Journal articles: 'Van Gogh'

1

Fleck, Michel. "A Van Gogh underneath a Van Gogh." Materials Today 11, no. 10 (October 2008): 8. http://dx.doi.org/10.1016/s1369-7021(08)70188-3.

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Roper, Patrick Trevor. "Van Gogh." Eye 5, no. 5 (September 1991): vii. http://dx.doi.org/10.1038/eye.1991.92.

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Hach, W. "Van Gogh." Gefässchirurgie 22, no. 4 (June 16, 2017): 288–96. http://dx.doi.org/10.1007/s00772-017-0285-4.

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4

Taylor, Job, Natasha Abramova, Jeannette Charlton, and Paul N. Adler. "Van Gogh: A New Drosophila Tissue Polarity Gene." Genetics 150, no. 1 (September 1, 1998): 199–210. http://dx.doi.org/10.1093/genetics/150.1.199.

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Abstract Mutations in the Van Gogh gene result in the altered polarity of adult Drosophila cuticular structures. On the wing, Van Gogh mutations cause an altered polarity pattern that is typical of mutations that inactivate the frizzled signaling/signal transduction pathway. The phenotype however, differs from those seen previously, as the number of wing cells forming more than one hair is intermediate between that seen previously for typical frizzled-like or inturned-like mutations. Consistent with Van Gogh being involved in the function of the frizzled signaling/signal transduction pathway, Van Gogh mutations show strong interactions with mutations in frizzled and prickle. Mitotic clones of Van Gogh display domineering cell nonautonomy. In contrast to frizzled clones, Van Gogh clones alter the polarity of cells proximal (and in part anterior and posterior) but not distal to the clone. In further contrast to frizzled clones, Van Gogh clones cause neighboring wild-type hairs to point away from rather than toward the clone. This anti-frizzled type of domineering nonautonomy and the strong genetic interactions seen between frizzled and Van Gogh suggested the possibility that Van Gogh was required for the noncell autonomous function of frizzled. As a test of this possibility we induced frizzled clones in a Van Gogh mutant background and Van Gogh clones in a frizzled mutant background. In both cases the domineering nonautonomy was suppressed consistent with Van Gogh being essential for frizzled signaling.

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Cearbhaill, S. E. Ó., and Críostóir Ó. Floinn. "Seacláidí Van Gogh." Comhar 55, no. 8 (1996): 31. http://dx.doi.org/10.2307/25573019.

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6

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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Fung, Imagery by Kai-hung. "Van Gogh Remembered." RadioGraphics 30, no. 4 (July 2010): 868. http://dx.doi.org/10.1148/rg.304105904.

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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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9

Thomas, Morgan. "Van Gogh, 1947." Journal of Curatorial Studies 6, no. 1 (April 1, 2017): 30–54. http://dx.doi.org/10.1386/jcs.6.1.30_1.

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10

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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11

DRAHL, CARMEN. "VAN GOGH GLIMPSE." Chemical & Engineering News 86, no. 32 (August 11, 2008): 12. http://dx.doi.org/10.1021/cen-v086n032.p012.

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12

EMBER, LOIS. "Conserving Van Gogh." Chemical & Engineering News 76, no. 43 (October 26, 1998): 47. http://dx.doi.org/10.1021/cen-v076n043.p047.

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13

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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14

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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15

Halpé, Aparna. "Chandani LokugéMy Van Gogh." World Literature Today 94, no. 4 (2020): 111. http://dx.doi.org/10.1353/wlt.2020.0194.

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16

Coughlin, Maura. "Van Gogh and Nature." Nineteenth Century Studies 26, no. 1 (January 1, 2012): 298–306. http://dx.doi.org/10.5325/ninecentstud.26.2012.0298.

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17

Delhaye, Guy. "Van Gogh au Borinage." Le Mouvement social, no. 155 (April 1991): 7. http://dx.doi.org/10.2307/3778831.

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18

Hulsker, Jan, B. Welsh-Ovcharov, R. Pickvance, and A. Mothe. "Van Gogh a Paris." Simiolus: Netherlands Quarterly for the History of Art 18, no. 3 (1988): 177. http://dx.doi.org/10.2307/3780681.

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19

Ball, Philip. "The hidden van Gogh." Nature 454, no. 7204 (July 2008): 563. http://dx.doi.org/10.1038/454563a.

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20

Breunesse, Caroline, and Andreas Bluhm. "Van Gogh Going Global." Journal of Museum Education 26, no. 2 (March 2001): 10–12. http://dx.doi.org/10.1080/10598650.2001.11510441.

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21

Lapousterle, Julia. "L'Arlésienne de Van Gogh." Le Coq-héron 206, no. 3 (2011): 147. http://dx.doi.org/10.3917/cohe.206.0147.

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22

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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23

Cole, Neil. "Van Gogh and lithium." Australian and New Zealand Journal of Psychiatry 33, s1 (December 1999): S109—S110. http://dx.doi.org/10.1111/j.1440-1614.1999.00673.x.

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24

Bataille, Georges, and Annette Michelson. "Van Gogh as Prometheus." October 36 (1986): 58. http://dx.doi.org/10.2307/778550.

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25

McCarthy, Shirley M. "CT-van Gogh Correlations." Radiology 178, no. 1 (January 1991): 286. http://dx.doi.org/10.1148/radiology.178.1.286.

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Somberg, John C. "Van Gogh and Digitalis." American Journal of Cardiology 136 (December 2020): 164–65. http://dx.doi.org/10.1016/j.amjcard.2020.09.009.

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27

Borchard, Kurt. "The Van Gogh Experience." Departures in Critical Qualitative Research 12, no. 1 (2023): 50–68. http://dx.doi.org/10.1525/dcqr.2023.12.1.50.

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This experimental writing both embodies and interrogates how creative work that is re-mixed and re-presented also creates multivalent “experiences.” A menagerie of quotations performs both a narrative-of-thinking and open-ended discursive potential. The work asks: Can this manuscript both analyze and perform a subversion, problematizing notions of authenticity, authorship, ownership, production, distribution, reception, and meaning? Can immersion in fragmented, derivative writing produce an affective experience in line with a contemporary post-pandemic and technologically- and social-media-immersive “structure of feeling”? The excerpts include discussions of Vincent Van Gogh’s work recently presented as popular “immersive experiences”; discourse on the commodification, reproduction, and authenticity of art; views on artistic presentation in a pandemic- and technology-infused era; and quotations concerning (and drawn from work in) deconstruction, authorship, and avant-garde fiction, further extending interpretative potential. Where does it start, where does it take you, and where do you feel it?

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28

Delhaye, Guy. "Van Gogh au Borinage." Le Mouvement Social 155, no. 1 (March 1, 1991): 7–18. http://dx.doi.org/10.3917/lms.1991.155.0019.

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29

Rohls, Jan. "Van Gogh und die religiöse Expression Van Gogh und die religiöse Expression." Zeitschrift für Theologie und Kirche 2, no. 4 (2005): 504. http://dx.doi.org/10.1628/004435405775069029.

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30

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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31

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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32

Aquino, Denise de Paula Veras. "Van Gogh's letters as biographical information source." Brazilian Journal of Information Science 5, no. 2 (January 16, 2012): 3–21. http://dx.doi.org/10.36311/1981-1640.2011.v5n2.02.p3.

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Van Gogh used widely letters as communication medium. However, in spite of their contents value, the letters are not usually considered in social researches. Considering the personal mails importance as research sources in the information current context, we aim to analyze Van Gogh´s letters to his brother Théo, from 1888 to 1890 as biographical information source. For this analysis, we used the letters 534; 557; 558; 565; 566; 567; 568; 573; 576 as research sources (they were used as samples). Van Gogh´s personal letters to Théo are analyzed and presented as biographical information medium spread. As a methodology, we use the matter study to research the issue. The conclusion of the analysis allows us to notice that personal letters clarify Van Gogh´s life important events and circumstances that may be used in researches as biographical information source.

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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

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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35

Spence, Steve. "Van Gogh in Alabama, 1936." Representations 75, no. 1 (2001): 33–60. http://dx.doi.org/10.1525/rep.2001.75.1.33.

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36

Roudil, Pierre. "Van Gogh lecteur des Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 7 (1999): 228–34. http://dx.doi.org/10.3406/cejdg.1999.1345.

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37

Bardou, Dominique. "Pouvait-on sauver Van Gogh ?" Thérapie Familiale 23, no. 3 (2002): 207. http://dx.doi.org/10.3917/tf.023.0207.

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38

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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39

Janssens, Dominique-Charles. "Le rêve de Van Gogh." Le journal de l'école de Paris du management N° 155, no. 3 (May 18, 2022): 31–38. http://dx.doi.org/10.3917/jepam.155.0031.

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40

Choe, Jian. "Van Gogh and Hard Times." Dickens Quarterly 38, no. 4 (2021): 411–28. http://dx.doi.org/10.1353/dqt.2021.0040.

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41

Hellweg, Christian, and Johannes Ermel. "Van Gogh: Manie und Melancholie." Nervenheilkunde 40, no. 12 (December 2021): 1022. http://dx.doi.org/10.1055/a-1467-7156.

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42

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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43

Spence, Steve. "Van Gogh in Alabama, 1936." Representations, no. 75 (July 2001): 33–60. http://dx.doi.org/10.2307/3176068.

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44

Roque, Georges. "Van Gogh, teórico del color." Anales del Instituto de Investigaciones Estéticas 19, no. 70 (August 6, 1997): 77. http://dx.doi.org/10.22201/iie.18703062e.1997.70.1789.

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La atribulada biografía de Vincent van Gogh ha influido, de manera un tanto excesiva, en el análisis de su obra pictórica. En realidad, detrás de la imagen del artista “loco” o “expresionista”, hubo siempre un pintor muy al tanto de las teorías estéticas de su época —especialmente del trabajo del francés Charles Blanc—, que se preocupó, consciente y sistemáticamente, por hallar una solución general a los problemas de la representación y de las relaciones entre los colores. Esta conclusión —y el núcleo de este artículo— proviene sobre todo del estudio de la correspondencia del propio Van Gogh.

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45

Walker, Janet A. "Van Gogh, Collector of “Japan”." Comparatist 32, no. 1 (2008): 82–114. http://dx.doi.org/10.1353/com.0.0025.

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46

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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47

Caws, Mary Ann, and René Char. "Les voisinages de Van Gogh." World Literature Today 60, no. 2 (1986): 284. http://dx.doi.org/10.2307/40141707.

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48

Char, René. "Les voisinages de Van Gogh." Le Débat 34, no. 2 (1985): 3. http://dx.doi.org/10.3917/deba.034.0003.

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49

Ringrose, Chris. "My Van Gogh: a novel." Journal of Postcolonial Writing 56, no. 5 (April 3, 2020): 725–26. http://dx.doi.org/10.1080/17449855.2020.1742445.

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50

York, Julie. "Van Gogh: Face to Face." Bulletin of the Detroit Institute of Arts 74, no. 3-4 (September 2000): 10–13. http://dx.doi.org/10.1086/dia41505400.

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Journal articles on the topic 'Van Gogh'

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