Journal articles: 'Gogh, Vincent van'

1

WALTHER, I. F., and R. METZGER. "VINCENT VAN GOGH." Art Book 1, no. 3 (June 1994): 16h—17. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00123.x.

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McKenna, Tony. "Vincent van Gogh." Critique 39, no. 2 (April 11, 2011): 295–303. http://dx.doi.org/10.1080/03017605.2011.561634.

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3

CIOK, AMY E. "VINCENT VAN GOGH." Academic Medicine 77, no. 4 (April 2002): 298. http://dx.doi.org/10.1097/00001888-200204000-00007.

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4

Meißner, Thomas. "Vincent van Gogh." Heilberufe 66, no. 12 (November 29, 2014): 75. http://dx.doi.org/10.1007/s00058-014-1081-0.

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5

De Oliveira, Amanda Bueno. "Expressões do vento: a adaptação de Cartas a Théo para HQ." Dito Efeito - Revista de Comunicação da UTFPR 13, no. 22 (April 17, 2023): 58. http://dx.doi.org/10.3895/rde.v13n22.15059.

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A partir dos relatos documentais constantes nas cartas de Vincent van Gogh a Théo van Gogh, este estudo comparado analisa descritivamente de que forma o vento é mencionado pelo pintor holandês no período em que viveu em Arles, no sul da França, durante seus últimos anos de vida, e as representações desse mesmo elemento em Vincent: a história de Vincent van Gogh, HQ de Barbara Stok. As distintas realizações se apresentam como significativas portas de acesso ao pensamento e à arte de produzida por Van Gogh.

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6

Rodrigues, Jean Carlos. "A PAISAGEM SIMBÓLICA NA TELA “CONGREGATION LEAVING THE REFORMED CHURCH IN NUENEN” DE VINCENT VAN GOGH: UMA DIMENSÃO ENTRE ARTE-ESPAÇO-EMOÇÃO." Revista Contexto Geográfico 8, no. 16 (August 13, 2023): 1–11. http://dx.doi.org/10.28998/contegeo.8i16.14893.

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O artigo discorre sobre a relação entre arte e paisagem, tendo como referência um estudo sobre a pintura de Vincent van Gogh denominada “Congregation Leaving the Reformed Church in Nuenen”, de 1884-1885. No aspecto teórico, nos apoiamos nos estudos sobre paisagem cultural de Denis Cosgrove e Giuliana Andreotti, além dos estudos sobre iconologia da arte de Erwin Panofsky. Do ponto de vista metodológico, nos dedicamos a uma pesquisa documental no site “Vincent van Gogh: The Letters”. Estas cartas foram escritas ora em inglês, ora em holandês (traduzidas para o inglês). Este site é o resultado de um trabalho de 15 anos de pesquisa e traduções elaborado pelo Van Gogh Museum e Huygens ING, na Holanda. Após tal estudo, consideramos que a pintura de Vincent van Gogh na tela interpretada reflete os aspectos simbólicos que atribuem sentidos e significados à paisagem retratada pelo artista, haja vista que tal representação esta intrinsicamente relacionada às vivências familiares e sociais de Vincent enquanto o mesmo esteve em Neunen (Holanda), demonstrando os aspectos simbólicos impregnados na paisagem de Vincent van Gogh.

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7

Soth, Lauren. "Vincent van Gogh Addendum." Word & Image 22, no. 2 (April 2006): 188. http://dx.doi.org/10.1080/02666286.2006.10435744.

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8

Krier, Leon. "Vincent Van Gogh: A Negative Result from his Modern Suicidal Profile Assessment." International Journal of Forensic Sciences 8, no. 1 (2023): 1–7. http://dx.doi.org/10.23880/ijfsc-16000289.

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Killing Vincent Project (KVP) Team evaluates Vincent van Gogh’s ‘Suicide Profile’ while living in France, namely, Arles, St Remy Asylum, and Auvers-sur-Oise Profile utilizing the C-SSRS (Columbia – Suicide Severity Rating Scale). This evaluation of Van Gogh indicates that there were some risks factors and concerns for suicide in Arles and St Remy Asylum; however, while living in Auvers-sur-Oise, the C-SSRS evaluation reinforces that Van Gogh was living an extremely productive artistic life, doing a painting a day with breakthrough originality. There were no further vertigo attacks; he expressed no suicidal ideation nor gestures or self-injurious behavior. While in Auvers-sur-Oise, Van Gogh had become emotionally settled, found love, and was becoming a recognized breakthrough artist. KVP’s C-SSRS evaluation indicates a ‘negative suicidal profile assessment’ in his last 70 days. Therefore, it is reasonable to conclude: Vincent van Gogh did not commit suicide.

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9

Krier, Leon. "Provide Evidence Based Proof that Vincent Van Gogh Committed Suicide: an Open Challenge and Direct Cross-Examination for the Forensic Truth!" International Journal of Forensic Sciences 8, no. 2 (2023): 1–8. http://dx.doi.org/10.23880/ijfsc-16000306.

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This is an Open Challenge to Martin Bailey, an investigative journalist and Van Gogh scholar, as well as the many art historians, art critics, museum curators, who have denied the “murder” of Vincent van Gogh as only a “myth,” and a “blasphemy.” World renowned forensic pathologists confirmed that a self-inflicted gunshot wound, without an exit wound, was dubious, if not technically impossible, for any bullet to enter the abdomen, as described by a person of interest, and to follow the unbelievable “magic bullet” ballistic course trajectory to end up where it was believed to end up, despite no evidence that a bullet was removed, and no autopsy performed [1]. Consequently, suicide is untenable. Therefore, these “deniers” of Vincent’s murder must now provide substantive, contemporaneous, evidence-based proof that Vincent van Gogh committed suicide, subject to direct (published) cross-examination, and the use of common sense “Rules of Evidence.”

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10

Rodrigues, Jean Carlos. "O espaço vivenciado e a paisagem de emoções na obra “A Arlesiana” de Vincent Van Gogh." PerCursos 22, no. 50 (December 22, 2021): 473–95. http://dx.doi.org/10.5965/1984724622502021441.

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O artigo tem como propósito apresentar os resultados de um estudo sobre vivências e paisagens elaborado a partir da obra “A Arlesiana”, de Vincent van Gogh. Este estudo trata tal representação como paisagem de emoção, que conforma a existência de Vincent van Gogh lhe atribuindo sentidos e significados a partir das experiências manifestadas em seu espaço vivenciado. Neste sentido, entendemos que as representações do espaço manifestadas nas pinturas de Vincent van Gogh se constituem como paisagens que, tomadas como formas simbólicas, conformam a vida do artista. Dessa forma, consideramos que o espaço simbólico atribui sentidos e significados à maneira como o espaço é vivenciado e representado pelos sujeitos.

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11

Sangkeun Kim. "Vincent van Gogh, the Missionary." Theological Forum 55, no. ll (March 2009): 171–213. http://dx.doi.org/10.17301/tf.2009.55..006.

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12

ÇIĞŞAR, Teoman ÇIĞŞAR Teoman. "JAPONİZM ve VİNCENT VAN GOGH." Uluslararası Sanat ve Estetik Dergisi 4, no. 4 (2020): 129–40. http://dx.doi.org/10.29228/usved.44130.

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13

WALKER, JOHN A. "VINCENT VAN GOGH: THE DRAWINGS." Art Book 13, no. 1 (February 2006): 25–26. http://dx.doi.org/10.1111/j.1467-8357.2006.00627_8.x.

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14

Ciszewska, Joanna, and Andrzej Ciszewski. "Vincent van Gogh and digitalis." Polish Archives of Internal Medicine 123, no. 9 (September 30, 2013): 500–501. http://dx.doi.org/10.20452/pamw.1897.

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15

Wachtel, Edward A. "Vincent Van Gogh Weather Map." Explorations in Media Ecology 6, no. 4 (December 1, 2007): 293. http://dx.doi.org/10.1386/eme.6.4.293_1.

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16

Rokhim, Salsabila Syah, Yulianto Hadiprawiro, and Angga Kusuma Dawami. "Katarsis Seni pada Lukisan “At Eternity’s Gate” Karya Vincent Van Gogh dalam Pandangan Kritik Seni." Ars: Jurnal Seni Rupa dan Desain 25, no. 3 (January 20, 2023): 171–78. http://dx.doi.org/10.24821/ars.v25i3.5651.

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At Eternity’s Gate adalah sebuah lukisan minyak karya Vincent van Gogh yang dibuat pada tahun 1890 di Saint-Rémy de Provence. Lukisan tersebut diselesaikan pada awal Mei saat kesehatannya pulih dan sekitar dua bulan sebelum kematian-yang umumnya dianggap sebagai bunuh diri. Karena kasus bunuh diri yang dilakukannya maka penelitian ini bertujuan mengungkap tanda-tanda kondisi mental Vincent van Gogh melalui katarsis seni dalam karyanya. Pendekatan yang diampu ialah teori Kritik Seni Edmund Burke Feldman dalam bukunya “Art as Image and Idea” ke dalam 4 bagian yaitu deskripsi, analisis formal, interpretasi, dan evaluasi. Kritik seni merupakan salah satu cara untuk mengungkap dan memahami makna karya seni. Hasil penelitian mengacu kepada pemakaian warna kuning berlebih juga perpaduan biru sebagai representasi gejala gangguan mental yang dialami oleh Vincent van Gogh. Studi ini bisa dipakai untuk mengungkap makna dari ekspresi visual dari karya seni.

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17

Op De Coul, Martha, and Annet Tellegen. "Vincent van Gogh en Antoine Furnée." Oud Holland - Quarterly for Dutch Art History 109, no. 1-3 (1995): 95–100. http://dx.doi.org/10.1163/187501795x00377.

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AbstractThe small Van Gogh painting discussed in this article (fig. I) has never been published before. Originally, it belonged to Antoine Philippe Furnée (I86I-I897), whom Vincent had met in I883 in The Hague through Furnée père, the proprietor of a chemist's shop which also sold artists' paint. In the letters (365 (300), 372 (307) and 409 (342)) Furnée is referred to as 'the surveyor'. He was an amateur painter to whom Van Gogh gave advice. The two men would go out into the nearby countryside together to paint landscapes. In April I884 Furnee went to Java, where he remained until I897. He was probably already ailing on his return, for he died a few months later. His property passed to a brother, Antoine Louis Cornelis (I867-I965), a respected pharmacist of The Hague. The little painting, signed 'Vincent' at the bottom left, is done in oil on canvas pasted on cardboard, 30.5 by 23.I cm. Examination under fluorescent light shows it to be covered entirely with old varnish. On the back Furnée the pharmacist wrote: 'Chestnut tree on Broeksloot by Vincent van Gogh. This study was given by Vincent van Gogh to my brother A. Ph. Furnée (the surveyor)'. The gift accounts for the painting's being signed. Like many of the Hague paintings, this early work is of limited artistic merit. The poorly indicated space and forms are however offset by the good rendering of the contrast between light and dark areas. (Compare the paintings F 8a (fig. 3), F I92 (fig. 5) and the watercolour SD I680 (fig. 4).) The authenticity of the painting was established back in I963 in an appraisal by R. W. D. Oxenaar, and again at the Netherlands Institute for Art History by the present authors in I979, the year it was sold by the Furnee family. Two little pictures painted by Furnee on his expeditions with Vincent van Gogh come from the same source (figs. 6 and 7).

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18

Erickson, Kathleen Powers, and David G. Murphy. "Testimony to Theo: Vincent van Gogh's Witness of Faith." Church History 61, no. 2 (June 1992): 206–20. http://dx.doi.org/10.2307/3168264.

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Between May 1875 and December 1879, Vincent van Gogh's life was marked by a devout evangelical piety, distinctly different from what had gone before. Although raised in a religious family, his father a Dutch Reformed minister in the Groningen tradition, van Gogh barely mentions religion in his early letters. His religious fervor deepened considerably, however, sometime during 1875, while he was living in Paris. Van Gogh's letters dating from May 1875 are increasingly filled with biblical quotations and religious reflections. His sister-in-law, Jo van Gogh-Bonger, in describing van Gogh's character during this period wrote, “that was Vincent's aim—to humble himself, to forget himself, ‘mourir à soi-meme,’ (to sacrifice every personal desire), that was the ideal he tried to reach as long as he sought his refuge in religion, and he never did a thing by halves.”

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19

Whitney, Charles A. "THE SKIES OF VINCENT VAN GOGH." Art History 9, no. 3 (September 1986): 351–62. http://dx.doi.org/10.1111/j.1467-8365.1986.tb00206.x.

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20

Roberts, Charles Stewart. "The Conscience of Vincent Van Gogh." Baylor University Medical Center Proceedings 23, no. 1 (January 2010): 31–32. http://dx.doi.org/10.1080/08998280.2010.11928579.

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21

Chowdhury, Arabinda Narayan. "Vincent van Gogh and mental illness." British Journal of Psychiatry 193, no. 2 (August 2008): 167–68. http://dx.doi.org/10.1192/bjp.193.2.167b.

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22

Kaikobad, Vera. "Acupuncture “Diagnosis” of Vincent Van Gogh." Medical Acupuncture 22, no. 3 (September 2010): 213–17. http://dx.doi.org/10.1089/acu.2010.0749.

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23

Niels Arnold, Wilfred. "The Illness of Vincent van Gogh." Journal of the History of the Neurosciences 13, no. 1 (March 2004): 22–43. http://dx.doi.org/10.1080/09647040490885475.

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24

Monroe, Russell R. "Another Diagnosis for Vincent Van Gogh?" Journal of Nervous and Mental Disease 179, no. 4 (April 1991): 241. http://dx.doi.org/10.1097/00005053-199104000-00023.

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25

Scorza, Fulvio A., Esper A. Cavalheiro, Ricardo M. Arida, and John R. Hughes. "Did Vincent van Gogh eat fish?" Epilepsy & Behavior 17, no. 2 (February 2010): 304. http://dx.doi.org/10.1016/j.yebeh.2009.11.009.

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26

Correa, R. "Vincent van Gogh: A pathographic analysis." Medical Hypotheses 82, no. 2 (February 2014): 141–44. http://dx.doi.org/10.1016/j.mehy.2013.11.022.

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27

Blumer, Dietrich. "The Illness of Vincent van Gogh." American Journal of Psychiatry 159, no. 4 (April 2002): 519–26. http://dx.doi.org/10.1176/appi.ajp.159.4.519.

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28

Grundy, Dominick. "Vincent Van Gogh: A psychological study." Arts in Psychotherapy 12, no. 1 (March 1985): 46–48. http://dx.doi.org/10.1016/0197-4556(85)90011-5.

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29

Haselbeck, Helmut. "»... und immer wieder Vincent van Gogh«." Sozialpsychiatrische Informationen 46, no. 1 (2016): 40–45. http://dx.doi.org/10.5771/0171-4538-2016-1-40.

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30

S, Roopha, and Patchainayagi S. "Posthumous Popularity; Fathoming Vincent van Gogh through Select Biofictions." World Journal of English Language 13, no. 8 (October 5, 2023): 428. http://dx.doi.org/10.5430/wjel.v13n8p428.

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This paper studies a few fictional representations of Vincent van Gogh in contemporary biofiction. The objective of this research is to analyse the life of a genius artist and his posthumous popularity by using the transmedia storytelling technique. Vincent Willem van Gogh, a Dutch painter who lived between 1853 and 1890, is widely regarded as one of the best exponents of post-impressionism. His eccentric life has been a perpetual obsession for creators to fictionally recreate him periodically after his disastrous end in the past hundred years. The paper captures three fictionalised biographical texts in the form of a novel, an animated movie and a documentary that transgress genre boundaries and renegotiate the relationship between historical facts and fiction. Throughout the 21st century, biographical materials, whether they are based on fact or fiction, have made significant contributions to this legend. The sources of the study pivot on three of van Gogh`s biofictions within film and literature; the novel Leaving van Gogh (2011) by Carol Wallace, the documentary Van Gogh: Painted with Words (2010) directed by Andrew Hutton and Loving Vincent (2017), a movie directed by Dorota Kobiela. The creators have taken artistic liberties by altering the stories with more engaging narratives as a way of rewriting the portrayal of the artist through fiction. Biofiction is a category of life writing that includes fictitious biographies and is typically a metafictional narrative in which a biographical subject is the protagonist or plays a significant role in the plot. Transmedia storytelling is an approach to integrating contemporary digital technology to communicate a cohesive narrative across several platforms and mediums. By utilising intermediary allusions and formal imitative techniques, van Gogh`s art, as well as the fundamental principles of artistic creation and his ubiquitous presence in contemporary times are explored.

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31

Faquin, César Biégas, and Denize Araujo. "Visual hybridizations in two audiovisual productions." Novos Olhares 9, no. 1 (July 10, 2020): 142–54. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.171999.

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This paper aims to analyze and discuss two films that present hybrid aesthetics: Lars von Trier’s Dogville (2003) and Welchman´s and Kobiela´s Loving Vincent ( 2017). Dogville evokes the theatre language in its construction and develops an intertextual relationship by using Brecht’s epic theatre, while Loving Vincent is a tribute film to Vincent van Gogh, essentially intertextual because it is based on letters that van Gogh once wrote, as well as his own works of art. The theoretical frame of reference on the processes of dialogism, polyphony, hybridization, intermediality and intertextuality is provided by Araujo, Bazin, Bakhtin, Brecht, Kristeva, Metz, Muller, Nagib e Rajewski.

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32

Morrant, J. C. A. "The Wing of Madness: The Illness of Vincent van Gogh." Canadian Journal of Psychiatry 38, no. 7 (September 1993): 480–84. http://dx.doi.org/10.1177/070674379303800704.

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This paper briefly describes some aspects of Vincent van Gogh's life and attitudes. It discusses absinthe and several psychodynamic factors that may have contributed to his psychotic episodes at Aries, when he cut off his ear. It discusses Vincent's descriptions of his illness, especially at Saint Rémy de Provence and concludes that he probably suffered from partial complex seizures (temporal lobe epilepsy) with manic depressive mood swings aggravated by absinthe, brandy, nicotine and turpentine.

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33

Neiva, Simone, and Ricardo Maurício Gonzaga. "Van Gogh e a influência da gravura japonesa." Estudos Japoneses, no. 43 (December 22, 2020): 91–113. http://dx.doi.org/10.11606/issn.2447-7125.vi43p91-113.

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O artigo trata da influência decisiva da gravura japonesa sobre a obra do pintor holandês Vincent Van Gogh. Ávido colecionador, Van Gogh chega a colecionar mais de 400 gravuras, que oferecem a ele uma grande variedade de material para estudo e reflexão. A partir da apreensão da arte japonesa, o pintor busca novos impulsos criativos, em uma fuga das convenções da educação ocidental e um caminho de renovação da arte francesa impressionista. O texto elucida ainda o modo como Van Gogh traduziu os temas provençais de Arles, sul da França, para o contexto da estética japonesa.

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34

YILDIRIM, Ceren. "SANAT PSİKOLOJİSİ KURAMLARI IŞIĞINDA VİNCENT VAN GOGH." Journal of Social Sciences 39, no. 39 (January 1, 2019): 374–95. http://dx.doi.org/10.16990/sobider.5175.

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35

Gedzelman, Stanley David. "The Meteorological Odyssey of Vincent van Gogh." Leonardo 23, no. 1 (1990): 107. http://dx.doi.org/10.2307/1578474.

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36

van der Wolk, Johannes. "The Seven Sketchbooks of Vincent van Gogh." Leonardo 21, no. 2 (1988): 218. http://dx.doi.org/10.2307/1578580.

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37

Blum, Harold P. "De l'auto-portrait chez Vincent Van Gogh." Revue française de psychanalyse 67, no. 2 (2003): 673. http://dx.doi.org/10.3917/rfp.672.0673.

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38

Lazzeri, Francesca. "Mélancolie et Création chez Vincent van Gogh." Cahiers de psychologie clinique 49, no. 2 (2017): 299. http://dx.doi.org/10.3917/cpc.049.0299.

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39

DiMarco, Christa. "The Literary Code of Vincent van Gogh." American Book Review 42, no. 6 (2021): 8–9. http://dx.doi.org/10.1353/abr.2021.0115.

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40

You, Clive. "Looking east: Vincent van Gogh and Japan." ANU Undergraduate Research Journal 8 (August 1, 2017): 251–62. http://dx.doi.org/10.22459/aurj.08.2016.19.

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41

WYATT, RICHARD JED, and KAY REDFIELD JAMISON. "Vincent van Gogh: A Psychological Study (1967)." American Journal of Psychiatry 147, no. 12 (December 1990): 1678—a—1679. http://dx.doi.org/10.1176/ajp.147.12.1678-a.

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42

Buckley, Peter J. "Vincent Van Gogh (1853–1890): Experiencing Madness." American Journal of Psychiatry 174, no. 7 (July 2017): 626–27. http://dx.doi.org/10.1176/appi.ajp.2017.17030368.

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43

Soth, Lauren. "Vincent van Gogh reads Harriet Beecher Stowe." Word & Image 10, no. 2 (April 1994): 156–62. http://dx.doi.org/10.1080/02666286.1994.10435510.

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44

Meissner, W. W. "Creativity and Symbiosis in Vincent van Gogh." Contemporary Psychoanalysis 31, no. 4 (October 1995): 641–65. http://dx.doi.org/10.1080/00107530.1995.10746930.

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45

Morgan, Douglas H. "Vincent Van Gogh and the TMJ Connection." CRANIO® 18, no. 1 (January 2000): 71. http://dx.doi.org/10.1080/08869634.2000.11746116.

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46

Jordan, Peter M. "Vincent van Gogh: Chemicals, Crises and Creativity." Trends in Biochemical Sciences 18, no. 9 (September 1993): 355–56. http://dx.doi.org/10.1016/0968-0004(93)90075-x.

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47

Pennanen, Marie Fernicola. "Vincent van Gogh: Chemicals, Crises, and Creativity." JAMA: The Journal of the American Medical Association 270, no. 15 (October 20, 1993): 1870. http://dx.doi.org/10.1001/jama.1993.03510150106046.

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48

Arnold, Wilfred Niels. "Vincent van Gogh and the Thujone Connection." JAMA: The Journal of the American Medical Association 260, no. 20 (November 25, 1988): 3042. http://dx.doi.org/10.1001/jama.1988.03410200098033.

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49

Southgate, M. Therese. "Vincent van Gogh, Madame Roulin With Baby." JAMA 254, no. 24 (December 27, 1985): 3400. http://dx.doi.org/10.1001/jama.1985.03360240010001.

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50

Bailly, Sean. "Les nuits étoilées de Vincent Van Gogh." Pour la Science N° 549 – juillet, no. 7 (July 3, 2023): 18b. http://dx.doi.org/10.3917/pls.549.0018b.

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Journal articles on the topic 'Gogh, Vincent van'

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