VAN GOGH

5 September 2008 - 8 December 2008
The Albertina’s autumn exhibition offers a new perspective on Vincent van Gogh by focusing on the artist as both painter and draughtsman. Fifty paintings and 100 major watercolours and drawings are on loan from over 60 lenders around the world. They underscore the artistic unity between van Gogh’s expressive draughtsmanship and his radically new use of colour.

 

This exhibition was compiled in collaboration with the Van Gogh Museum in Amsterdam and is the largest presentation of the artist’s oeuvre since the jubilee exhibition in Amsterdam in 1990. Moreover, it is the first Van Gogh show in Austria for more than half a century. Lenders such as:

 

Van Gogh Museum (Amsterdam), Kröller-Müller Museum (Otterlo), Metropolitan Museum of Art (New York), Musée d’Orsay (Paris), National Gallery of Art (Washington), Guggenheim Museum (New York), Puschkin Museum (Moskau), Armand Hammer Museum (Los Angeles) and private collections.

 

 

Sponsors:


Picture gallery

 

Vincent van Gogh

Portrait of Joseph Roulin, 1888 
Vincent van Gogh

The Harvest, 1888 
Vincent van Gogh

Rain in Auvers, 1890 
Vincent van Gogh

Self-portrait with straw hat and artist's smock, 1887 
 
Vincent van Gogh

Still Life with a Plate of Onions, 1889 
Vincent van Gogh

Fishing Boats on the Beach at Les Saintes-Maries-de-la-Merr, 1888 
Vincent van Gogh

Entrance to the Moulin de la Galette, 1887 
Vincent van Gogh

The Sower, 1888 
 
Vincent van Gogh

Road near Arles (Side of a Country Lane), 1888 
Vincent van Gogh

Hospital at Saint-Rémy, 1889 
Vincent van Gogh

Harvest - The Plain of La Crau, 1888 
Vincent van Gogh

Street in Les-Saintes-Maries-de-la-Mer, 1888 
 
Vincent van Gogh

Bridges across the Seine at Asnières, 1887 
Vincent van Gogh

Peasant Woman Kneeling, 1885 
Vincent van Gogh

Sheaves of Wheat, 1890 
Vincent van Gogh

Wheat Field with Sheaves, 1888 
 
Vincent van Gogh

A Path at Saint-Rémy, 1889 
Vincent van Gogh

Portrait of Joseph Roulin, 1888 
 
Although Van Gogh, who described the hardship of peasants and workers out of a feeling of sympathy, had originally wanted to become a draughtsman and illustrator, he finally was to revolutionise the art of his century as an artist obsessed with colour, freeing it from the principle of the imitation of reality, as well as from the academies’ dictates of idealness.
 
After he moved from the Netherlands to Paris in 1886, and even more so during his two last years in southern France, Van Gogh’s palette brightened notably. The brownish hues of Salon painting suddenly gave way to the purity of glistening colours. This new colouristic intensity resulted from the artist’s immediate perception of things - he was now working outdoors, in the scorching sunlight of Provence, where he directly confronted himself with his motifs.
 
Nevertheless, Van Gogh’s original desire to be a draughtsman had an impact on the way he dealt with colour and applied it to the canvas. By the time of his suicide in Auvers in 1890, a comprehensive and intensive drawn oeuvre had accumulated; the drawings and watercolours influenced Van Gogh’s painting style profoundly, and it became a personal idiosyncrasy of his that he drew with the brush he had previously dipped into the paint, or that he applied the expressive coloured lines and dots to the canvas directly from the tube. The large, highly finished pen drawings and watercolours are equal in artistic accomplishment to Van Gogh’s paintings in all respects.