• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Starry Night at St. Rmy

Extracts from this document...

Introduction

Tim Devore Art Appreciation Kenneth Verdugo February 6, 2003 Starry Night at St. R�my Vincent van Gogh's Starry Night at St. R�my of June 1889, expresses the comforting power and spirituality of the infinite night sky over the humbler, earthly brand of nature through a synthesis of exceptional visual power, elements of religious allegory, and of modern spiritualism. This work is the product of van Gogh's refusal to depict the purely imaginary, but willful manipulation of what is real in order to achieve a more powerful work, both visually and through symbolism and allegory. Starry Night is more powerful than van Gogh's literal Agony of Christ would have been because, in separating itself from imagery that is strictly religious in its connotations, he was able to saturate the work with cultural and literary meanings that could appeal to a society no longer confined to the rhetoric of organized religion. Moreover, the work is so visually effective in its depiction of a reassuring yet euphoric mood that it need not rely on subject matter for audience response. ...read more.

Middle

These features make the church the most motionless building of all by denying it the motion of the brush strokes and giving it the solidity of a definite form. Calming blue and purple dominate the painting's color scheme, with moonlight, starlight and a band of colored light close to the horizon containing mostly yellows, along with points of red and orange. The moon itself is a yellow-orange, while the two spiraling bands in the sky are greenish-blue in hue. Green tints highlight the glows of all the celestial features and tint the plant life on the ground. Greys and reds are characteristic of the houses, with orange indicating houselights, and powder blue filling in the lines of the church tower. Finally, the writhing lines that define the dark green cypress' lines are a rich reddish brown and near-olive green, causing it to emerge as a sharply defined profile against the vivid colors of the sky and purple-greens of the landscape below. Van Gogh was a naturalist who committed to representing the real. ...read more.

Conclusion

In a letter to his brother Theo, van Gogh writes: ...Looking at the stars always makes me dream, as simply as I dream over the black dots representing towns and villages on a map. Why, I ask myself, shouldn't the shining dots be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star. One thing undoubtedly true in this reasoning is that we cannot get to a star while we are alive, any more than we can take the train when we are dead. So to me it seems possible that cholera, gravel, tuberculosis and cancer are the celestial means of locomotion, just as steamboats, buses and railways are the terrestrial means. To die quietly of old age would be to go there on foot (Van Gogh, 605). It is van Gogh's unselfishness toward his art that has allowed me to honor Starry Night at St. R�my. Through his unrelenting determination, van Gogh was able to capture one night in a history of millions and have it live for eternity. Current Location: The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our GCSE Art section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related GCSE Art essays

  1. Vincent van Gogh

    By now, Vincent's apprenticeship had ended and was promoted to a better position in the London gallery. In London, Vincent visited all the well-known museums and started to collect engravings. He also liked paintings from Constable, Reynolds, Gainsborough and Turner.

  2. Van Gogh Road to Tarascon

    The media has been applied using hard and soft lines. The lines are layered and individual as they have not been blended. He has used a range of marks. As this painting was done on woven paper it is likely that the surface is slightly textured.

  1. Vincent Van Gogh: Early Years

    Gauguin did join him but with disastrous results. In a fit of epilepsy, van Gogh pursued his friend with an open razor, was stopped by Gauguin, but ended up cutting his own ear off. Van Gogh then began to alternate between fits of madness and lucidity and was sent to the asylum in Saint-Remy for treatment.

  2. The boundaries between culture and nature have collapsed and the body has become flexible

    My mother's extreme frailty now focuses me upon the source of these projected fears, the fear of death itself. 'Are we not dealing with a myth of old age - an accumulated deposit of everyone's fears of the uncertainty of life, which all of society has pushed ahead each year

  1. Art Green: Consider the Options

    other than ours, it can still be appreciated using the same emotions we devote to our art in the Western world. He then begins to viciously tear apart critic after critic, denouncing their arguments as those of lesser minds. Hart, the first scholar to be considered, centers her essay around Indian wall paintings in marriage homes.

  2. Reason and Imagination

    As a result, natural sciences and the scientific method do have limits with only the use of reasoning. Science can't answer questions about value. For example, it fails to provide a satisfactory response to the question "Who is better looking?"

  1. Art - the Modern Age era

    The second sets of images that define the time period were done by Nicolas Poussin and Francois Boucher. Nicolas Poussin, born in 1594, was a French artist. He represented the Baroque period, the period in art history from about 1600 to about 1750.

  2. Artist Profile - Michael Brennand-Wood

    Michael always desired to be an artist, but he did not realize the potential of textiles until he was studying fine art at university. It was when he decided to transfer over to the textiles department, as he felt more comfortable there, that he realised that he wanted to study

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work