{"id":1824,"date":"2015-04-27T20:44:51","date_gmt":"2015-04-27T18:44:51","guid":{"rendered":"http:\/\/artblobs.com\/?p=1824"},"modified":"2023-07-05T02:20:49","modified_gmt":"2023-07-05T00:20:49","slug":"vincent-van-gogh-cio-che-e-il-colore-in-un-quadro-e-nella-vita-lentusiasmo","status":"publish","type":"post","link":"https:\/\/artblobs.com\/en\/2015\/04\/vincent-van-gogh-what-colour-is-in-a-picture-enthusiasm-is-in-life\/","title":{"rendered":"Vincent Van Gogh – “What colour is in a picture, enthusiasm is in life”"},"content":{"rendered":"
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\u201cWell, what can I say, what one has inside shines on the outside\u2026 One has a big fire in his heart, and no one ever comes close to warm up, and passersby only see a little smoke on top of the chimney, and then they leave, continuing on their way\u201d\u2026<\/em> (Vincent Van Gogh to his brother Theo, Letter 133, July 1880). This is one of the many letters that the artist wrote to his brother Theo, who, besides being the financier of his artworks, was confident that the letters would become a literary work in its own right on the artist\u2019s meaning besides his canvases.
\nBehind this constant correspondence lies the tremendous need that Van Gogh had to be understood, at least once, by another soul. Through his words the first paradox is revealed: the artist, who transmits energy and vitality through his paintings, instead shows to be living in complete solitude.
\nVincent will directly experience the lack of understanding of the world while engaging in activities such as being art dealer at Goupil, the profession to which the family is devoted since a long time, and for which the artist does not feel any interest.
\nTherefore Vincent decides to go to Brussels to become a lay preacher, after being sent to study theology in Amsterdam. He reaches the mining region of Borinage in order to proselyte the people, living in contact with the humble miners of the area. The love he feels towards others is total; it is offset by the solidarity of the miners and by the demonstration of being accepted.
\nHis temperament is marked by alternating waves of enthusiasm that consist of intense religious fervor, striving for love and redemption of the humble, but also towards art. The fact of having become a preacher, which is also a family profession, unfortunately doesn\u2019t give him rest. The family considers him an outsider, an outcast. For this reason, as a kind of rebellion against them, Vincent will sign his works with his name only, finally moving away from his origins. Following these experiences, Vincent realizes that his greatest ambition is to restore dignity to those involved into the mechanisms of industry, and are disheartened by their own anonymity, through painting. He will develop a type of art for the underprivileged which he conceives as an expression of solidarity committed to democracy. His empathy for the weak is not expressed in words but documented by his works. \u201cOne should try, at least once, to immerse him\/herselves in the lives of the most miserable… Only then one will be able to understand people\u201d<\/em>. Humble people simply serve as a prototype for a different society in which the artist puts faith in. He figures out his love for art when he is thirty years old and decides to devote his life to it. It is possible to recognize a sort of mysticism running through his paintings, which is also his credo: \u201cThings are not as they appear: God teaches us, through everyday life, higher things. Things are not what they seem, but hint at something hidden, deeper\u201d.<\/em>
\nHis ongoing thirst for research and his striving for infinity was something necessary, a form of survival. Art is intended as a mission, a divine service, the same way for which there is beauty in the human heart. From this conception of art, masterpieces are born: the dark tones of \u201cThe Potato Eaters\u201d<\/em> and their rough peasants faces, embodied by the vibrant ruddiness similar to the one of “a dirty potato full of dirt and unpeeled\u201d<\/em>, makes it an artwork of deep moral content.
\n\u201cI tried to emphasize that these people eating potatoes by the light of the lamp dug the earth with the same hands that now stretch into the pot, so I wanted to speak about manual labor and how these workers have honestly earned this food. I think it is wrong to give a smooth and conventional outer layer to a canvas that represents farmers. If a painting of farmers gives the impression of bacon, smoke and vapors that rise from the hot potatoes, it means it is successful. A painting does not have to be scented\u201d.<\/em> Soon he understood that his concept of art wasn\u2019t accepted from society. Inevitably he will become an outsider, even in this field. During his stay in Paris the artist’s attention is now focused to colour. \u201cThe color in a picture is enthusiasm in life! \u201d<\/em>, Vincent will say to his brother Theo.<\/p>\n

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