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Selected works from the
38th Annual Fine Arts Exhibition
Philadelphia Museum of Art
February 1 - May 6, 2012
Van Gogh Up Close
Wheatfield, 1888. Vincent Willem van Gogh, Dutch, 1853 1890. Oil on canvas, 21 3/4 x 26 1/4 inches (55.2 x 66.7 cm). Honolulu Academy of Arts. Gift of Mrs. Richard A. Cooke and Family in memory of Richard A. Cooke. Rain, 1889. Vincent Willem van Gogh, Dutch, 1853 1890. Oil on canvas, 28 7/8 x 36 3/8 inches (73.3 x 92.4 cm). Philadelphia Museum of Art. The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986. Sunflowers, 1887. Vincent Willem van Gogh, Dutch, 1853 1890. Oil on canvas, 17 x 24 inches (43.2 x 61 cm) Framed: 26 1/4 x 33 1/2 x 2 1/2 inches (66.7 x 85.1 x 6.4 cm). The Metropolitan Museum of Art, Rogers Fund, 1949.
“I…am always obliged to go and gaze at a blade of grass, a pine-tree branch, an ear of wheat, to calm myself,” Vincent van Gogh
wrote in a letter to his sister, Wilhemina, in July of 1889. An artist of exceptional intensity, not only in his use of color and exuberant
application of paint but also in his personal life, van Gogh was powerfully and passionately drawn to nature. From 1886, when van
Gogh left Antwerp for Paris, to 1890 when he ended his own life in Auvers, van Gogh’s feverish artistic experimentation and zeal for
the natural world propelled him to radically refashion his still lifes and landscapes. With an ardent desire to engage the viewer with
the strength of the emotions he experienced before nature, van Gogh radically altered and at times even abandoned traditional
pictorial strategies in order to create still lifes and landscapes the likes of which had never before been seen.
Van Gogh Up Close, a major exhibition organized by the Philadelphia Museum of Art and the National Gallery of Canada, presents a
group of the artist’s most daring and innovative works that broke with the past and dramatically altered the course of modern painting.
Made between 1886 and 1890 in Paris, Arles, Saint-Rémy, and Auvers, the works in the exhibition concentrate on an important and
previously overlooked aspect of van Gogh’s work: “close-ups” that bring familiar subjects such as landscape elements, still lifes, and
flowers into the extreme foreground of the composition or focus on them in ways that are entirely unexpected and without precedent.
These landscapes and still lifes have not previously been seen together or identified before as critical to our understanding of van
Gogh’s artistic achievement.
Van Gogh Up Close, includes major loans from museums and private collections in Europe, North America, and Japan, and will be
seen in the United States only in Philadelphia (February 1-May 6, 2011) before traveling to the National Gallery of Canada in Ottawa.
The exhibition is accompanied by a fully illustrated catalogue and will offer a wide range of programs, including a lecture on the artist
by exhibition co-curator Joseph J. Rishel; a conversation about the legacy of van Gogh with a panel of contemporary artists; a film
series; and a lecture and book signing with Steven Naifeh and Gregory White Smith, co-authors of the recent biography Van Gogh:
The Life (February 12, 2 p.m.).
The exhibition will feature over 70 works, including 45 paintings by van Gogh and more than 30 comparative works such as Japanese
woodblock prints by Utagawa Hiroshige and Hayashi Roshü; European prints and drawings by Jean Corot, Camille Pissarro, and
Jacob Ruisdael; and photographs by Frederick Evans, August Kotzsch, and others. Van Gogh was an avid collector of Japanese and
European prints and drawings by artists whose aesthetic devices served as sources of inspiration for him. While van Gogh was
loudly dismissive of photography, the medium offers intriguing parallels with his work and it is possible that van Gogh would have
been fascinated by contemporary landscape photographs.
Van Gogh Up Close explores an important facet of van Gogh’s work that underscores his importance as a path-finding modern
artist,” comments Timothy Rub, the George D. Widener Director and CEO of the Philadelphia Museum of Art. “In seeking to share the
intensity of his emotional response to the world around him as directly as possible, van Gogh took the traditional methods making
pictures and changed the rules.”
After unsuccessfully pursuing careers as an art dealer, teacher, and pastor, Vincent van Gogh (1853 -1890), prompted by his brother
Theo, began to study art in 1880. In the Netherlands in 1885, he completed his first major works using a palette of browns, greens,
grays, and blacks. A year later, his work underwent a striking shift when, arriving in Paris, he was confronted for the first time by the
Impressionist paintings of Monet, Pissarro, Renoir, and by the new pointillist works of Seurat and others. These progressive artists
inspired him to lighten his palette and modernize his brushstroke. At roughly the same time, van Gogh began to collect Japanese
woodblock prints, fascinated by their vibrant color, high horizon lines, tilting perspectives, and truncated or unusually cropped edges.
These influences encouraged van Gogh to experiment with a radical treatment of field and space, flattening and compressing the
picture plane in his paintings in order to create a sense of shifting perspective and tension.
Working initially in the apartment he shared with Theo in Montmartre, van Gogh painted a series of still lifes of flowers and fruit such
as Still Life with Pears (1888, Gemäldegalerie Neue Meister, Dresden) and Sunflowers (1887, Metropolitan Museum of Art). In these
works, objects are often seen from above yet are placed very close to the picture plane in a tightly cropped space which provides no
clues to their context or setting. Pieces of fruit appear to tip forward and threaten to roll out of the picture. Van Gogh’s landscapes such
as Undergrowth (1887, Centraal Museum, Utrecht) stress the abundance of grasses and flowers by cropping out the horizon.
By the spring of 1888, troubled by intense personal anxieties, van Gogh sought refuge from city life and moved to Arles in the south of
France. There he hoped to emulate Japanese artists, working in close communion with nature and studying “a single blade of grass”
in order to better comprehend nature as a whole. Landscapes such as Field with Flowers Near Arles (1888, Van Gogh Museum,
Amsterdam) reflect a Japanese influence in their high horizon lines and bold colors. Here van Gogh began to adopt a more
structured, deliberate treatment of his subjects.
The open compositions that van Gogh created in Arles gave way to a series of landscapes painted in Saint-Rémy, where van Gogh
had committed himself to an asylum late in 1888 after his break with Gauguin, and continued in Auvers outside Paris, where van
Gogh ultimately took his life in 1890. In these densely packed compositions, the artist evoked the immediacy and closeness of his
surroundings as he continued to develop an intimate, close up focus. The exhibition culminates in an audacious series of still lifes
which were painted outdoors and take as their subject an extremely close view of a clump of iris, an upward gaze through a tangle of
almond branches, or the vibrant patterning of a Death’s-head moth. In these works van Gogh closes in on his subject, dramatically
reducing the depth of field and maximizing the expressive impact of his brushwork and color.
“Studying Van Gogh’s close-ups is essential to understanding the artist’s development, as they demonstrate a visual strategy that
has been touched upon in scholarship but has not been systematically separated and addressed,” notes Jennifer Thompson, the
Philadelphia Museum’s Gloria and Jack Drosdick Associate Curator of European Painting and Sculpture before 1900 and the Rodin
Museum. “By exploring this astonishing dimension of the artist’s achievements, we will establish a greater understanding of the
scope of his work.”
Van Gogh Up Close is organized by the Philadelphia Museum of Art and the National Gallery of Canada in Ottawa, where it will travel
following the Philadelphia venue. In Philadelphia the exhibition is curated by Joseph J. Rishel, The Gisela and Dennis Alter Senior
Curator of European Painting before 1900, and Jennifer A. Thompson, The Gloria and Jack Drosdick Associate Curator of European
Painting before 1900. They have developed the exhibition in close association with Cornelia Homburg, Independent Scholar and
Guest Curator, and Anabelle Kienle, Assistant Curator of European and American Art, at the National Gallery of Canada.
This exhibition is made possible by GlaxoSmithKline and Sun Life Financial. The exhibition is supported by an indemnity from the
Federal Council on the Arts and the Humanities. Additional support is provided by the Robert Lehman Foundation, The Pew
Charitable Trusts, The Annenberg Foundation Fund for Major Exhibitions, The Kathleen C. and John J. F. Sherrerd Fund for
Exhibitions, the National Endowment for the Arts, The Women’s Committee of the Philadelphia Museum of Art, Barbara B. and
Theodore R. Aronson, David and Margaret Langfitt, Mr. and Mrs. Robert E. Linck, Mr. and Mrs. John M. Thalheimer, Mr. and Mrs.
Leonard Abramson, The Arcadia Foundation, Mrs. Eugene W. Jackson, and other generous individuals. Promotional support is
provided by NBC 10 WCAU and Amtrak. The catalogue was funded, in part, by the Netherland-America Foundation.
Catalogue
Van Gogh Up Close will be accompanied by a catalogue available in English and French editions, published by the National Gallery of
Canada. Featuring approximately 200 full color illustrations, the catalogue will include six essay contributions. The introductory
discussion by van Gogh expert Cornelia Homburg defines what is meant by “close-up” and explores the definition in relation to van
Gogh’s admiration for Japanese art. Joseph J. Rishel, the Philadelphia Museum of Art’s Gisela and Dennis Alter Curator of European
Painting before 1900 and Senior Curator of the John G. Johnson Collection and the Rodin Museum examines Van Gogh’s interest in
early Dutch and German art and the ways in which it influenced his later work with regard to subject matter, composition, and
perspective. Jennifer Thompson looks at the Impressionist and Neo-Impressionist painting being done in Paris in the 1880s and
how experiments with optical space and surface patterning provide a context for van Gogh’s close-ups. Other essays address van
Gogh’s correspondence, the influence of 19th century photography, and van Gogh’s approach to mark-making. The catalogue will
include an exhibition checklist, and an illustrated chronology. Color reproductions of all the close-ups made by van Gogh will be an
integral part of the catalogue, enabling works not included in the exhibition to be a full part of the exploration of this phenomenal
aspect of van Gogh’s career. (320 pages, 220 illus., ISBN: 978 0 300 18129 6, Price: $60.00, Publication Date: January 2012)
Road Menders at Saint Remy, 1889. Vincent Willem van Gogh, Dutch, 1853 1890. Oil on canvas, 28 7/8 x 36 1/8 inches (73.4 x 91.8 cm). Framed: 41 1/8 x 49 x 3 inches (104.5 x 124.5 x 7.6 cm). The Cleveland Museum of Art, Gift of the Hanna Fund, 1947.209. Field with Flowers near Arles, 1888. Vincent Willem van Gogh, Dutch, 1853 1890. Oil on canvas, 21 1/4 x 25 9/16 inches (54 x 65 cm). Van Gogh Museum, Amsterdam. Undergrowth, 1887. Vincent Willem van Gogh, Dutch, 1853 1890. Oil on canvas, 13 x 18 1/8 inches (33 x 46 cm) Framed: 20 1/4 x 25 3/8 inches (51.5 x 64.5 cm). Centraal Museum, Utrecht, Netherlands
Undergrowth with Two Figures, 1890. Vincent Willem van Gogh, Dutch, 1853 1890

Undergrowth with Two Figures, 1890. Vincent Willem van Gogh, Dutch, 1853 1890
Oil on canvas, 19 1/2 x 39 1/4 inches (49.5 x 99.7 cm). Cincinnati Art Museum, Bequest of Mary E. Johnston, 1967.1430.