Vincent's Yellow

a[n] [auto]biography and a love story.

Everything the Kröller-Müller Museum can offer you

I spoke about the Kröller-Müller Museum in a previous post, while I was there, but at the time I could not offer any photos. This museum is probably one of my favorites in the whole world now, not just because it emerged from the largest private collection of Vincent’s work ever, but because it is situated in the exquisite National Park the Hoge Veluwe in Gelderland (that’d be south-east Netherlands), which consists of about 13,600 acres of wilderness (or 5,500 hectares). While Vincent’s hometown was a bit west of here, I still found many, many vistas that reminded me of him and his work.

A beautiful forest greeted me on the west end of the park, and then it was a four kilometer bike ride to the museum, nestled in its heart. On the way there, you saw this:

Alright, alright enough of the park already! I wish I could share all of my photos in this entry, but there are way too many. If you want to see more, be sure to click on any of the photos to take you to the photo album.

So, I’m already pretty overwhelmed by the views, and then I get to the museum, and to Vincent. I’ve rarely felt like I was drowning in beauty before, but I have never felt so creatively exhausted as I did that day (I had, of course, taken a train from Amsterdam that morning, but that’s besides the point).

Finally, I give you, some of my photos of Vincent…

Wheat stack under a cloudy sky (July 1890)

Normally, I scoff at those who try to equate Vincent’s passionate brushwork with mental anguish (he writes again and again in his letters that he feels most at peace when he paints, and cannot paint at all when he is ill), but this painting, the first I saw, broke my heart a bit. It was made in the last month of his life, and there is something uncontrolled, muddy and impatient in his work here, particularly in the foreground, that hurt to look at…

The rest, however, is masterly.

The garden of the asylum at Saint-Remy (May 1889)

I love how two-thirds of this painting consists of the blossoming trees.

Wheatfield with Reaper and Sun (late June 1889)

Almost can’t find the reaper here… so much yellow! And my, how it sings…

Self-Portrait (April – June 1887)

It is only after my trip to Europe that I truly began to know his face: the blue-green eyes, the high cheekbones, the bent nose and red hair that pops. Also, his gaze: steady, curious, vulnerable…

Rose and Peonies (June 1886)

He quite often signed his work in red, usually to set off and accentuate the green in the composition – red’s complementary color. Also, this rose totally reminded me of the rose from the day before in Amsterdam.

God, I love his piles of paint. This one is just a whirlpool of pink vertigo.

Portrait of Joseph-Michel Ginoux (December 1888)

I don’t think I’ve ever seen a print of this painting before, and is it ever striking in person! I couldn’t shake the feeling that I was in fact looking at the real man…

Road with cypress and star (May 1890)

Always a couple in the foreground, and a cypress as the bridge between heaven and earth…

I end this entry with one of his stars.

If you enjoyed the photos, don’t forget to explore the rest (I have 87 photos from that day!) by clicking on any one of them here.

Happy Monday. :)

Mon, September 14 2009 » Photo entries, Research, Travel

5 Responses

  1. Judy Veramendi September 14 2009 @ 14:18

    Wow you can really feel the texture!! Everything, just spectacular!

  2. Timmy Caldwell September 17 2009 @ 21:14

    thank you thank you thank you for being our eyes.

  3. Mitzi Byro March 6 2012 @ 11:21

    You have brought up a very excellent points , thanks for the post.

  4. Teresa March 8 2012 @ 12:13

    You are very welcome!

  5. Giovanna Rissanen June 5 2012 @ 07:28

    I like the helpful information you provide in your articles. I’ll bookmark your blog and check again here regularly. I am quite certain I’ll learn many new stuff right here! Best of luck for the next!

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