Showing posts with label Vincent Van Gogh. Show all posts
Showing posts with label Vincent Van Gogh. Show all posts

Sunday, October 16, 2022

Extended! Immersive Van Gogh is impressive Van Gogh!

It is a starry night at the Van Gogh Immersive Experience/Photo by Patricia Leslie
One of the artist's self-portraits at the Van Gogh Immersive Experience/Photo by Patricia Leslie
A huge bust of the artist at the Van Gogh Immersive Experience/Photo by Patricia Leslie

A huge bust of the artist at the Van Gogh Immersive Experience. Note changes from above as colors deepen/Photo by Patricia Leslie
A huge bust of the artist at the Van Gogh Immersive Experience covered in a likeness from one of his paintings/Photo by Patricia Leslie


I went, expecting far less and came away exceptionally surprised at the all-encompassing show where visitors seemingly float through without worries or stress. 

It's a family affair, 360 degrees of digital art and quite the introduction to classical art for the youngsters and for adults, too, who may not know as much about the artist as they thought.

Like me, for instance.  Several Van Gogh paintings on display were new to me!

Guests admire one of his vases at the Van Gogh Immersive Experience. He reportedly painted 11 vases in all/Photo by Patricia Leslie
Another vase at the Van Gogh Immersive Experience/Photo by Patricia Leslie
In the galleries at the Van Gogh Immersive Experience/Photo by Patricia Leslie

The darkened atmosphere is relaxing. Gallery going is at your own pace. No worries about elbow bumping! 

Let's just celebrate art and have a good time, shall we?

From the first revelation at the entrance of a gigantic bust of the artist (1837-1890) (correction: which is half the size of the JFK bust at the Kennedy Center) until you exit at the shop, you are ensconced in all things Van Gogh.

His bust is covered in images of his paintings which evolve into other images while you stand in awe.

Guests may sit in the artist's Bedroom at Arles at the Van Gogh Immersive Experience/Photo by Patricia Leslie
Immersion at the Van Gogh Immersive Experience/Photo by Patricia Leslie
Immersion at the Van Gogh Immersive Experience/Photo by Patricia Leslie
Immersion at the Van Gogh Immersive Experience/Photo by Patricia Leslie
At the Van Gogh Immersive Experience/Photo by Patricia Leslie
At the Van Gogh Immersive Experience/Photo by Patricia Leslie
At the Van Gogh Immersive Experience/Photo by Patricia Leslie
At the Van Gogh Immersive Experience/Photo by Patricia Leslie


A nearby timeline on the wall tells major events of the artist's life and then it's off to the first room where copies of his works (most in the same size) hang on both sides of the hall with a three-dimensional "room" off to the side.

On an adjacent wall, copies of his sunflowers hang and allow close inspection of differences.

A large vase spins with constant color changes and renditions of the blossoms which fuse one into another. 

Flowers spring up while visitors proceed to the next gallery and more images, and there is Van Gogh's bedroom at Arles which beckons guests to come in and sit for a while.

Make a picture or two.

Sight sensations and music fill senses in a pleasurable way while surround sound echoes with Van Gogh's spoken quotations:

What would life be like if we had no courage to attempt anything? 

and

If you truly love nature, you will find beauty everywhere.

The last gallery is the "immersion" room with his works illustrated on all sides in double, triple life sizes, constantly melding into another image. 

It's like being in a Van Gogh aquarium (!), beginning with the carpeting on the floor and extending to the high ceiling spanning 20,000 square feet with comfortable beach chairs, benches, bean bags, and pillows for guests to use and move about for a better spot to think, dream, meditate, and give thanks for an artist like Van Gogh.  

At the end, for $5 more, visitors may put on virtual reality headsets and attend a computer art show of Van Gogh places.

The VR hall opens to a large shop of Van Gogh merchandise at mostly reasonable prices.  Try umbrellas, earrings ($10), brooches, t-shirts (the skeleton head will be great for Halloween), posters ($14), and lots more.

What's missing here is the present location of each original work, but we are lucky in Washington, D.C. to be able to see some of them at the Phillips Collection  and still more for free at the National Gallery of Art!

Van Gogh is not dead; he lives! At the Van Gogh Immersive Experience. Come and see!

When:  Now through Thanksgiving weekend  Feb. 26, 2023. Monday, Wednesday, and Thursday, 10 a.m. - 6 p.m; Saturday, 9 a.m. - 8 p.m.; Sunday, 9 a.m. - 7 p.m. Closed on Tuesdays.

Where:  The Rhode Island Center - 524 Rhode Island Ave NE, Washington, DC 20002

Tickets:  A family pass for two adults and two children is $31.90. Separately, children under age 4 are admitted free and older children are $29.90; adults, $49.90; seniors, students and military, $37.90; groups of 15 or more, $44.90 each. ccc 

Masks are encouraged, however, not required.

Metro station:  Rhode Island-Brookland Station.  Take the ramp/pedestrian bridge directly from the Metro exit over Rhode Island Avenue  to land just steps from the show. (Ignore Google's directions which take you waaay off yonder and around several blocks.) 

Park for two hours free at the Bryant Street West lot, 514 Rhode Island Ave., NE, Washington, D.C. ccc.  Ph. 844-236-2011. 

Timing: Allow 60-75 minutes.

Let us go then, you and I

To see his works spread against the sky

Like the paintings on the walls

We'll enjoy van Gogh and all.

Oh, do not ask, "What is it?"

Let us go and make our visit.

Where the people come and go

To see the art of Vincent van Gogh*

 

*With apologies to T.S. Eliot

Patricialesli@gmail.com 



Saturday, February 1, 2014

Vincent van Gogh leaves Washington Sunday

Vincent van Gogh (1853-1890), Entrance to the Public Gardens at Arles, 1888. The Phillips Collection.  This painting is one of the first van Goghs acquired by an American museum (1930).

Where else can you find 30 Vincent van Goghs together in the U.S. other than at The Phillips Collection, where they are set to depart Sunday, Super Vincent Day?

It is the first van Gogh (1853-1890) exhibition in 15 years in Washington, the first at The Phillips, and the first anywhere to focus on his "repetitions," the word he used to call his different versions of the same subject.  They are on loan from collections around the world, juxtaposed to make changes from one to the next easier to view, detect, and discuss.

Who knew the master painted so many of the same subject?

Vincent van Gogh (1853-1890), The Postman Joseph Roulin, February-March, 1889.  Collection, Kroller-Muller Museum, Otterlo.
 

If you saw the Yes, No, Maybe exhibition which closed last month at the National Gallery of Art, you got a glimpse of  dilemmas and decisions artists face and make and the number of times they re-work results.  The theme of Van Gogh Repetitions, is to "examine how and why [van Gogh] repeated certain compositions," says The Phillips. 

Visitors will observe the evolutions of 13 repetitions with adaptations noted in shapes, positions, colors, and facial expressions.

The man whose career only spanned a decade before he died, did not hurriedly slosh paint upon the canvas outdoors, a mental picture many van Gogh fans may share:  There he is, standing in the fields with brush and easel along a dusty road, amidst the tall sunflowers wearing a hat with a large brim to shield his already-sunburned head from the sun and heat. Repetitions "shows how the artist was also methodical and controlled." 

The display opens with The Road Menders (1899) from The Phillips and another version on the adjacent wall painted in the same year, The Large Plane Trees, on loan from the Cleveland Museum of Art.  Stand and compare the two and note variations.   Which do you think he painted first?  Are the styles the same?  Does one have brighter colors?  More life?

Drawn from The Phillips' collection in the second gallery are paintings by artists who influenced van Gogh, who had personal connections to many: Delacroix, whom van Gogh called "the greatest colorist of all," Seurat, Cezanne, Toulouse-Lautrec, Daumier, Millet, Rembrandt, and, of course, Gauguin, are some. Van Gogh copied many of them and built a personal print collection of 3,000 images which he used as basis for his own productions. 

From there to the next, to the next gallery, the paintings flow, a vast van Gogh bliss for followers.
 
One version of three of The Bedroom at Arles (1889)  (yes, it is that bedroom, the one which immediately leaps to mind) is included.  Text reveals van Gogh made all the walls in each Bedroom violet, however, time has turned some of the reds into blue walls.

Vincent van Gogh (1853-1890), The Bedroom at Arles, October, 1889. Musee d'Orsay, Paris.
 
Six works of Postman Joseph Roulin from 1888-1889 are included.  Notable for its sharp contrasts from all the rest is the Winterthur version done when Paul Gauguin was visiting van Gogh, urged by his temporary housemate to become bolder, more abstract, and modern.

That rendition looks unlike the van Goghs you know, and the stilted subject sits in a weird way with his head tilted and his eyes seemingly focused on separate points, its exceptions extreme in a garish way, almost a character from a haunting novel.

Only one of Joseph Roulin is signed, the Barnes' Roulin, which The Phillips calls "the most naturalistic" of three done in 1889, and it is that one which appears to be the most popular, one I know well, a print of it purchased long ago somewhere that now hangs in my bedroom.  

The postman was a friend to van Gogh, helping and visiting the artist when he was in the hospital at Arles.  Van Gogh loved the Roulin family and painted individual portraits of all the family members, all found in the presentation.

Vincent van Gogh (1853-1890), Lullaby:  Madame Augustine Roulin Rocking a Cradle (La Berceuse), February-March, 1889. Museum of Fine Arts, Boston. Bequest of John T. Spaulding
 

Accompanying the show is a catalogue published by Yale University Press with 125 color illustrations and available at the shop or onlinePreparation and research for Repetitions began eight years ago.  A cell phone tour provides more information.

If you miss Repetitions  at The Phillips, you may travel to Cleveland where it will be staged from March 2 - May 26, 2014.  The Phillips and the Cleveland Museum of Art organized the show.  The Musee d'Orsay was a major lender, and Lockheed Martin, a major sponsor.
Valentine's Day Travel Discount
What:  Van Gogh Repetitions

When:  Now through February 2, 2014.  Saturday, from 10 a.m. - 5 p.m., and Sunday, 11 a.m. - 6 p.m.

Where:  The Phillips Collection, 1600 21st St., N.W. at Q St., Washington, D.C.  20009

Tickets:  $12, $10 for those over 62, and free for members always, for children 18 and under, and for students (with I.D.).   Advance ticket purchase, highly recommended since tickets are timed.

Metro Station:  Dupont Circle (Q Street exit.  Turn left and walk one block.) 

For more information:  202-387-2151

Patricialesli@gmail.com





 

Friday, February 10, 2012

'Van Gogh' opens in Philadelphia, the only U.S. venue


Now through May 6, 2012.

Undergrowth with Two Figures, 1890. Vincent Willem van Gogh, Dutch, 1853 ‑ 1890. Oil on canvas, 19 1/2 x 39 1/4 inches (49.5 x 99.7 cm). Cincinnati Art Museum, Bequest of Mary E. Johnston


For art museums, Vincent van Gogh (1853-1890) is a magnet, comparable to The Nutcracker for ballet companies. Expect thousands.
For anyone with the slightest interest in this most famous artist who died at age 37, the Philadelphia Museum of Art exhibition is absolutely “must see.” It stunningly illustrates how the mysterious painter changed the course of modern art.
The show focuses on van Gogh's last four years (1886-1890) beginning with his residency in Paris where he met impressionists whose works affected him so acutely, he changed his brushstrokes and moved to bold colors from the greys and somber hues of paintings he created in the Netherlands and Belgium.

Iris, 1889. Vincent Willem van Gogh, Dutch, 1853 ‑ 1890. Oil on thinned cardboard, mounted on canvas, 24 1/2 x 19 inches (62.2 x 48.3 cm). National Gallery of Canada, Ottawa

In the first gallery visitors will certainly find a cure for the wintertime blues: Portraits of poppies, irises, roses, zinnias, and sunflowers in bright, happy colors are the theme. (After all, said the museum's senior curator, Joseph J. Rishel, van Gogh was a Dutchman who knew a lot about flowers.) 

From there, guests are introduced to the "Blades of Grass" gallery which focuses on the world under van Gogh's feet, and nature which comforted the artist amidst turmoil. ("I...am always obliged to go and gaze at a blade of grass, a pine-tree branch, an ear of wheat, to calm myself," he wrote his sister in 1889.)

Rain, 1889. Vincent Willem van Gogh, Dutch, 1853 ‑ 1890. Oil on canvas, 28 7/8 x 36 3/8 inches (73.3 x 92.4 cm). Philadelphia Museum of Art. The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny


Landscapes of Arles, Saint-Remy, and Auvers and their horizons figure prominently in another gallery, followed by hidden forests and sunlit dappled scenes.



Undergrowth, 1887. Vincent Willem van Gogh, Dutch, 1853 ‑ 1890. Oil on canvas, 13 x 18 1/8 inches (33 x 46 cm); Framed: 20 1/4 x 25 3/8 inches (51.5 x 64.5 cm). Centraal Museum, Utrecht, Netherlands


The infrequent inclusion of people are seen at a distance, none close enough to have facial features for they are not so important here.


One side gallery includes examples of prints from Japan, identical to the hundreds owned by van Gogh and his brother, Theo, pieces which influenced Vincent and show up in his paintings, including the last one in the show, Almond Blossom, created to celebrate the arrival of Theo's son, Vincent's namesake, born January 31, 1890, only a half year before his uncle died.
Philadelphia Museum of Art's Senior Curator of European Painting Before 1900, Joseph J. Rishel, in front of van Gogh's Almond Blossom (1890)/Patricia Leslie


It seems like the show includes more than 40 works, perhaps because of the smart layout.   Many are uncommon paintings, borrowed from private collectors and museums around the world: the Art Institute of Chicago, Baltimore Museum of Art, Basel, Carnegie Museum of Art, Cincinnati Art Museum, Cleveland Museum of Art, Copenhagen, Dallas, Dresden, Geneva, Honolulu, London, Madrid, Metropolitan Museum of Art, Musee d’Orsay, St. Louis Art Museum, Stockholm, The Hague, the National Gallery of Art, Philadelphia Museum of Art, the Phillips Collection, Tokyo, Utrecht, Virginia Museum of Fine Arts, Zurich, the van Gogh Museum in Amsterdam and the joint co-organizer of the five-year project, with the Philadelphia Museum of Art, the National Gallery of Canada in Ottawa.

Sun Life Financial and GlaxoSmithKline were major underwriters.

The press preview drew far more representatives than any recent press event, said museum director, Timothy Rub, which leads to expectations of greater than the 300,000 who came for the last van Gogh show at the museum about 10 years ago, and the one before that in the 1970s when 200,000 visited.

Philadelphia will be the season's national art destination, boasted Mr. Rub and Gail Harrity, museum president.
An audio tour included with the entry price expands the van Gogh experience, and movies about van Gogh and lectures complement the presentation on various dates. (Check the schedule here.)
It’s an easy and comfortable day trip to Philadelphia from Union Station on Amtrak (made more pleasant by a 15% van Gogh discount), and early train reservations reduce costs. (For those who have not traveled recently on Amtrak, there is plenty of leg room, no restrictions on taking food and beverages on board, free Wi-Fi, and the best benefit of all: no security checks, hassles, or long line waits.)
Amtrak stops at Philadelphia's 30th Street station where a short taxi ride of less than $10 can carry passengers to the museum. Hotel discount packages are available, too.

Go before crowds make viewing difficult. Or travel to Ottawa beginning May 25 through September 3 where the exhibition moves to the National Gallery of Canada.


A Pair of Shoes, 1887. Vincent Willem van Gogh, Dutch, 1853 ‑ 1890. oil on canvas, 12 7/8 x 16 5/16 inches (32.7 x 41.5 cm). The Baltimore Museum of Art: The Cone Collection

What: Van Gogh Up Close


When: Now through May 6, 2012, every day except Monday (exceptions: February 20 and April 30), open 11 a.m. – 5 p.m., Tuesday through Thursday, 11 a.m. – 8:45 p.m., Friday, and 10 a.m.- 5 p.m. Saturday and Sunday (until 6 p.m. Saturday and Sunday beginning April 7 through May 6)

Where: Philadelphia Museum of Art, 26th Street and the Benjamin Franklin Parkway
Philadelphia 19130

Admission: $25 (adults); $22 (seniors; age not specified); $20 (students and youth, ages 13-18); $12 (children, 5-12); and under age 5 and members, no charge.

Getting there from Washington: Amtrak (please see above) or take a bus (not the Chinatown!), car, or plane

Tickets: 215-235-7469 (service charge added) or online
For more information:  215-763-8100 or visitorservices@philamuseum.org.

Sunday, March 22, 2009

Van Gogh Film Premiere in Washington

It was a sold-out audience at the Natural History Museum’s IMAX theatre on St. Patrick’s Day Night. We came to see anything about Van Gogh; we were not disappointed.

The title was "Brush with Genius," and it was the Washington, D.C. premiere.

The music, the telling, the art, the scenery gave much to delight. The paintings became the scenes which became the paintings in gentle descriptions. All told by Van Gogh "speaking" mostly from the letters he wrote describing his life, his passion, his tribulations.

Many galleries in the Van Gogh Museum in Amsterdam served as locale for some scenes all of which were filmed on location in the Netherlands and in France. Many of the paintings were new to me. Van Gogh “said” his passion near the end of his life drove him to paint sometimes three canvasses a day.

Effectively interspersed throughout was actual filming of the movie by the co-creator (with Francois Bertrand), Peter Knapp, passionate Van Gogh aficionado.

By the minute (about 40 total) it was likely the most expensive movie I've ever seen, however, the value far exceeded the cost. Another hit by the Smithsonian Associates!

Sunday, July 13, 2008

Party at the Phillips

Was there a party going on?

It sure seemed like it Thursday evening at the Phillips Collection, with a young lawyers association taking a private tour of the Jacob Lawrence Migration Series, the Brett Weston lecture in the auditorium, and the Gallery Talk on Vincent van Gogh's and Pierre Bonnard's paintings. Whew!

It was a race to get to all the places, paintings, and lectures I wanted to see and hear.


First off, the Brett Weston lecture, presented by the curator of the show, Stephen Bennett Phillips (any relation?), at 6:30 p.m. was delivered not only to a SRO crowd in the large, nice, new auditorium which seats 180, but also to a SRO crowd in a nearby overflow vestibule which heard the lecturer on remote and saw Weston's photographs on a large screen like the viewers saw them in the auditorium.


The Phillips' Brooke Rosenblatt wrote me the count was 197. Not bad for an art lecture in Washington, D.C. on a Thursday evening in July.

The retrospective show is entitled: "Brett Weston: Out of the Shadow" and will travel to the Santa Barbara Museum of Art after it ends at the Phillips September 7. Mr. Weston (1911-1993) was a photographer of the Southwest like his father, Edward Weston (1886-1958) who also has some art in the exhibit. It's interesting to compare the subjects and styles of father and son, black and white, stark photographs.

Edward Weston, whom Wikipedia calls one of the "greatest photographic artists" of the 20th century, was "almost" a manic depressive, Mr. Phillips said, and his illness is evident in some of his photographs (a dilapidated car, a chair). He was later struck by Parkinson's disease.


Brett Weston's photographs "pushed abstractionism" which Mr. Phillips mentioned several times. Brett Weston joined the Army in 1943, working in the Signal Corps as a photographer in New York City where he practiced and honed his art. On his way to a post in Texas, he was "transformed" by the white sands he saw, and some of his best shots are of contrasts in shadows, sand, and silhouettes. He loved California and the West Coast.

He wanted to shoot photographs of things "as they were," Mr. Phillips said. Many of his photos include sun and water and a empty, dark center. He was married four times, the longest marriage lasting four years, and his career, not surprisingly, took precedence over his wives.

When Mr. Phillips' presentation ended, I flew up three flights of stairs to find the “gallery talk” at 7 which took some doing since none of the five staff members I asked, knew where the group was. A new acquaintance, also hunting the gallery talk, and I were quite happy to eventually locate the talk already underway.

Standing in front of the first of three paintings of southern France and the Mediterranean which she described in the half hour talk, Lois Steinitz was engaging, informative, and delightful, and the crowd grew.

She began with Pierre Bonnard’s “The Open Window,” then his “The Palm,” and lastly, "The Road Menders" by Vincent van Gogh (1853-1880). Leading us from one painting to another, she contrasted the differences in the colors the painters selected: Bonnard’s bright and sunny scenes; Van Gogh’s, mute and practically monochromatic choices. Until she pointed them out, I was unaware of the "anthropomorphic" characteristics in the "Road Menders," and suddenly, the trees and lamppost came alive as people. The trees grew arms and legs, sometimes four, right before my eyes. (All it takes is an "awakening.")

Bonnard (1867-1947) inserted his wife in many of his paintings, and there she was: hidden in the right corner of “The Open Window” and standing, like a ghost holding an apple (suggesting Eve, Ms. Steinitz offered) at the front of the otherwise colorful “Palm.”

A truly captivating evening for art lovers and well worth a Phillips membership or single admission price. Did I mention the Diebenkorn show?