。在他於 1890 年 5 月 21 日和他於 7 月 29 日去世之間的兩個月裡，這位藝術家創作了大約 70 幅畫，每天一幅以上，更不用說大量的繪畫了。
這是唯一一幅完整地代表奧維爾教堂的畫作，有時可以在整個村莊的景色中脫穎而出。這座教堂建於 13 世紀，採用早期哥特式風格，兩側是兩座羅馬式小教堂，在畫家筆下變成了一座華麗的紀念碑，瀕臨從地面和兩條似乎像激流一樣緊緊抓住它的小徑脫臼熔岩或泥漿。
如果將這幅畫與克勞德·莫奈不久之後繪製的魯昂大教堂畫作進行比較，可以看出梵高的方法與印象派的方法有多麼不同。與莫奈不同，他並沒有試圖在紀念碑上呈現光影的印象。儘管教堂仍然可以辨認，但這幅畫並沒有為觀眾提供真實的真實形象，而是教堂的一種“表達”形式。
梵高使用的藝術手段預示著野獸派和表現主義畫家的作品。
詳細資訊
標題: The Church in Auvers-sur-Oise, View from the Chevet
建立日期: 1890
實際尺寸: w740 x h940 mm
Provenance: Acquired with the participation of Paul Gachet and of an anonymous Canadian donation, 1951
Painter: Vincent van Gogh
Original Title: L'Eglise d'Auvers-sur-Oise, vue du chevet
Credit Line: © Musée d'Orsay, dist. RMN
類型: Oil on canvas
權利: Musee d'Orsay, dist. RMN
外部連結: http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/the-church-in-auvers-sur-oise-7170.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=41a41feee6
