LaurieAnnie's photos with the keyword: Dutch

Sunflowers Vincent Willem van Gogh, Dutch, 1853 - 1890 Geography: Made in France, Europe Date: 1888 or 1889 Medium: Oil on canvas Dimensions: 36 3/8 x 28 inches (92.4 x 71.1 cm) Curatorial Department: European Painting Object Location: Gallery 161, European Art 1850-1900, first floor (Resnick Rotunda) Accession Number: 1963-116-19 Credit Line: The Mr. and Mrs. Carroll S. Tyson, Jr., Collection, 1963 Philadelphia Museum of Art: Handbook of the Collections While he waited for Paul Gauguin to join him in the Provençal city of Arles in 1888, Vincent van Gogh painted five audaciously decorative still lifes of sunflowers in simple earthenware jugs. At least two of these canvases decorated Gauguin's bedroom when he reached the city late in October, and the French painter came to admire them greatly. Always defensive about the tragic outcome of his stay--it ended with Van Gogh's self-mutilation and madness--Gauguin later claimed that the sunflower paintings directly reflected his own good advice, generously offered in Arles, that his Dutch friend avoid monotony by adding "bugle notes" of brilliant color to his paintings. Whether the Philadelphia Sunflowers precedes Gauguin's visit or is one of two replicas Van Gogh painted the following year, it is an explosion of brilliant color and agitated outlines the twelve flowers as full of angular energy and as vital and vivid in personality as the artist who painted them. Christopher Riopelle, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 207. Text from: www.philamuseum.org/collections/permanent/59202.html

Sunflowers Vincent Willem van Gogh, Dutch, 1853 - 1890 Geography: Made in France, Europe Date: 1888 or 1889 Medium: Oil on canvas Dimensions: 36 3/8 x 28 inches (92.4 x 71.1 cm) Curatorial Department: European Painting Object Location: Gallery 161, European Art 1850-1900, first floor (Resnick Rotunda) Accession Number: 1963-116-19 Credit Line: The Mr. and Mrs. Carroll S. Tyson, Jr., Collection, 1963 Philadelphia Museum of Art: Handbook of the Collections While he waited for Paul Gauguin to join him in the Provençal city of Arles in 1888, Vincent van Gogh painted five audaciously decorative still lifes of sunflowers in simple earthenware jugs. At least two of these canvases decorated Gauguin's bedroom when he reached the city late in October, and the French painter came to admire them greatly. Always defensive about the tragic outcome of his stay--it ended with Van Gogh's self-mutilation and madness--Gauguin later claimed that the sunflower paintings directly reflected his own good advice, generously offered in Arles, that his Dutch friend avoid monotony by adding "bugle notes" of brilliant color to his paintings. Whether the Philadelphia Sunflowers precedes Gauguin's visit or is one of two replicas Van Gogh painted the following year, it is an explosion of brilliant color and agitated outlines the twelve flowers as full of angular energy and as vital and vivid in personality as the artist who painted them. Christopher Riopelle, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 207. Text from: www.philamuseum.org/collections/permanent/59202.html

Portrait of Camille Roulin Vincent Willem van Gogh, Dutch, 1853 - 1890 Geography: Made in France, Europe Date: 1888 or 1889 Medium: Oil on canvas Dimensions: 17 x 13 3/4 inches (43.2 x 34.9 cm) Curatorial Department: European Painting Object Location: Gallery 165, European Art 1850-1900, first floor (Eglin Gallery) Accession Number: 1973-129-1 Credit Line: Gift of Mr. and Mrs. Rodolphe Meyer de Schauensee, 1973 Text from: www.philamuseum.org/collections/permanent/68775.html

Rain La Pluie Vincent Willem van Gogh, Dutch, 1853 - 1890 Geography: Made in France, Europe Date: 1889 Medium: Oil on canvas Dimensions: 28 7/8 x 36 3/8 inches (73.3 x 92.4 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 157, European Art 1850-1900, first floor Accession Number: 1986-26-36 Credit Line: The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986 Additional information: Publication- Philadelphia Museum of Art: Handbook of the Collections Vincent van Gogh voluntarily entered the clinic of Saint-Paul-de-Mausolée in southern France on May 8, 1889. The sanatorium sits just over the mountains from Arles, where Vincent had spent the previous winter producing some of his more energetic and moving canvases. It was also where he had suffered his most severe mental breakdowns, which eventually prompted his hospitalization. From his workroom at the clinic Van Gogh looked down on an enclosed field of wheat. During his eleven-month stay he drew or painted this view some twelve times. This picture of the wheat field during a rainstorm is the only work of its kind he did in the South, and while the idea of representing rainfall by diagonal slashes of paint clearly relates to Van Gogh's interest in Japanese prints, the final effect is completely personal and well beyond any borrowed source. There is truly nothing quite like it in his considerable output--truly nothing so gently and objectively observed, nothing so completely revealing his own state of mind. Joseph J. Rishel, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 203. Provenance: Johanna van Gogh-Bonger, Amsterdam (widow of Theo van Gogh); sold to Hugo von Tschudi (1851-1911), Berlin, April 1903 [1]; by inheritance to his widow Angela von Tschudi, Munich, who placed it on extended loan to the Neue Pinakothek, Munich; sold to Paul Rosenberg & Co., Paris and New York, 1928, until 1949 [2]; sold to Henry P. McIlhenny, Philadelphia, May 19, 1949 [3]; bequest to PMA, 1986. 1. Purchased by Tschudi from the Munich Secession exhibition in 1903 (note in curatorial file). 2. See letter from Walter Feilchenfeldt to Peter C. Sutton dated September 11, 1989 (copy in curatorial file). The painting was exhibited almost every year between 1935-1948, including the traveling Belgrade, Buenos Aires, San Francisco, and Chicago exhibition between 1939-1941. 3. The receipt dated February 24, 1950 from Rosenberg to McIlhenny (copy in curatorial file), notes the first payment on May 19, 1949 and payment in full on February 24, 1950. Text from: www.philamuseum.org/collections/permanent/82820.html?mulR=796444741|10

Portrait of Madame Augustine Roulin and Baby Marcelle Vincent Willem van Gogh, Dutch, 1853 - 1890 Geography: Made in Arles, France, Europe Date: 1888 or 1889 Medium: Oil on canvas Dimensions: 36 3/8 x 28 15/16 inches (92.4 x 73.5 cm) Framed: 49 1/2 x 42 x 5 1/2 inches (125.7 x 106.7 x 14 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 165, European Art 1850-1900, first floor (Eglin Gallery) Accession Number: 1950-92-22 Credit Line: Bequest of Lisa Norris Elkins, 1950 Label: While living in Arles, France, Vincent van Gogh created portraits of the family of his friend Joseph Roulin, a local postmaster, including this painting of Roulin’s wife and infant daughter. A portrait of the family’s son, Camille, is also owned by the Museum. Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art In early December 1888, Vincent van Gogh wrote to his brother Theo from Arles where he was staying: "I have made portraits of a whole family, that of the postman whose head I had done previously, the man, his wife, the baby, the little boy, and the son of sixteen, all characters and very French."1 Not content with his initial portraits of the family, van Gogh continued to paint them, producing several pictures of Madame Roulin, the postman's wife. In two of them, including this one, she holds the couple's daughter, Marcelle, born in July 1888. With a relaxed pose and her face in shadow, Madame Roulin is a passive figure, while the baby, whose chubby face looks outward to engage us directly, is the more active and central subject. Van Gogh's work with color is one of the most dramatic aspects of the series; each family member is distinguished by bold primary colors in their clothing and contrasting backgrounds that correspond to different points on a color wheel. Here, the figures are painted in shades of green and white with blue outlines and a yellow ground. The use of these three colors, adjacent on the color wheel, underlines the closeness of mother and child. Jennifer A. Thompson, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 90. Note: 1) Quoted in Van Gogh Face to Face: The Portraits (Detroit, Mich.: The Detroit Institute of Arts, 2000), pp. 164 and 165-41. Provenance: Émile Bernard (1868-1941), Paris; with Ambroise Vollard, Paris; Amédeé Schuffenecker (1854–1936), Clamart, 1908; Fritz Meyer-Fierz, Zürich, by 1924; sale, Meyer-Fierz, Frederich Muller and Company, Amsterdam, July 13, 1926, no. 10. With Galerien Thannhauser, Munich and Lucerne (later Berlin and Paris), by 1927 to c. 1939 [1]; with Alex Reid & Lefèvre, London, joint ownership with Knoedler & Co., New York, by 1939 and still in 1946 [2]. William M. Elkins (1882-1947), Philadelphia, probably purchased from Knoedler, by May 1947 [3]; his wife Elizabeth "Lisa" C. Norris Elkins (1898-1950), Philadelphia; bequest to PMA, 1950. 1. Exhibited at Thannhauser Galleries, Berlin, "Erste Sonderausstellung in Berlin," January 9-February 1927. Published in de la Faille, 1928 (no. 490) as Thannhauser Gallery, Munich. The Thannhausers closed their original Munich gallery in 1928; they closed the Berlin branch in 1937 and moved to Paris. 2. De la Faille, Vincent van Gogh, 1939, no. 520, lists the current owner as Reid & Lefevre Gallery, London on p. 369, although the painting is still listed under Thannhauser Gallery, Paris, in the "Index of Collections" (p. 559). According to Lefevre Fine Art (letter dated 26 February 2004, in curatorial file), the painting was owned jointly with Knoedler and sold by Knoedler. Knoedler lent the painting to exhibitions in the US and Canada in 1940, 1941, 1943, 1944, and 1946. 3. Elkins lent the painting to the exhibition, "Masterpieces of Philadelphia Private Collections," May 30-Sept. 14, 1947. Text from: www.philamuseum.org/collections/permanent/52064.html?mulR=736574906|1

Portrait of Madame Augustine Roulin and Baby Marcelle Vincent Willem van Gogh, Dutch, 1853 - 1890 Geography: Made in Arles, France, Europe Date: 1888 or 1889 Medium: Oil on canvas Dimensions: 36 3/8 x 28 15/16 inches (92.4 x 73.5 cm) Framed: 49 1/2 x 42 x 5 1/2 inches (125.7 x 106.7 x 14 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 165, European Art 1850-1900, first floor (Eglin Gallery) Accession Number: 1950-92-22 Credit Line: Bequest of Lisa Norris Elkins, 1950 Label: While living in Arles, France, Vincent van Gogh created portraits of the family of his friend Joseph Roulin, a local postmaster, including this painting of Roulin’s wife and infant daughter. A portrait of the family’s son, Camille, is also owned by the Museum. Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art In early December 1888, Vincent van Gogh wrote to his brother Theo from Arles where he was staying: "I have made portraits of a whole family, that of the postman whose head I had done previously, the man, his wife, the baby, the little boy, and the son of sixteen, all characters and very French."1 Not content with his initial portraits of the family, van Gogh continued to paint them, producing several pictures of Madame Roulin, the postman's wife. In two of them, including this one, she holds the couple's daughter, Marcelle, born in July 1888. With a relaxed pose and her face in shadow, Madame Roulin is a passive figure, while the baby, whose chubby face looks outward to engage us directly, is the more active and central subject. Van Gogh's work with color is one of the most dramatic aspects of the series; each family member is distinguished by bold primary colors in their clothing and contrasting backgrounds that correspond to different points on a color wheel. Here, the figures are painted in shades of green and white with blue outlines and a yellow ground. The use of these three colors, adjacent on the color wheel, underlines the closeness of mother and child. Jennifer A. Thompson, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 90. Note: 1) Quoted in Van Gogh Face to Face: The Portraits (Detroit, Mich.: The Detroit Institute of Arts, 2000), pp. 164 and 165-41. Provenance: Émile Bernard (1868-1941), Paris; with Ambroise Vollard, Paris; Amédeé Schuffenecker (1854–1936), Clamart, 1908; Fritz Meyer-Fierz, Zürich, by 1924; sale, Meyer-Fierz, Frederich Muller and Company, Amsterdam, July 13, 1926, no. 10. With Galerien Thannhauser, Munich and Lucerne (later Berlin and Paris), by 1927 to c. 1939 [1]; with Alex Reid & Lefèvre, London, joint ownership with Knoedler & Co., New York, by 1939 and still in 1946 [2]. William M. Elkins (1882-1947), Philadelphia, probably purchased from Knoedler, by May 1947 [3]; his wife Elizabeth "Lisa" C. Norris Elkins (1898-1950), Philadelphia; bequest to PMA, 1950. 1. Exhibited at Thannhauser Galleries, Berlin, "Erste Sonderausstellung in Berlin," January 9-February 1927. Published in de la Faille, 1928 (no. 490) as Thannhauser Gallery, Munich. The Thannhausers closed their original Munich gallery in 1928; they closed the Berlin branch in 1937 and moved to Paris. 2. De la Faille, Vincent van Gogh, 1939, no. 520, lists the current owner as Reid & Lefevre Gallery, London on p. 369, although the painting is still listed under Thannhauser Gallery, Paris, in the "Index of Collections" (p. 559). According to Lefevre Fine Art (letter dated 26 February 2004, in curatorial file), the painting was owned jointly with Knoedler and sold by Knoedler. Knoedler lent the painting to exhibitions in the US and Canada in 1940, 1941, 1943, 1944, and 1946. 3. Elkins lent the painting to the exhibition, "Masterpieces of Philadelphia Private Collections," May 30-Sept. 14, 1947. Text from: www.philamuseum.org/collections/permanent/52064.html?mulR=736574906|1

Portrait of Madame Augustine Roulin and Baby Marcelle Vincent Willem van Gogh, Dutch, 1853 - 1890 Geography: Made in Arles, France, Europe Date: 1888 or 1889 Medium: Oil on canvas Dimensions: 36 3/8 x 28 15/16 inches (92.4 x 73.5 cm) Framed: 49 1/2 x 42 x 5 1/2 inches (125.7 x 106.7 x 14 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 165, European Art 1850-1900, first floor (Eglin Gallery) Accession Number: 1950-92-22 Credit Line: Bequest of Lisa Norris Elkins, 1950 Label: While living in Arles, France, Vincent van Gogh created portraits of the family of his friend Joseph Roulin, a local postmaster, including this painting of Roulin’s wife and infant daughter. A portrait of the family’s son, Camille, is also owned by the Museum. Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art In early December 1888, Vincent van Gogh wrote to his brother Theo from Arles where he was staying: "I have made portraits of a whole family, that of the postman whose head I had done previously, the man, his wife, the baby, the little boy, and the son of sixteen, all characters and very French."1 Not content with his initial portraits of the family, van Gogh continued to paint them, producing several pictures of Madame Roulin, the postman's wife. In two of them, including this one, she holds the couple's daughter, Marcelle, born in July 1888. With a relaxed pose and her face in shadow, Madame Roulin is a passive figure, while the baby, whose chubby face looks outward to engage us directly, is the more active and central subject. Van Gogh's work with color is one of the most dramatic aspects of the series; each family member is distinguished by bold primary colors in their clothing and contrasting backgrounds that correspond to different points on a color wheel. Here, the figures are painted in shades of green and white with blue outlines and a yellow ground. The use of these three colors, adjacent on the color wheel, underlines the closeness of mother and child. Jennifer A. Thompson, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 90. Note: 1) Quoted in Van Gogh Face to Face: The Portraits (Detroit, Mich.: The Detroit Institute of Arts, 2000), pp. 164 and 165-41. Provenance: Émile Bernard (1868-1941), Paris; with Ambroise Vollard, Paris; Amédeé Schuffenecker (1854–1936), Clamart, 1908; Fritz Meyer-Fierz, Zürich, by 1924; sale, Meyer-Fierz, Frederich Muller and Company, Amsterdam, July 13, 1926, no. 10. With Galerien Thannhauser, Munich and Lucerne (later Berlin and Paris), by 1927 to c. 1939 [1]; with Alex Reid & Lefèvre, London, joint ownership with Knoedler & Co., New York, by 1939 and still in 1946 [2]. William M. Elkins (1882-1947), Philadelphia, probably purchased from Knoedler, by May 1947 [3]; his wife Elizabeth "Lisa" C. Norris Elkins (1898-1950), Philadelphia; bequest to PMA, 1950. 1. Exhibited at Thannhauser Galleries, Berlin, "Erste Sonderausstellung in Berlin," January 9-February 1927. Published in de la Faille, 1928 (no. 490) as Thannhauser Gallery, Munich. The Thannhausers closed their original Munich gallery in 1928; they closed the Berlin branch in 1937 and moved to Paris. 2. De la Faille, Vincent van Gogh, 1939, no. 520, lists the current owner as Reid & Lefevre Gallery, London on p. 369, although the painting is still listed under Thannhauser Gallery, Paris, in the "Index of Collections" (p. 559). According to Lefevre Fine Art (letter dated 26 February 2004, in curatorial file), the painting was owned jointly with Knoedler and sold by Knoedler. Knoedler lent the painting to exhibitions in the US and Canada in 1940, 1941, 1943, 1944, and 1946. 3. Elkins lent the painting to the exhibition, "Masterpieces of Philadelphia Private Collections," May 30-Sept. 14, 1947. Text from: www.philamuseum.org/collections/permanent/52064.html?mulR=736574906|1

Houses at Auvers 1890 Vincent van Gogh, Dutch (worked in France), 1853–1890 Dutch Dimensions: 75.6 x 61.9 cm (29 3/4 x 24 3/8 in.) Accession Number: 48.549 Medium or Technique: Oil on canvas In May 1890, van Gogh moved from the south of France to Auvers, northwest of Paris, painting many of his finest pictures there in a feverish spurt of activity before his suicide in July. Houses at Auvers shows the landscape of early summer. The view from above creates a flattened tapestry of shapes in which the tiled and thatched roofs of the houses form a mesmerizing patchwork of color. Provenance: By 1905, Johanna van Gogh-Bonger (b. 1862 - d. 1925), Amsterdam; 1908, sold by Van Gogh-Bonger to the Moderne Kunsthandlung Franz Joseph Brakl, Munich. Probably Galerie Thannhauser, Munich. Voss collection, Berlin. 1926, Wildenstein and Co., New York; October 18, 1926, sold by Wildenstein to John Taylor Spaulding (b. 1870 - d. 1948), Boston; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) Credit Line: Bequest of John T. Spaulding Text from: www.mfa.org/collections/object/houses-at-auvers-33278

Houses at Auvers 1890 Vincent van Gogh, Dutch (worked in France), 1853–1890 Dutch Dimensions: 75.6 x 61.9 cm (29 3/4 x 24 3/8 in.) Accession Number: 48.549 Medium or Technique: Oil on canvas In May 1890, van Gogh moved from the south of France to Auvers, northwest of Paris, painting many of his finest pictures there in a feverish spurt of activity before his suicide in July. Houses at Auvers shows the landscape of early summer. The view from above creates a flattened tapestry of shapes in which the tiled and thatched roofs of the houses form a mesmerizing patchwork of color. Provenance: By 1905, Johanna van Gogh-Bonger (b. 1862 - d. 1925), Amsterdam; 1908, sold by Van Gogh-Bonger to the Moderne Kunsthandlung Franz Joseph Brakl, Munich. Probably Galerie Thannhauser, Munich. Voss collection, Berlin. 1926, Wildenstein and Co., New York; October 18, 1926, sold by Wildenstein to John Taylor Spaulding (b. 1870 - d. 1948), Boston; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) Credit Line: Bequest of John T. Spaulding Text from: www.mfa.org/collections/object/houses-at-auvers-33278

Kees van Dongen Dutch, 1877-1968 Maria Accession # 1975.1.230 From the Robert Lehman Collection. Text from the Metropolitan Museum of Art label.

L'Arlésienne: Madame Joseph-Michel Ginoux (née Marie Julien, 1848–1911), 1888–89 Vincent van Gogh (Dutch, 1853–1890) Oil on canvas 36 x 29 in. (91.4 x 73.7 cm) Bequest of Sam A. Lewisohn, 1951 (51.112.3) Marie Ginoux was the proprietress of the Café de la Gare, where Van Gogh lived in Arles between May and September 1888, before he moved into the nearby Yellow House. In early November, wearing the regional costume of the legendary dark-haired beauties of Arles, she posed for both Van Gogh and Paul Gauguin. Van Gogh was thrilled to "have an Arlésienne at last" and quickly "slashed on in an hour" his first, more summarily executed version of this portrait (Musée d'Orsay, Paris), using the thick jute canvas that Gauguin had brought with him to Arles. Later, Van Gogh enhanced that image by adorning the tabletop with two accessories befitting an Arlésienne: a parasol and gloves. Those finishing touches were probably added in December 1888 or January 1889, when he revisited the composition to use it as the prototype for the Museum's painting. Relying on more saturated and richly applied colors to add substance to the character of his sitter, and showing her seated at a table with books, Van Gogh made this more compelling portrait of his friend—which he gave to her. Text from: www.metmuseum.org/toah/hd/poim/ho_51.112.3.htm

Artist: Vincent van Gogh (Dutch, 1853–1890) Title: Roses Date: 1890 Medium: Oil on canvas Dimensions: 36 5/8 x 29 1/8 in. (93 x 74 cm) Classification: Paintings Credit Line: The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1993, Bequest of Walter H. Annenberg, 2002 Accession Number: 1993.400.5 Gallery Label: In May 1890, just before his departure from the asylum in Saint-Rémy, Van Gogh painted an exceptional group of four still lifes, to which both the Museum's "Roses" and "Irises" (58.187) belong. Striking in their facility of execution and elegant simplicity of design, these bouquets and their counterparts—an upright composition of irises (Van Gogh Museum, Amsterdam) and a horizontal composition of roses (National Gallery of Art, Washington, D.C.)—were conceived as a decorative ensemble, like the suite of sunflowers he had made earlier in Arles. Traces of pink along the tabletop and rose petals in the present painting, which have faded over time, offer a faint reminder of the formerly vivid "canvas of pink roses against a yellow green background in a green vase." Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Olive Orchard, 1889 Vincent van Gogh (Dutch, 1853–1890) Oil on canvas 28 5/8 x 36 1/4 in. (72.7 x 92.1 cm) The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1998, Bequest of Walter H. Annenberg, 2002 (1998.325.1) Upon van Gogh's arrival at the asylum of Saint-Rémy in spring 1889, the olive trees that grew in cultivated groves near the walls of the sanitarium took on great significance for him. Text from: www.metmuseum.org/toah/works-of-art/1998.325.1