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Midterm Critique. Orz
 Critique – The Starry Night by Vincent van GoghThis art work by Vincent van Gogh was painted with oil on a 29x36 ¼ squared-inch canvas. The subject is a scenery of a night in a small, quiet village with objects of bright yellow moons and white stars, blue houses, church, mountains, trees, curvy wind in the sky, and a huge flam-like cypress on the left side. In this piece the artist uses mostly curved lines which are kind of orbiting the stars and the moon to bring them out and make a sense of the shining light; the lines are also used to form the swirling blaze which is a very important role to move the viewer’s eyes around. There are lots of smooth organic shapes such as the mountains in the back, the trees, angulated organic shapes such as the buildings, and the light of stars may be considered as some geometric circles. The contrast made by value can easily be seen on the stars and the moon which has a real light value compare to the village and the cypress which are very dark. The contrast is also made by the color which the white stars, the yellow moon and the dark blue-and-purple sky are painted in complementary colors. Size in this piece brings the space out. The huge cypress and the small houses created a sense of depth. The most featured in this piece is the texture created by the oil in the background which lead the viewer’s eyes going around with it. Van Gogh used the color to make this piece asymmetrical balanced, because brown and yellow are both very strong colors and the their heaviness balanced each other out. This piece, in size wise, has the emphasis of the cypress which has the hugest size and also the darkness helps to bring it out, However, in color wise, the moon is the one being emphasized because it has the brightest and the most complement color – warm yellow, with the scenery which is mostly cold dark blue. The texture in this piece which is the line created by the oil, it creates a movement of the blowing wind from left to the center swirls, and go to the pattern which is also created by the oil on the mountain and the trees; then it moves down to the small village, rises up into the sky again with the flame like cypress, and go back to where it started. Thus the texture and the cypress plays a great role in making this art work unity; the moving sky and the silent, calm village is connected by the cypress which has a perpendicular lines and bring the ground up into the sky. In this piece I think van Gogh is trying to express two things. One would be the energy and power that the nature has, compare to the vivid, lively sky which symbolized the motional energy that nature has to the silent, quiet town that people created and built, we can barely find that van Gogh was tried to tell us the brilliance of nature. In the other hand, I also thinks that because of van Gogh’s loneliness life, this is an art work that he tried to express himself. The curvy lines reflected his insane soul, his world was distorted and deviant. The cypress is kind of a sign for van Gogh want to free his soul into the warm shining sky, and away from this cold dark world. The moon that is far away from the cypress which also has a warmest color in this whole painting is the symbol of love that van Gogh desired. I think this piece is quite a successful one because it uses a very good contrast of complementary colors, I also love its sense of space that the cypress is so close to the viewer which is kind of bring me into the work. Over all the texture is the greatest part of this whole thing, it creates movement, unity, and the artist’s strong style. I personally like this art not only because of the successful or great skills that are used here, but al so the emotion that van Gogh tried to bring out is very moving to me. The magical and fantastical swirl and the crazy cypress takes me in to the lonely world that Vincent van Gogh created. Source: The http://www.moma.org/collection/search.php Biography – Vincent van GoghHe was born in in 1853 as a son of a clergyman. Vincent later in his life worked in for a firm of art dealers in He was a clergyman and did an illegal missionary which made him lose his job again. Vincent then decided to become a real artist but he got droped-out from school. He then went to Source : Wikipedia http://en.wikipedia.org -- 上禮拜四寫完的，嗚嗚， 評自己偶像的畫怎麼可能不偏心啦！(逃) PR
今天在松柏板看到Ge的推文讓我想到了這位我一直很愛的畫家；十九世紀的畫家我最欣賞的有兩個人，
他們兩人的風格迥然不同，卻又非常具有特色 ── 細膩點畫派的秀拉，另一位就是現在要講的狂野梵谷。 如果拿音樂來比喻，我會說，秀拉就像細膩的RNB，看著他的畫你會放鬆、會平和；而梵谷就像狂野的搖滾和金屬，他的筆觸會帶著你的情緒一起進入他瘋狂的世界。 文生．梵谷 (Vincent van Gogh) 1853.03.30 - 1890.07.29  梵谷的生日和我只差一天。XD 他是牧師家庭的長子，年輕時期曾在畫店當過助理。 他早年的職業是個傳教士，但是在一次的非法傳教下被解除職務。 梵谷於是下定決心要當一個畫家， 但你也知道，畫家就是那種幾乎會餓肚子的職業。XD 如果你問我，他的一生中最重要的人是誰， 我會說，其中之一，是他的弟弟西奧 (Theo van Gogh) 梵谷在四處流浪作畫的時候，經濟來源幾乎都是西奧為他負擔， 西奧更是那個無論何時何地都會支持哥哥文生的人。 梵谷的美術學習過程並不順利， 1886 年他因為與老師對立而被退學， 而後輾轉的到了巴黎西奧的公寓寄住， 他也在這裡認識了另一個他人生中最重要的人 ── 高更。 1882 年，他借貸在法國南部租了一個房子當作畫室， 並邀請高更來到這裡和他同住， 就繪畫而言，梵谷和高更有著極大的共鳴， 他們都是放棄了本來會過的不錯的家世背景作畫， 而他們都把繪畫當作一種救贖、一種發洩、一種向腐敗的社會無聲的抗議。 但是交往越深，兩人的不合越是明顯。 高更是個很自我又很自負的人，但是梵谷是個很細膩的神經病。 梵谷對感情的固執可以說到了頑冥不靈的地步， 縱使他十分渴望高更的友情，但是梵谷神經質的舉動和質疑最後還是讓高更受不了而離去。 (割耳事件就是在與高更同住的後期發生的。) 高更離開後，梵谷的精神更為異常， 他開始使用強烈鮮豔的顏色對比冷色系和暗色。 當然每個人的詮釋不同， 我個人認為黑暗是他對世界的絕望， 但心中卻留著那麼一點點對溫暖和光明的渴求， 他在這時期如瘋狂般作畫，畫的產量只能用驚人兩個自形容， 從這裡開始我想介紹的是我最愛的其中三幅畫。 夜間咖啡館 - 1888  相信很多人小時候都在美術課本上看過這幅， 這幅畫常常被拿來做為對比色的教材。 沒錯，店外的冷漠對比著店內溫馨的感覺， 然而這個人的視角卻市默默的站在冷颼颼的街上。 我將這幅畫解釋為梵谷在內心憂鬱與世界的岔路掙扎著。 燈光隨著石地板偷偷滲了一點過來， 但所有的人都離他離得好遠。 星月之夜 - 1889  這大概是梵谷的代表作之一了， 夜風的線條帶動著視覺走向，分明的紋路更是讓人目不轉睛。 其實我是最近才看到這幅畫的草稿，坦白說令我很驚訝。 原來那些紋路都是在鉛筆草稿時期就已經設計好的了， 而不是因為作畫情緒才產生的即興畫法。 簡單來說他從構圖到完成都是在神經狀態就是了，科科。XD 鉛筆和油畫各藏著不同的情緒，但他們都是可以彼此連接的。 在這幅畫中幾乎沒有直線。 一切的一切都是扭曲而成的，不論是人間或是天空， 就面積而言最搶眼，向上衝的那團黑色煙霧(或火焰)， 釋放了一種想要得到解脫一般的情感。 如果說，這團黑色而絕望的火是文生梵谷， 那麼，守在他身邊最亮的那個星必是西奧； 而高更就像那遠在天邊卻在色彩上最搶眼的月吧。 西奧在1889年的四月結婚， 同年五月，梵谷就因為精神異常而送進了精神病院。 精神異常時期的梵谷，一天當中除了作畫、就是作畫， 繪圖變成了他唯一的情感宣洩管道， 但是他的憂鬱情緒卻是不斷的湧出，像永遠也畫不完一般。 麥田裡的烏鴉 - 1890  這是謠傳中梵谷生前的最後一幅畫，他在舉槍自殺前散布的途中作的。 (在後來有被證實其實這之後還有其他畫作，只是我不清楚。:p) 一樣，深藍色、黑色、對比著土黃色的陰鬱小麥田。 視角看過去有三條路，而那一群代表著死亡與不幸的烏鴉彷彿正帶領著梵谷走向黑色的天際。 這幅是我看過的梵谷所有畫中情感最強烈的一幅， 就算不知道背後的故事，也會被用色和筆勢給震懾到。 漆黑絕望的天空、死神使者般的烏鴉、分叉而沒有進頭的歧路、 以及應該要金黃而美好，卻在這幅畫裡令人有些作嘔的沉重小麥田。 就像梵谷對人生的感覺一般，太多的不幸、太多的抑鬱、太多的迷惘， 最後只剩下了早已不值得留戀的小麥在空蕩蕩的地面上隨風搖曳。 -- 後記： 之一，西奧之死。 文生的弟弟西奧因為悲慟過度精神異常，而在文生離開後一年去世。 西奧梵谷被葬在哥哥的墓旁，繼續陪伴支持著文生。 之二，詩詠梵谷。 法國詩人波特萊爾曾這樣說： 「他生下來。 他畫畫。他死去。 麥田裡一片金黃， 一群烏鴉驚叫著飛過天空。」 之三，歌詠梵谷。 1970年代的美國流行歌手唐麥克林曾寫過這樣的一首歌， 我非常喜歡這首歌雋永的旋律以及歌詞，它叫做「Vincent」 Vincent (Starry, Starry Night) Don McLean Starry, starry night Paint your palette blue and gray Look out on a summer's day With eyes that know the darkness in my soul Shadows on the hills Sketch the trees and the daffodils Catch the breeze and the winter chills In colors on the snowy linen land Now I understand What you tried to say to me How you suffered for your sanity How you tried to set them free They would not listen they did not how Perhaps they'll listen now Starry, starry night Swirling clouds in violet haze Reflect in Vincent's eyes of china blue Colors changing hue Morning fields of amber grain Weathered faces lined in pain Are soothed beneath the artist's loving hand Now I understand What you tried to say to me How you suffered for your sanity How you tried to set them free They would not listen they did not how Perhaps they'll listen now For they could not love you But still your love was true And when no hope was left inside On that starry, starry night You took your life as lovers often do But I could have told you Vincent This world was never meant for one as beautiful as you Starry, starry night Portraits hung in empty halls Frameless heads on nameless walls With eyes that watch the world and can't forget Like the strangers that you've met The ragged men in ragged clothes The silver thorn of bloody rose Lie crushed and broken on the virgin snow Now I think I know What you tried to say to me How you suffered for your sanity How you tried to set them free They did not listen they're not listening still Perhaps they never will -- 其實是滿有萌點的一個人。(逃) |
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