Van Gogh, The Bedroom발음듣기
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Van Gogh, The Bedroom
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[MUSIC PLAYING] DR. STEVEN ZUCKER: "Only here color is to do everything, and by its simplification a grander style to things is to be suggestive here first of rest, or of sleep in general.발음듣기
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DR. BETH HARRIS: So the passage that you just read came from a letter Van Gogh wrote to his brother, Theo, and it actually refers to the first version of this painting.발음듣기
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But the passage that stands out for me, in this painting color has to do everything, applies equally well to this painting.발음듣기
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So it's not that this is representative, it's that the formal qualities of painting itself can have its own experiential aspect, rather like music, which uses pure tone.발음듣기
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That the lines that make up these painting, that the sense of solidity, that the colors, that the harmonies between the colors, the relationship of the shapes-- 발음듣기
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And in this case, the idea that Van Gogh wanted to represent was one of peacefulness and harmony and repose.발음듣기
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DR. STEVEN ZUCKER: For so many people, they think about Van Gogh's brushwork, and they think about his biography.발음듣기
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But listening to the artist's own words you realize that his attention was on the structural qualities and the emotional qualities of color.발음듣기
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DR. BETH HARRIS: And although we can see his brushwork in the pillows-- where the paint almost seems to describe the puffiness of the pillows--발음듣기
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and even though there is a sense of the space tilting up and rushing backward too quickly and things seeming slightly askew, 발음듣기
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I do get that sense, from the painting, of Van Gogh trying to create a world here in this yellow house in Arles, where he had moved from Paris.발음듣기
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And there's something about the simplicity of the space that feels so different than the materialism and sophistication of Paris.발음듣기
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DR. STEVEN ZUCKER: The care that I meant was the care that's based on his observation, his experience in this room, his having touched that seat, his having slept in that bed.발음듣기
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His intimate experience that he's been able to convey to us with an extraordinary immediacy.발음듣기
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DR. BETH HARRIS: Think for a second of the sophistication of the Paris art world, and the expectation of a Parisian audience.발음듣기
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I think this painting must have looked like it was made by an artist who wasn't trained properly.발음듣기
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DR. STEVEN ZUCKER: And yet, here's an artist who has really worked through a catalog of the styles of the 19th century.발음듣기
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Beginning for instance, with the art of people like Millet, moving through the impressionists, and then really paying attention to the neo-impressionists, people like Seurat.발음듣기
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and here, finding a direct application of paint that, I think, for Van Gogh felt absolutely authentic.발음듣기
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I think for a lot of artists, including Gauguin at the end of the 1880s and the beginning of the 1890s, this idea of finding authentic experience and that being not the experience of the city.발음듣기
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DR. STEVEN ZUCKER: This looks back to some of the ideas that surround the work of, say, Courbet, where there's this clear contrast between the sophistication of the city and, in a sense, the truth and directness of the country.발음듣기
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This is a painting that is also meant to be a kind of invitation to his friends in the north, that he was hoping would come down and join him.발음듣기
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DR. BETH HARRIS: He has an idea of creating a rather utopian setting for artists to make art away from the city, in some sort of communion with nature.발음듣기
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