With a major new exhibition entitled, simply, ‘Vincent’ currently underway at the Hermitage Amsterdam, art lovers are presented with an opportunity to appreciate and understand the work of the Dutch master Van Gogh in an entirely new light.
he exhibition, comprising of 75 paintings, in addition to a number of letters, sketches, and other personal effect, traces a ten year period in Van Gogh’s life during which the artist transformed himself from an unpolished beginner into an undeniable master of his chosen art form, possessed of a distinct personal style and character.
Visitors are encouraged to explore the artist’s motivations and artistic goals – in spite of the legend which paints him as an impulsive, free spirited personality, Van Gogh saw his craft as a learning process. Each of the artist’s works was carefully considered in order to improve his overall abilities by drawing on a particular technique or style which he sought to master.
[quote align=”center” color=”#b64736″]Van Gogh was caught up in a wider craze for all things Japanese prevalent in Europe at the time[/quote]
One such influence which becomes clear during the period of time traced in the exhibition is that of Japanese art. Claiming in a letter of 1888, that ‘all my work is based to some extent on Japanese art’, Van Gogh was caught up in a wider craze for all things Japanese prevalent in Europe at the time.
Termed ‘Japonism’ by French author Jules Claretie in his book L’Art Francais en 1872, this wave of imitation and assimilation of Japanese techniques was sparked by the exposure of European artists to traditional Japanese forms following the Meiji restoration, which saw Japan open up to the world after centuries of relative isolation. With fans, porcelain, and silk screens flooding into Europe in vast numbers, it would be the ukiyo-e, or wood block prints, which would have the most pronounced and lasting impact on Van Gogh’s style.
Having been introduced to the form while living in Paris in 1886, Van Gogh initially expressed his interest by making copies of key works including Hiroshige’s ‘Bridge in the Rain’, and by becoming as avid collector of the prints, but soon began including elements of the style into his own original work. The approach to perspective and colour in works such as The harvest and The Langlois bridge demonstrate a clear influence, as do the strong outlines, cropped composition, and use of black contours present in much of his later work.
In developing his distinctive and world famous style, it is fascinating to see the clear influence of traditional Japanese forms on the work of this undeniable master of his craft.
The exhibition is on display at the Hermitage Amsterdam until 25th April 2013.
By Sam Jones
