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Beethoven and Van Gogh, 2008.
A comparative analysis of the psychology behind the works of Ludwig Van Beethoven and Vincent Van Gogh.
936 words (approx. 3.7 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper examines various psychological factors within the behaviors and biographies of Ludwig Van Beethoven and Vincent Van Gogh. The psychological concept of "nature versus nurture" is examined to reveal the innate and behavioral aspects of Beethoven and Van Gogh's creative genius in music and art. It looks at how, although both artists often conveyed innate "natural" abilities, both artists were often supported through societal influences that provided them with the tools to create masterworks in their fields. In essence, the psychological aspects of "nature versus nurture" are analyzed, revealing the behavioral influences that nurtured the creative genius of Beethoven and Van Gogh.
From the Paper
"The life of Ludwig Van Beethoven is one that is wrought with a father's obsession to control his son's musical talents. When Beethoven was young, he was often forced by his father to practice the study of music and instrumentation. The psychological ramifications of nature versus nurture are very much a conflicting issue in Beethoven's early musical development. Although there is now way to gauge the innate talent of Beethoven, he certainly appears to be "naturally gifted" in the mind of his father."
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Van Gogh, 1994.
States that works of Van Gogh have received much critical acclaim, but little to none during his life. Discusses Van Gogh's troubled life, & provides a detailed analysis of 4 works: POTATO EATERS; FOUR SUNFLOWERS; NIGHT; & IRISES.
2,700 words (approx. 10.8 pages), 7 sources, $ 95.95
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From the Paper
" INTRODUCTION
The Dutch artist Vincent van Gogh was one of the best-known of the Post-Impressionists, in the company of C?zanne and Gauguin. Van Gogh's life has been repeated again and again as an example of the tortured artist who could turn out a huge number of beautiful works while in the throes of mental illness and torment. Yet, Van Gogh also highly unsuccessful during his lifetime as far as achieving any renown or selling any of his works was concerned; since his time, however, his works have been much prized and have inflated in value to proportions far beyond what he could ever have dreamed for them. Van Gogh produced some 800 paintings and a similar number of drawings, but he lived in poverty his entire artistic life. His works are marked by daring and startling colors and textures and by the vivid nature of his imagery. An.."
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Vincent Van Gogh, 2006.
This paper examines the life and artistic accomplishments of Vincent Van Gogh, as well as his introduction of the expressionist style of painting.
1,297 words (approx. 5.2 pages), 9 sources, APA, $ 43.95
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Abstract
The writer of this paper explores the life and artistic motivations of Vincent Van Gogh. Van Gogh moved to Paris in 1886 where he was exposed to the works of great artists such as Monet, Renoir Degas and Signac, which resulted in a dramatic shift to his usual style of painting. Van Gogh's subject matter had also changed, from dark, rugged peasants to more serene subjects. The artist created a new style of painting called expressionism, which symbolized the artists' inner feelings about the subjects he was painting. This paper discusses Van Gogh's various works of art which clearly show the inner turmoil the artist suffered during his lifetime.
From the Paper
"Near the end of his stay at Saint-Remy, Van Gogh's use of colors became more subdued. In "Wheat Field with a Reaper", Van Gogh used the reaper to symbolize death, as a figure toiling in the noontime heat, to hurry and get his tiresome chore finished. Van Gogh did not see death as a sad thing, in this painting he used a pure gold color to flood the work with light. Van Gogh left Saint-Remy in 1890 and spent the last two months of his life in Auvers-sur-Oise, a small picturesque village about twenty miles north of Paris. As his mental health worsened, Van Gogh suffered more severe bouts of depression, sometimes exploding in anger. After these episodes, he would go out into the fields and talk to himself."
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Vincent Van Gogh, 2005.
An analysis of the Japanese influence on the paintings of Vincent Van Gogh.
1,350 words (approx. 5.4 pages), 5 sources, $ 53.95
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Abstract
This paper analyzes paintings by Vincent Van Gogh. Particularly, the paper analyzes the Japanese influence on his paintings in relation to his painting technique and style. The paper discusses the influence that Hiroshige had on Van Gogh and how Van Gogh learnt to mimic his style from woodblock prints.
From the Paper
"Art Studies: The Japanese Influence on the Paintings of Vincent Van Gogh In this art study, the paintings of Vincent Van Gogh will be analyzed in relation to his painting technique and style. In understanding the various influences of Ukiyo-e Japanese prints within his painting Van Gogh had learned to use Hiroshige's style from various woodblock prints that he had come to know through Bing's "Japonisme" shop in Paris, France. By learning to mimic other artist's works, Van Gogh was able to understand how color worked on the canvas, and how he would have it applied in conjunction with his western pointillism approach to painting. In fact, it was Van Gogh attention to copying this Japanese master where the infusion of bold colors is brought to life."
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Munch and Van Gogh, 2002.
Compares the personal and religious views of death in the "Sick Room" by Edvard Munch and "The Sower" by Vincent van Gogh.
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
To the unaware and the obtuse, Edvard Munch and Vincent van Gogh simply made paintings. Much like a hot political speech or a fiery church sermon, there is evidence of passion for much more than what is simply on the surface of each artist's works. What becomes clear in looking deeply into not only the works themselves, but the mindset of each painter and the issues of import during the time in which they worked, is that Van Gogh, Munch, and artists like them could not contain their fears about the world and about their mortality in check and used their painting as self-therapy. What we see are not images that were intended for universal appeal; they are deeply personal works that demonstrate elements at the core of each man. Van Gogh's "The Sower", for instance, is a metaphor of not only the questioning of Christ in the Gospel of Mark (through the story of the Sower), but of the internal metaphor of sowing one's own life. Munch's "Death in the Sick Room" also demonstrates a religious parable and a personal one, that of his family surrounding his dying sister, Sofie, and of the crucifixion of Christ and the mourners of different shades who surrounded him. It is the purpose of this paper to examine the elements of personal and theological perspective employed in these two works and to explore their greater application and generalization to the viewer.
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Vincent Van Gogh, 2006.
A biography of the life of Vincent Van Gogh.
2,314 words (approx. 9.3 pages), 4 sources, MLA, $ 71.95
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Abstract
This paper looks at the life and works of the artist Vincent Van Gogh who was born in 1853 in Holland and died in 1891. It looks at how Vincent Van Gogh was an extraordinary man who led a cursed life and how he constantly struggled with depression. The paper also ponders whether Van Gogh would have made many more masterpieces if he had not been sick or whether it was his mental illness that helped him to create the masterpieces he did.
From the Paper
"In 1880 Vincent decided he could still be used by God as an artist rather than a clergyman. He wrote: "To try to understand the real significance of what the great artists, the serious masters, tell us in their masterpieces, that leads to God; one man wrote or told it in a book; another, in a picture." He moved to Brussels and considered enrolling at the art academy, but rather chose to study independently. Sometimes he studied with Dutch artist Anthon van Rappard. While Vincent was not earning any money, his brother, Theo, (who was working at Goupil's Paris branch where Vincent was previously employed) sent him money. His brother continued to send him money until Vincent's death.5 "
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Vincent Van Gogh, 2000.
A look at the works and world of Vincent Van Gogh.
3,665 words (approx. 14.7 pages), 11 sources, $ 101.95
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Abstract
This paper takes a look at the life and work of Van Gogh. The paper concentrates on Van Gogh's prodigious output in a short time, how his mental stability affected his art, and his relationship with friends such as Gauguin.
From the Paper
Vincent van Gogh is generally considered one of the greatest painters in the history of art. In spite of his abridged life span, his creativity and productivity cranked out a total of more than 800 paintings and an equal number of drawings. A simple mathematical calculation revealed a stunning number: (on average) one painting AND one drawing every single week. However, overshadowed by his mental problems, some people, now or then, tend to conclude this enormous production as mere brash and outbursting works lacking of delicacy and accuracy.
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Van Gogh and Gauguin, 2003.
An overview of the Arles period, the influence of Van Gogh and Gauguin on each other and the place of biography in their art.
2,409 words (approx. 9.6 pages), 5 sources, MLA, $ 73.95
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Abstract
This paper discusses how, when the artist Vincent Van Gogh requested self-portraits from his artist friends in Paris, Gauguin sent his with the inscription 'Les Miserables', identifying himself and the artist in general with Victor Hugo's character Jean Valjean. It explores the theme of the artist as outsider through the work and interaction of Van Gogh and Gauguin, focusing on the period they spent together in Arles at the 'Yellow House'.
Outline
Self-Fashioning: The Idea of the Artist
Les Miserables
Theory and Practice
From the Paper
"In the aftermath of his breakdown, Vincent wrote to Gauguin, ?Ah_ My dear friend painting is to us what the music of Berlioz and Wagner was before us?a consolatory art for sore hearts_ And yet there are only a few like you and me who feel it?. Gauguin went into the ?Studio of the South? with similar sentiments. He responded to Vincent?s request for self-portraits from his artist friends with Les Miserables, associating his plight with that of Hugo?s Jean Valjean?the fugitive/outcast. But the title is suggestive beyond its literary allusion. Van Gogh went through life swinging from optimism to despair, and Gauguin was certainly mis?rable for a good portion of his days: ?my brother understands you, and when he tells me you?re another unhappy wretch like me that proves he understands us? ."
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Van Gogh, 2005.
An examination of the influence of Japanese art on Van Gogh's personal works.
1,840 words (approx. 7.4 pages), 7 sources, MLA, $ 63.95
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Abstract
This paper examines the Japanese influence on the art of Vincent van Gogh. It discusses the elements of Japanese art which attracted him and why. The author explores specific works produced by van Gogh that illustrate the Japanese influence.
From the Paper
"Dutch artist, Vincent van Gogh, produced his world-renowned art in just a ten-year period. His influence on the century's art is considerable but the formative influences on his own art are also greatly significant in terms of his development as an artist, Van Gogh ..."
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Manet and Vincent Van Gogh, 2006.
A review and comparison of the use of color in the work of Manet and Van Gogh.
1,575 words (approx. 6.3 pages), 5 sources, $ 62.95
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Abstract
This paper discusses how the painting Portrait of a Peasant (1888) by Vincent Van Gogh offers some interesting color schemes to forge a brighter view of the peasant, as he appears in a bust perspective in this work. The usage of dark blues and purples accentuates the background, as the lighter blues create the jacket the man is wearing. Standing out in this painting, is the very bright yellow hat, which Van Gogh places on the man's head. The paper then goes on to discuss the work of Manet, drawing a comparison between the work of the two artists.
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Van Gogh and Absinthe, 2002.
This paper explores the ways in which Vincent Van Gogh's use of absinthe may have influenced his art.
2,194 words (approx. 8.8 pages), 8 sources, APA, $ 68.95
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Abstract
This paper discusses the argument that the use of absinthe influenced the paintings of Vincent Van Gogh. The paper develops this argument by first examining the history and known pharmacological effects of absinthe use, then cites historical evidence for Van Gogh's own absinthe abuse. The paper then details the specific works of art that may show signs of the artist's working under the influence of this powerful drug.
From the Paper
"Few artists in history have been as professionally brilliant or as personally troubled as Vincent van Gogh (1853-1890). Generations of scholars, historians, and scientists have studied van Gogh?s life and his work, formulating myriad hypotheses about the relationship between his private struggles and his art. Among the most intriguing of these is the suggestion that van Gogh?s use or abuse of absinthe played a role in the execution of his painting. While the evidence is far from conclusive, absinthe?s negative effects on the mind and body are reasonably well understood, and van Gogh was a known absinthe drinker. Given these facts, it is a small leap to suppose that absinthe may have influenced some of the great artist?s work."
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Van Gogh and Tissot, 2001.
The comparison of the styles of two paintings - Vincent Van Gogh's "Woman with a Spade as Seen from Behind" and "'The Shop Girl" by Jacques-Joseph Tissot.
1,600 words (approx. 6.4 pages), 5 sources, MLA, $ 52.95
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Abstract
This paper compares the differing styles of these two artists. Both painting were of women but the writer shows how Van Gogh's is of a woman working in the field while Tissot's painting depicts elegant women in a shop. Even though they were painted in similar time frames, the latter painting is of a modern culture greatly ignored by Van Gogh in his works.
From the Paper
"Vincent Van Gogh is a master artist whose works have fascinated the society for decades. The manner in which he portrays his subjects and the deliberation of each stroke gives a life like result that is a pleasure to see. Vincent Van Gogh went through life searching for the elusive perfection that he could capture on canvas. Though many would say that his works are itself a perfect presentation, Van Gogh proved to be his own biggest critic. He stated in one his Letter 257 c. January 3, 1883, "By working hard, old man, I hope to make something good one day. I haven't yet, but I am pursuing it and fighting for it..." thus were immortalizing his own life. We could have aptly used these words to write his eulogy for the search for something better is what he portrays on canvas."
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Heidegger, 'Aletheia', and Van Gogh?s Shoes, 2005.
Discusses Heidegger's concept of truth, known as aletheia, through his given example of Van Gogh?s painting of a pair of shoes.
1,859 words (approx. 7.4 pages), 12 sources, MLA, $ 59.95
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Abstract
Heidegger had an alternate understanding of truth, aletheia, which involves an ?unconcealedness? of being. He illustrated this concept by way of a discussion of Van Gogh?s painting of a pair of shoes. The paper shows how this interpretation drew the criticism of art historian, Meyer Schapiro, who questioned whether the shoes are that of a peasant woman. This, in turn, triggered a response from Jacques Derrida about the subjective projections on both sides. This paper argues that what gets lost in the flurry of words is whether we have a mode of properly understanding aletheia.
From the Paper
"Consequently, it is possible to consider the concept on its own terms, regardless of how tenuous or how strong its ancient Greek origins may be. With such an allowance, it is possible to elaborate on two points in regards to Heidegger?s intent and purpose. First, al?theia results in knowledge that lies outside of interpretation and conceptualization, accompanied by the matching of those concepts with ?the facts.? In a later writing, Heidegger introduces the idea of wonder or astonishment in which one persists in a state of unsettledness. (1984 esp. 120) In contrast to the effort of matching mental contents with reality, an outright grasping for meaning and certainty, and the insistent elimination of confusion and doubt, things are left ungrounded and open."
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"Women In The Garden" ( Monet ) and "La Berceuse" ( Van Gogh ), 1999.
Compares Monet's cool, abstract approach and Van Gogh's warm, emotional approach to the metaphor of fertility via women and flowers.
2,250 words (approx. 9.0 pages), 8 sources, $ 79.95
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Abstract
"The association of women and flowers as a metaphor for fertility is at least as old as the Roman goddess Flora. It is not, therefore, surprising that both Monet, Women in the Garden (1866-67), and Van Gogh, La Berceuse (1889), employed this fairly common idea
From the Paper
"The association of women and flowers as a metaphor for fertility is at least as old as the Roman goddess Flora. It is not, therefore, surprising that both Monet, Women in the Garden (1866-67), and Van Gogh, La Berceuse (1889), employed this fairly common idea. But a comparison of the manner in which they used this visual trope demonstrates some of the fundamental differences in their approaches to painting. Monet's revolutionary realism did not preclude the use of a classically balanced composition. And his cool, somewhat distant, scientific approach is accompanied by a generalized, classically schematized metaphor. His presentation of the cycle of female fertility has an abstract, intellectualized quality even though, as biographical facts show, the theme may have had important personal associations at the time. Van Gogh's presentation, on ..."
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Claude Monet and Vincent Van Gogh's "Sunflowers", 2007.
A comparative analysis of Claude Monet and Vincent Van Gogh's paintings known as "Sunflowers".
1,004 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
This paper examines how both Claude Monet and Vincent Van Gogh selected the subject of sunflowers for two of their most famous still life paintings. It looks at how, although both artist's works may depict the same type of flower, the color, light and shading of the two works are completely different.
From the Paper
"The arrangement of the Van Gogh painting also forces the viewer to look more closely at the individual flowers. Most of the faces of the Van Gogh sunflowers, rather than turn away from the viewer, seem to look at the viewer directly, while others are dying, as if expressing their sadness as they look away. Because of their brightness, and the detail given to each individual flower, the centers of the healthy flowers seem to look like eyes, looking into the viewer's soul, rather than away at something else as in the case of Monet's painting. Even the colors of the central vase are brighter in Van Gogh's painting than in Monet's and jump out at the viewer in the center of the composition. The vase is painted with bright colors, while in the Monet painting the viewer hardly notices the off-center vase."
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