Book Description
Ian Buruma returns to his native land to explore the great dilemma of our time through the story of the brutal murder of controversial Dutch filmmaker Theo van Gogh at the hands of an Islamic extremist.
It was the emblematic crime of our moment: On a cold November day in Amsterdam, an angry young Muslim man, Mohammed Bouyeri, the son of Moroccan immigrants, shot and killed the celebrated and controversial Dutch filmmaker Theo van Gogh, great-grandnephew of Vincent and iconic European provocateur, for making a movie with the vocally anti-Islam Somali-born Dutch politician Ayaan Hirsi Ali that "blasphemed" Islam. After Bouyeri shot van Gogh, he calmly stood over the body and cut his throat with a curved machete, as if performing a ritual sacrifice, which in a very real sense he was.
The murder horrified quiet, complacent, prosperous Holland, a country that prides itself on being a bastion of tolerance, and sent shock waves across Europe and around the world. Shortly thereafter, Ian Buruma returned to his native country to try to make sense of it all and to see what larger meaning should and shouldn't be drawn from this story. The result is Buruma's masterpiece: a book with the intimacy and narrative control of a true-crime page-turner and the intellectual resonance we've come to expect from one of the most well-regarded journalists and thinkers of our time. Ian Buruma's entire life has led him to this narrative: In his hands, it is the exemplary tale of our age, the story of what happens when political Islam collides with the secular West and tolerance finds its limits.
Customer Reviews:
Informative Read!!.......2007-09-29
"Murder in Amsterdam" was able to shed new light on the immigration plight that The Netherlands is experiencing. The author explains how some of the immigrants, especially the second generation, are having a difficult time assimilating into a compeletely different culture than that of the Middle East. Ultimately, many of these immigrants, probably more so the males (since they have more freedom) find themselves being sucked into the thoughts and ways of radical Islam.
I thought this book was divided up pretty well. Not only does the author explain why and how the death of Van Gogh happened, but he also mentions how other political leaders in that country are also targeted by radical Islam. There is also a chapter devoted to Van Gogh's killer.
In doing so, he relates this to how the Dutch culture has felt guilty for turning a blind on the Jews during the Nazi occupation. For this reason, the Dutch feel that they need to be more tolerant to present day immigrants, mostly from Morocco and Turkey. But too much appeasement, may be doing more harm than good. In addition, the Netherlands since the 1960's is becoming more secular which makes it easier for radical Islam to penetrate a country that doesn't hold much religious convition.
I had no idea that Van Gogh's and Pim Fortuyn's murder had such a great impact on this tiny nation. If anyone is looking for a closer read on not only the murders, but the national psyche of the Netherlands, then "Murder in Amsterdam" will be a fulfilling read.
Problems of Muslim Community in Europe.......2007-07-16
This is not a murder mystery. We learn up front about the death of Theo van Gogh, why he was killed by Mohammed Boyeri over a film critical of Islam he made with Ayaan Hirsi Ali. The book explores the life and thought of these three Dutch persons in great detail. The real topic of the book is given by the last line of the subtitle, what are: "the Limits of Tolerance" in an open, democratic society towards culturally very different immigrants?
The Netherlands has a Muslim minority of about 15 percent, immigrants and descendants of immigrants, who form a separate community which is assimilating to Dutch ways only slowly if at all. Virtually all intend to maintain their adherence to Islam, and Islamic culture. How great differences can a society tolerate? Surely not murder, not killing for religious, political, or family honor reasons. Can a western society tolerate polygamy, permitted by the Koran? Sending children "home" to be religiously educated in a madrasa, and to learn the parents' language to the exclusion of the national language? Forced marriage of young women?
Ian Buruma, a journalist who grew up in the Netherlands, is well placed to explicate many of these issues. In Theo van Gogh he examins a writer who was outspokenly critical of Islam and the multi-cultural ideal. In Hirsi Ali he assesses a woman who has entirely turned away from her birth culture, and in Boyeri the exact opposite, a Dutch born individual who became an Islamist radical. The role of the Islamic immigration community is a major issue in Europe today. The book is well worth reading for examining part of this question through the life of three individuals.
Beyond right and left.......2007-06-20
Most of the reviews of this books have misunderstood the complexity of its story. Some seem to have been looking for a book that confirmed their prejudices about Muslim immigrants in Europe. Instead, Buruma tells a story that cannot be assimilated to either the ¨¨war on terror¨¨ or apologistsfor terrorists. He paints a picture of a society which is tolerant of lifestyles but very homogeneous culturally and perfectly happy to stay that way. Tolerance means becoming Dutch and any conception that a person could be Dutch and a devout Muslim seems inconceivable to many of Buruma's compatriots. This is in spite of the fact that he interviews many Dutch muslims who see no contradiction in that identity and are in that way like millions of Muslims in the US. The circumstances of Van Gogh's murder are explained straignt-forwardly and the author offers no excuses for the murderer. But he does make it clear how Dutch society creates the conditions in which people like that develop. That is not the same as justifying or apologizing. Read this book with an open mind and a willingness to chalenge all your presuppositions--whether they come from Bernard Lewis or Noam Chomsky. This is not a book to comfort those who already think they know the truth.
much more than a murder.......2007-06-19
more than the murder of Theo Van Gogh the author explores how such a thing could happen in small liberal loveable Holland of all places.How could such a place welcome people from all over the world allowing Amsterdam to become 45percent foreign born now be a place where freedom of speech is dangerous?How does it follow that this enourmous population of Moroccans and Turks who receive every possible state assistance and then some be so resentful of the country that welcomed them?
Holland is of course, a microcosm of the European Welfare State.
I think many of Burumas"s explanations for the turn of events happening in Holland described by other readers are interesting but the one that captured me was the collective feeling of guilt which started in the 60s when the world finally faced and spoke of the Holocaust. With some exceptions such as Anne Frank most of the country and the rest of Europe as well did little but watch their citizens be hauled away to be murdered.Now with the facts out in the open the Europeans had to face their share of the blame and the guilt.Surely they would be careful never to be racist again.Very very careful.
And who should arrive just about then but first the Moluccans and Surinamese(who after all were Dutch Citizens)paving the way for the Turks and Moroccans to do the dirty work the Dutch would not and then their families and then anyone who called themselves "refugees".This continues to this day.
So the irony is that guilt for the slaughter of the jews is what allows the Europeans to bend over backwards enabling and protecting the people who would slaughter the jews again.
And need I mention bringing about the demise of western civilization.
Lots to Digest.......2007-03-04
My headline is not original. It's a quote from another review below. I used it because it is so apt.
Buruma's writing flows. It's like having coffee with him as he recounts his experiences with Theo and describes Theo's life, TV show and art. He explains the earlier, but separate, murder of Pim Fortuyn. The flamboyant libertarian/conservative Fortuyn, killed by an animal rights activist, credits the Enlightenment with his ability as a gay man to be elected to public office. He saw the intolerance of Muslim culture as a threat to the fullfillment of civil rights that Dutch society has finally evolved to provide.
Most provocative are Buruma's interviews. He meets with Ayaan Hersi Ali and (something like) her Dutch foster family. He talks with a psychiatrist, friends of Theo, Theo's mother, young Moroccan women who work in a shelter for Muslim women, welfare workers, teachers... and many others representing a wide range of opinion.
Buruma explains how WWII and its myths and legends hang over the Netherlands of today. Buruma cites the influence of this recent past on the immigration policy and the climate of tolerance. The book takes us to the last "home" of Anne Frank and into "dish cities". The question posed by the subtitle, how to be tolerant of an intolerant society is debated on many levels.
I highly recommend this book.
Book Description
The mesmerizing true story of Vincent van Gogh and Paul Gauguin in the most celebrated cohabitation in art history.
From October to December of 1888, Paul Gauguin shared a yellow house in the south of France with Vincent Van Gogh. Never before or since have two such towering artists occupied so small a space. They were the Odd Couple of art history--one calm, the other volatile--and the denouement of their living arrangement was explosive. Two months after Gauguin arrived in Provence, Van Gogh suffered a psychological crisis that culminated in his cutting off part of an ear. He was institutionalized for most of the rest of his short life and never saw Gauguin again.
During the brief, exhilarating period they worked together in Arles, these not-yet-famous artists created a stream of masterpieces within the shared studio--including Van Gogh's Sunflowers, which decorated Gauguin's bedroom wall. Making use of Van Gogh's voluminous correspondence and new evidence, Martin Gayford describes not only how these two hallowed artists painted and exchanged ideas, but also the texture of their everyday lives. He tells us what they cooked and how they budgeted their meager finances and entertained themselves, and he movingly relays their inner fears and dreams. Gayford also makes a persuasive analysis of Van Gogh's mental illness--the probable bipolar affliction that led him to commit suicide at the age of 37. THE YELLOW HOUSE is a singular biographical work as dramatic and vibrant as the artists' pictures.
Customer Reviews:
Two Giants Make House Together.......2007-03-15
One of the most famous episodes of disastrous behavior by an artist is the tormented Vincent van Gogh's cutting off his ear. People who don't know anything else about the artist, or anything about art, know about the spectacular self-mutilation. There is more to the story, of course, and the excision of the ear is certainly not the most important part of van Gogh's life, but it did provide a climax to an important episode in that life, the collaboration between van Gogh and Paul Gauguin. In _The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles_ (Little, Brown), art critic Martin Gayford has recreated almost a day-by-day account of the time the two painters lived together, painted together, stimulated one another, and got on each other's nerves. It is a period that art historians have probed ever since van Gogh's postmortem fame, and while there have been recent discoveries made about details of the collaboration, Gayford's book in its chronological account gets close inside the minds of the two giants as they muddled their way through their period as housemates. Though Gayford tells in abbreviated form about what went on in their lives before and after their sharing of the Yellow House, the concentration on this particular period is wonderfully illuminating.
Van Gogh arrived in Arles in February 1888, and on his walks spied the Yellow House, which he leased for five months. He was well known as a loner, but he had long dreamed of making a colony for artists who would collaborate together; it wasn't that they would work jointly on their canvases, but they would "live and paint together - different in individual style but sharing a common aim, exchanging ideas, commenting on each other's work." Vincent's brother Theo, an art dealer in Paris who lent support in multiple ways to his brother, hoped that it would be good for Vincent to have a companion, and offered Gauguin, whose paintings Theo brokered, a stipend to move in. Shortly after Gauguin's arrival, they proceeded out to paint the autumn foliage of Arles. They would carry out their gear, set up a few yards from each other, and work simultaneously on parallel subjects. There are thus fascinating pairs of paintings to show what the two artists made of the same subject. They talked about their work, they criticized and praised, and for the first weeks all was well. Gradually, however, van Gogh began to behave in ways that Gauguin could not accept or change. The exact reason for van Gogh's peculiar behavior has been retrospectively diagnosed with a dozen maladies, but Gayford makes the case (already made by others) that van Gogh had bipolar disorder (also known as manic-depression). In the particular case of the Yellow House there were other strains. "The claustrophobic pattern of life," writes Gayford, "would have put a strain on the most phlegmatic pair of friends."
Toward the end of the collaboration, van Gogh was strained by the chromatic complexities of his portrait _La Berceuse_. He was drinking, and alcohol always made him more erratic, and he was worried about Gauguin's departure; Gauguin had written to Theo, "Vincent and I are absolutely unable to live side by side without trouble caused by incompatibility of temperament and he like I needs tranquility for his work. He is a man of remarkable intelligence whom I esteem greatly, and I leave with regret, but it is necessary." Van Gogh had taken to wandering at night and winding up near Gauguin's bed, disconcerting his companion. At one point, after consuming an absinthe, van Gogh hurled the glass at Gauguin. On 23 December, van Gogh rushed menacingly in the dark upon Gauguin, and (if the report of the latter is to be believed) did so with a straight razor. Gauguin escaped to a hotel, van Gogh returned home, took the razor, and sliced off his ear. Gayford analyzes possible sources for the self-mutilation, from the Gethsemane story to a newspaper report about Jack the Ripper cutting off the ears of one of his victims. The police were called to the Yellow House to pack van Gogh off the to hospital, where in his delirium he called repeatedly for Gauguin. Gauguin, however, claimed that a visit would make things worse, and left for Paris; they never saw each other again. Gauguin indeed was off to the tropics, and van Gogh was off for a year and a half of hospitalizations and remissions and astonishing productivity, ending in his suicide. Gayford's account measures each day and week in the collaboration with fitting detail, and always concentrates on the paintings that the two men produced during the time. It is the paintings, of course, that matter, not the incivility, neuroses, or madness of the painters. Van Gogh himself declared, "Old Gauguin and I understand each other basically, and if we are a bit mad, what of it?"
Vincent and Paul.......2007-03-04
A greatly enjoyable book. While focussed on just nine weeks in Arles, the narriative darts back and forth over the past lives of Van Gogh and Gauguin in the attempt to explain their specific actions that took place in and around the famous Yellow House.
Martin Gayford does not claim to have written an academic history, but one attempting to shed clarifying light on the actual motivations, thoughts and techniques that resulted in some of the Western world's greatest art. I think the author succeeded in his objective.
Good info, poorly organized; grammatical problems.......2007-02-08
Yes, I have loved Van Gogh forever, and I've read many of his bios. This book has loads of fascinating details, but is poorly organized despite its chronological sequence. Gaylord confusingly moves, from 1888, back and forth, creating disjointed scenes of Van Gogh's past, pieces of art (stupidly printed in black and white, when the author talks over and over about the importance of color), or a place, that he loses the content and context constantly.
His editors don't know how to use commas; and his editors don't seem to know when to reorganize his writing in a way that emphasizes Van Gogh.
Tangents on Paul G. are weirdly excessive, yet shed no light on their relationship. Missing is any reasonable discussion of their alleged duel, and yet, the author takes great liberty in suggesting a confrontation amidst the two with Van Gogh carrying an alleged razor (But where is the source of this conclusion)?
Then the info stops. And starts, and is told in a way as manic and unmanageable as Vincent's disease.
This book is worthy for the author's interesting research and revelations. But the book is a poorly organized hodge podge of this research.
Also: he suggests Van Gogh's funeral in Auvers with no further insight. I've been to Vincent's grave in Arles.
The author would have been smart to clarify why Arles as the final resting place of not only Vincent, but his brother, Theo, right next to him as well.
Lots of great data poorly organized; lots of incomplete data, but well worth the price of the book for the facts you can find here and there.
No sound footnotes, vague explanations of translations, and a poor bibliography make me wonder how well the subject was researched.
Lorraine Keenan
insight into the mind and soul of the great painter.......2007-01-10
This book gives us insight into the mind and vision of Van Gogh. A very good read.
Well-Researched Art Biography.......2006-12-12
Most people have heard of Vincent Van Gogh, the famous--or infamous--nineteenth-century artist. He's the one who painted Starry Night and various Sowers and Sunflowers, among a very few. But he is also notorious as the deranged artist who cut off his ear in 1888.
What lead to this act of self-mutilation, this event known as "the Crisis"? In the weeks leading up to the Crisis, Van Gogh shared a cramped studio with another renowned artist, Paul Gauguin. Located in the southern French town of Arles, the Yellow House became the setting for one of art history's oddest pairings.
In hopes of changing the future of art, Van Gogh and Gauguin agreed to a period of collaboration. Great things indeed happened. But with such disparate personalities, the idyll of the artists' dream didn't last.
Martin Gayford presents an intimate look into a critical period in art history. Dogged research not only into letters written by Van Gogh and Gauguin, but through public records and more, has allowed Gayford to surmise what daily life must have been like for the two artists that autumn.
Art enthusiasts interested in either artist's story will find THE YELLOW HOUSE a fascinating study. Casual purveyors, however, might find their attention wanders when Gayford gets into minute details that mean more to an artist than the average person, such as the weather on a given day. Overall, this accounting of "nine turbulent weeks in Arles" is well done. It is less dry than many biographies, and there is a real sense of the rise and fall of the Yellow House studio, and the enormous emotional impact on all those involved.
This is a definite recommendation for readers interested in Vincent Van Gogh, Paul Gauguin, and/or art from that period. Readers who are only interested in the Crisis may be surprised to learn a lot more than they expect, as well.
Reviewed by Christina Wantz Fixemer
12/11/2006
4.5-Books on WUAT = S-Stars on Amazon
Average customer rating:
- the most original artist of his time
- A GREAT JOURNEY WITH VAN GOGH
- A Quality Work!!
- Didn't see the exhibit? Read the book!
- brillant
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Van Gogh's Van Goghs
Richard Kendall
Manufacturer: Harry N. Abrams
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Van Gogh: The Complete Paintings (Klotz)
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Degas
ASIN: 0810963663 |
Amazon.com
This lavish but manageable book is the catalog for one of the most successful van Gogh exhibitions ever (at the National Gallery of Art in Washington, D.C., through January 3, 1999, and the Los Angeles County Museum of Art from January 17, 1999, to April 4, 1999). Judging from the haunting, beautifully reproduced paintings and drawings in the book--which range from the iconic to the rarely seen--it is easy to see why hordes of people keep pressing through overcrowded galleries to get a glimpse of the originals. The ones here are all from the Van Gogh Museum, Amsterdam, where most of Vincent's work resides.
Author Richard Kendall does a heroic job of writing van Gogh's tortured story one more time. Few artists have analyzed their own work with the clarity and insight Vincent brought to his. And Kendall relies heavily on Vincent's letters to his brother Theo, giving the reader broad access to the ultimate expert, the painter himself. The wealth of color plates is intoxicating--70 paintings, including The Potato Eaters and other early, gloomy works, a dozen self-portraits, Almond Blossom, Wheatfield with Crows, Butterflies and Poppies, The Bedroom, The Zouave, and The Courtesan (van Gogh's take on a Japanese geisha in full regalia).
It seems trivial to further praise the book's designers for holding it to only 150 pages, but the length makes an important difference. This is a volume that fits comfortably on the lap, to be perused and enjoyed at close range, for hours if you want, and not just displayed in unwieldy glory on a coffee table. --Peggy Moorman
Book Description
The brilliantly colored paintings of Vincent van Gogh (1853-1890) are loved around the world. This stunning volume accompanies the largest exhibition of the artist's works outside the Netherlands in more than 25 years. The show opens at the National Gallery of Art, Washington, D.C., in October 1998 and at the Los Angeles County Museum of Art in January 1999.
This unique group of paintings is from the extraordinary collection of the Van Gogh Museum, Amsterdam, home to the single greatest assemblage of the artist's paintings, drawings, and letters. The collection is based on works acquired directly from the artist by his brother Theo, an art dealer and the source of Vincent's financial and emotional support. Among the museum's treasures reproduced here are some of the best-known images in art: Potato Eaters, The Bedroom, Self-Portrait as an Artist, Harvest, and Wheatfield with Crows.
Richard Kendall's essay addresses Van Gogh's major themes and the different phases of his career. John Leighton contributes a history of the Van Gogh Museum and a biography of the artist.
Richard Kendall is an independent scholar.
John Leighton is director of the Van Gogh Museum
Customer Reviews:
the most original artist of his time.......2004-07-09
Vincent van Gogh is the artist who I feel I relate to most on a personal level. His demons are my demons. His yearning to some day find "the right girl" is my yearning. His spiritual faith in God is my spiritual faith. His weaknesses are my weaknesses. His strengths are my strengths. I'm very fond of van Gogh. He made many mistakes, including getting involved in a doomed love affair with a prostitute, or how he cut off his earlobe in a fit of anguish. Well, okay, I identify with him but that's something I've never been tempted to do haha. Vincent was a troubled and tormented and deeply under-appreciated artist in his day, only managing to sell one or two paintings in his life. Now he is among the very most popular. His works sell for many millions, even minor works.
David Rehak
author of "Love and Madness"
A GREAT JOURNEY WITH VAN GOGH.......2001-11-15
One of the best pieces that I ever read explaining paintings along the different periods which were passed by Van Gogh. Also, it gives a complete ride through his life and personality.
A Quality Work!!.......2000-08-29
I have this book and I am so glad ,I discovered it. I am, a painter,and have always been influenced by Van Goghs work. However most of the books I own do not have very good quality , printing .This book however is excellent! It is very close to , standing in front of the original painting. I would recomend this book to anyone that loves Van Gogh. I am so proud to make this book a part of my art library. Get it while you can!!
Didn't see the exhibit? Read the book!.......2000-05-06
The next best thing if you weren't able to make it to this record-breaking exhibition in Washington and Los Angeles. This book, an overview of the exhibition, is an extremely thorough and interesting overview of the 70 works on display. But it's more than that. I was very impressed with Richard Kendall's commentary in the book. Not only is this a comprehensive and thoughtful look at the "Van Gogh's Van Goghs" exhibition, it's also an excellent look at Van Gogh's life and career--period. I might have expected this--this major exhibition was superb and this catalogue is a worthy companion. Exhibition or not, this book is first-rate.
brillant.......1999-02-08
Interest in Van Gogh heightened with Hollywood movie with Kirk Douglas an Hollywood actor. My mother has a wood painting of sunflowers (l6) and she asked that we research this for her, it has numerous local newspaper clippings taped to the back, which raises even more questions. It is signed Vincent? I saw a one man narrative of Van Gogh's life depicted by his brother Theo, Actor: Jim Jarrett called Vincent. It was much informative of the letters Vincent wrote to Theo. . This enlightened one as to Vincent's odd behavior. Vincent the man. Mr.Kendall, if possible please cooresponde back. My sister is also in contact with you. Thank you for reading this message and any redirect would be appreciated.
Book Description
Set in the sensuous countryside of Provence, this travel memoir is a journey of the spirit, a love story with a pre-set ending. When Jennifer Huntley meets James, he calls her Jenny, a new name with its own sweet innocence and daring. As it has for so many artists, the stronger sun of Provence softens Jennifer's heart. For eight days a love affair grows, nurtured by the evocative tastes, smells and sights in this romantic landscape. Both lovers know that in eight days they will part and their affair will end. What they do not know is that they have led parallel lives, and as personal secrets are revealed, their intimacy grows. This is a delightfully written story of universal truths and feelings, a "good-girl, bad-girl" journey of innermost thoughts told with honesty, passion and humor. Jennifer's selected photographs, each illuminated by a favorite quotation from Van Gogh, enhance the journey.
Customer Reviews:
A evocative, dreamlike holiday romance.......2006-10-24
A slender and beautifully packaged true-life tale of a woman and her guide who fall for each other during a trip to Provence. "Eight Days in Provence" has a miniaturist perfection, in its evocative descriptions of this beautiful region of France, the growing infatuation of the protagonists, and their dreamlike assignations in gorgeous hotel rooms after perfect meals. As with other similar memoirs, this travel romance comes in the wake of betrayal and hurt, which seems to limit the participants in pursuing their affair out in the "real" world. Still, both James and "Jenny" win points for likeability and cause the reader to ponder "what if" they could continue their romance, or if they had could have met each other before meeting others who bruised their innocence.
Insprational Journey.......2006-05-19
I just finished reading Jennifer Huntley's "Eight Days in Provence", and I must admit, pacing myself was actually my biggest challenge, I just did not want to reach the end. The details were exquisite, like the breathtaking landscapes, "Red poppies, iridescent and translucent in morning sun, slashed across the fields every now and then." The delectable and not so delectable cuisine, "like black mud from the bottom of the salty sea." They were sprinkled throughout in all the right places. There were so many moments throughout the story when I felt as though I had been in those same situations, and I could really relate to the characters.
I loved the idea that although "Eight Days in Provence" was a true story, it had fairytale like, qualities that enabled me to be drawn into the experience. The point at which I truly appreciated Jennifer's writing was on the day that her travel group visited St.-Paul-de-Mausole, the asylum that Van Gogh had gone to recover; the place where he painted more than one hundred fifty paintings during that year. When "Jenny" stood at the window and "saw" what he saw, it was like reality seeing fantasy as reality. I fell in love with this book and wished for it to be "Years in Provence!"
I am an avid traveler and Jennifer brought to life again, the many James' I have encountered throughout my journeys. More importantly though, she helped me to see that they all have a place in my heart and will now, probably soon be characters in my books! Thank you for the inspiration and for sharing such an intimate encounter. It was delicious, as are most things French!
a little tour of Provence.......2006-05-10
I enjoyed the tour as I love Provence but I found alot of repetition like the picnic meals of tomatos with tapenade and the fact that she seemed oblivious that everyone knew what was going on. They're not to consort with the clients, hmm!
poetry and illusion!.......2005-09-06
I am captivated by Jennifer Huntley's talent for description; she totally mesmerized me with each flower and each feeling as she included me in her journey -- a journey far beyond Provence and romance. This is a journey of the spirit and the soul by an exquisite writer. I would travel with her anywhere.
Trying Too Hard.......2005-08-23
Parts of this book are very well written, indeed! Some of the author's descriptions of the Provencal countryside make you want to be there -- right now!! On the other hand, I felt as though there was more book than we got. Ms. Huntley's focus on her emotional state of mind and her interpersonal relationships struck me as unnecessary and, forgive me, boring. I still can't figure out why she didn't just bonk the guide to begin with, concentrate on her travelogue and leave the reader out of her emotional teeth-gnashing. Her writing is at its best when telling us of her daily trips into the countryside of Provence. I must admit that Provence tends to draw out the romanticist in most of us and, in many ways, I am sympathetic to her state of mind. She should spend more than eight days there and then write more about it.
Average customer rating:
- Another equisite title to accompany a Fondation Beyeler exhibition!
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Expressive!
Paul Gauguin ,
Markus Bruderlin ,
Donald Kuspit ,
Francis Bacon ,
Georg Baselitz ,
Max Beckmann ,
Francesco Clemente ,
Ernst Ludwig Kirchner ,
Edvard Munch ,
Pablo Picasso ,
Egon Schiele , and
Vincent van Gogh
Manufacturer: Hatje Cantz Publishers
ProductGroup: Book
Binding: Hardcover
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ASIN: 3775713034
Release Date: 2003-07-02 |
Book Description
The quality of expressiveness--an outcry of the human soul against the mechanization of life--runs like a red scar through the entire history of modern art and up to the present day. If expressionism is associated first and foremost with the German contribution to Modernism, evoking the artists associated with Die Brcke (Kirchner, Heckel and Nolde) and Der Blaue Reiter (Marc and Kandinsky), but also the Austrian Schiele and Kokoshka, and the Parisian fauves, it nevertheless goes further. Beginning with the fathers of expressionism, Gauguin, van Gogh and Munch, the most important inspirations for a movement laden with emotions and endowed with the furor of rebellion, the red scar bleeds through the expressive tendencies of the interwar artists (Beckmann, Soutine and Picasso) and the postwar artists (Dubuffet, de Kooning and Bacon), and all the way to neo-expressionism (Baselitz, Lpertz, Lassnig) and 80s neo-fauvism (Clemente, Basquiat and Disler), ending with Louise Bourgeois and Bruce Nauman. In accompanying essays, philosopher and art historian Donald Kuspit sets out to trace the meaning of the term "expressive"; curator Markus Brderlin explores expressionism by looking backwards from neo-expressionism; and numerous short texts round off the exploration by focusing on individual works of art.
Customer Reviews:
Another equisite title to accompany a Fondation Beyeler exhibition!.......2005-08-16
The color reproductions are excellent, detailed text is easily read without flipping back and forth between pages, the scholarship is fine, and the book makes an excellent addition to current thoughts on expressionism. Plus, Amazon.com's discounts on fine art books are truly important in helping one build a great art library!
Book Description
Vincent van Gogh (1853–1890) believed that drawing was “the root of everything.” A self-taught artist, he succeeded, between 1881 and 1890, in developing an inimitable graphic style. This book traces the artist’s successive triumphs as a draftsman, first in the Netherlands and later in France, highlighting the diversity of his technical invention and the striking continuity of his vision. Given the pivotal role drawings played in Van Gogh’s artistic conception and the rich dialectic they enjoyed with his oil paintings, a small selection of related canvases by the artist is also featured.
This beautiful book presents approximately 120 works in charcoal, ink, graphite, watercolor, and diluted oils. The authors explore enduring questions that surround Van Gogh’s drawings, including their manufacture, artistic precedents, and contribution to Modernism. In addition, the text discusses the significance of the artist’s drawing practice to his development as a painter. The essays and entries feature the most current research on Van Gogh’s drawings and provide fresh interpretations of the motivating influences that shaped the artist’s contributions to the history of drawing.
Customer Reviews:
master draftsman.......2007-09-15
a wonderful memory of a once in a lifetime exhibit. 7 years of drawing before he ever picked up a brush....
A rare opportunity.......2007-04-10
This is the catalogue for a 2005 exhibit at the Met. A valuable addition to the literature on Van Gogh, it encompasses his whole career as a draughtsman, and a brilliant one of course. The images are perfect (you sometimes get the impression that you are holding the actual drawing) and the text very helpful, giving sizes, provenances and many excerpts of Van Gogh's own letters.I remember visiting the exhibition in crammed rooms on a saturday afternoon, therefore I was glad to be able to savour it once again in a quieter atmosphere, thanks to the book.
Drawing at the highest level.......2007-01-28
Lord Kenneth Clark, at the end of his book and television series, Civilization, said he had come to believe that there was such a thing as "genius". After looking through this book, so will you.
With over 350 drawings, mostly reproduced in color, and dozens more color reproductions of paintings, this will no doubt be the definitive work of the artist's drawings. We see many of his early drawings, including those enhanced with chalk, watercolor, etc. We see the drawings and watercolors done in preparation for his paintings and then we see the paintings themselves.
But the high points of the book are the three drawings in pen and ink done after each of the paintings and intended as reproductions of those works. He wanted a means to share these paintings with three different correspondents: John Russell, Emile Bernard and his brother Theo. He obviously couldn't afford the oil and canvas to reproduce each painting three more times. These laborious drawings were executed and mailed to individuals with whom Van Gogh wanted to share his work (and perhaps impress), or, in the case of his brother, to also show his love and appreciation. Slight variations among the three drawings after the same painting show further, "post-oil" development of each subject and give us additional insight into his style and his thinking. The color reproductions of his drawings allow us to see how the ink on each has faded over time and a 100-year old reproduction of a drawing shows us how the original has faded over time. Because virtually all of the drawings done as a mature artist were on 9-1/2 by 11-1/2 sheets, the reproductions in the book are almost actual size.
Fortunately, both Bernard and Theo's widow and heirs believed very strongly in his work, including his drawings, and ignored the advice of critics to throw it all away. They continued to promote the artist's work after his death, eventually leading to his broader recognition over the following decades. If you appreciate great drawing, this is a "must have" book.
Very interesting.......2007-01-09
The book is much more technical than the "Letter" book I recently read. I enjoy that because I have always wanted to know how he painted or drew his pictures as well as how is life and painting developed.
A CLASSIC MUST HAVE.......2006-12-28
Full of drawings and descriptions of them, it is a great help regarding the importance of drawing and the use of different materials. It is the best collection of drawings from Van Gogh that I have ever been able to lay my hands on. Full of information collected from different museums
A must for those who enjoy a good drawing or are taking drawing seriously.
Amazon.com
Beyond the well-known, sometimes lurid, events of renowned painter Vincent van Gogh's short life lies a much more mild daily existence of meals with friends and neighbors. Van Gogh's Table presents a gentle and kinder look at the visionary's world. Authors Alexandra Leaf, a culinary historian, and Fred Leeman, the former chief curator of the Van Gogh Museum, offer a tale of the artist's life through the lens of his last home, the Auberge Ravoux. Van Gogh was a constant traveler who frequently boarded at small hotels and dined in cafés. During his few months at this inn, van Gogh produced numerous magical works. As a tribute to the incredible painter, and the café life that inspired him, Leaf and Leeman have brought together stories and images of the artist's life and work with menus from his days at the Auberge Ravoux. Try recipes like Warm Tarte Tatin with Crème Fraiche or Dark Chocolate Soufflé Cake with Crème Anglaise to experience the sweeter side of van Gogh's world. If you're a fan of the great painter or a lover of French cooking, then this book is a must-have. --J.P. Cohen
Book Description
At the Auberge Ravoux, in a tiny artists' village twenty miles from Paris, Postimpressionist painter Vincent van Gogh found a measure of peace in an otherwise ill-starred life. In what would be his last home, he enjoyed the camaraderie of fellow artists and an unparalleled burst of creativity.
The auberge still operates today as the Maison de Van Gogh. Little has changed since Van Gogh set down his bags more than a century ago, and visitors to its cafT are treated to the same regional cuisine that he dined upon.
Here is an intimate view into Van Gogh's world, as stirring as sharing poulet and pommes sautTes with the artist himself. Written by one of America's foremost culinary historians, with Dr. Fred Leeman, the former chief curator of the Van Gogh Museum in Amsterdam, and including an introduction by the auberge's proprietor, this unique cookbook/art book explores life in the artists' cafT, with traditional recipes ranging from the hearty to the refined. Letters, engravings, postcards, and a selection of Van Gogh's paintings transport the reader to the turn of the century.
Customer Reviews:
Van Gogh's Table: Dining at the Auberge Ravoux.......2006-09-09
In Vincent Van Gogh's brief 37 years, he resided in at least 38 locations spread among four different countries. The Auberge Ravoux inn in northern France was to be the last of Van Gogh's residences, for it is where the artist died in 1890. The author purchased the Auberge Ravoux Inn and renovated it with the help of dedicated craftspersons and turned it into a memorial to the artist
Van Gogh's Table is a collaborative effort that combines an art book with recipes designed to evoke the flavors of Van Gogh's time, along with cultural and culinary history augmented by Van Gogh's illustrations and paintings. Fifty recipes for bistro classics such as Rosemary Roast Chicken with Pan-Fried Potatoes, and Garlic and Warm Tarte Tatin with Crème Fraiche,
A recipe for beef bourguignonne begins with; "In our time-pressed age, such a dish requires that we step back for a moment and remember that some things in life are worth waiting for -- especially stews."
Vincent van Gogh spent much of his life in cafes, hotels, and small inns. These establishments often became the subjects of his paintings, Van Gogh's Table is a unique presentation of culinary history, Van Gogh's artwork, and recipes that transport readers to the Auberge Ravoux in the year of 1890.
As a professional artist and dedicated cook, I found this a uniquely enjoyable book.
A perfect blend of art and cuisine.......2006-07-08
This lovely book, a perfect blend of art and cuisine, will satisfy any reader, from the most casual van Gogh fan to the most discriminating foodie and/or art historical specialist. As the subtitle indicates ("Recipes from the Artist's Last Home and Paintings of Café Life"), it's is partly a cookbook, featuring recipes from the Auberge Ravoux, a 19th century inn in the town of Auvers-sur-Oise where van Gogh lived the last seventy days of his life, and where he died.
But don't be misled. This is not just another pretty coffee-table book with yet more pretty color reproductions of "The Café Terrace on the Place du Forum," etc. This is a work of substantive scholarship, but presented in such a way as to be accessible and enjoyable to anyone. The second half of the book, including the recipes, is authored by culinary historian Alexandra Leaf (in cooperation with chef Christophe Bony), who contexualizes the recipes in a larger discussion about van Gogh's time in Auvers and culinary customs of the time. The first half is authored by art historian Fred Leeman, former chief curator of the van Gogh Museum in Amsterdam. His essay, "A Private Life in Public Places," discusses van Gogh's biography, but primarily from the view of his time spent in restaurants and cafés, so it's not the usual story that's been recounted so many times. In addition to discussing more well-known van Gogh paintings like "The Café Terrace on the Place du Forum" or "The Night Café," Leeman also includes lesser-known paintings and drawings that specialists will be happy to see and non-specialists will enjoy learning about. His analyses of the works are clear and persuasive, sometimes offering alternative datings and interpretations. Julia Galosy, who worked with Dominique-Charles Janssens, the current owner of the Auberge Ravoux, in restoring the inn, also contributes a wonderful essay on that specific café and its history. All the authors rightfully avoid the tabloid sensationalism that unfortunately pervades many published treatments of the artist (including those written by evident non-specialists in a lame attempt to make a quick buck).
Handsome illustrations of nearly every van Gogh work mentioned (including some that are rarely illustrated), archival photographs, and lovely photographs of the contemporary incarnation of the Auberge Ravoux and its cuisine, add to the stand-alone value of this book. For those who are interested, there are endnotes in the back of the book, leading readers to specific citations in van Gogh's letters and elsewhere, and a brief but comprehensive bibliography.
On a side note: I purchased and read this book a few months ago in preparation for a visit to Auvers-sur-Oise. My plans included a luncheon at the Auberge Ravoux and a pilgrimage to Vincent's lonely attic room. Reading this book, including Mr. Janssens' forward, was the perfect preparation for my visit. Sitting in the cozy atmosphere of the Auberge and enjoying a three-course luncheon (including the Marinated Herring and Salmon from p. 110, a plat du jour of chicken fricassee [not in the book], and the positively sublime Chocolate Mousse Saboyan from p. 130) was a wonderful experience that I will always treasure. A different experience, more spiritual and moving in character and even more memorable, was the actual visit to Vincent's room upstairs. Mr. Janssens and his associates are to be commended for their dedication to Vincent's memory through their work at the Auberge Ravoux, and the authors and publisher of this book are to be commended for diffusing that work in book form.
While at the Auberge Ravoux, I purchased at the gift shop one of the "torchons" (table linens) embroidered with the name of the auberge (pictured on p. 109). Both it and this book share a place of honor in the van Gogh section of my personal library.
Bon appetit!
Gorgeous Magnificent Book!.......2006-01-08
The Grandmother's Apple Cake recipe in this book is my favorite recipe on Epicurious so I bought the book hoping the other recipes would be as good. Wow! It was so beautiful and interesting and so much more than a cookbook that I gave it to a good friend as a Christmas gift and ordered another.
This is really half art book, half cookbook. The book is co-written by an art historian (mostly the first part, which recounts Van Gogh's last days, spent in the hotel, when he churned out 70 paintings in 70 days) and Alexandra Leaf, a food historian, who together with the chef at the hotel (which exists to this day) includes recipes for dishes Van Gogh ate. They're fantastic. Highly recommended.
It's wonderful.......2002-11-07
It's entertaining and educational. I really enjoyed. Great gift idea.
Van Gogh's Table.......2002-01-20
I have enjoyed reading the historical and personalized view of Van Gogh's stay at the Auberge Ravoux. The recipes appear to be ones that can be enjoyed. My husband surprised me with the chocolate mousse the other night and it was the best I have ever eaten.
Compliments to Alexandra Leaf!
Average customer rating:
- A new field of study on Van Gogh's art
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Van Gogh and Expressionsim
Patrick Bridgewater ,
Stefan Koldehoff ,
Jill Lloyd ,
Michael Peppiatt ,
Olaf Peters ,
Chris Stolwijk , and
Vincent van Gogh
Manufacturer: Hatje Cantz
ProductGroup: Book
Binding: Hardcover
European
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| History & Criticism
| Arts & Photography
| Subjects
| Books
Van Gogh, Vincent
| ( V-Z )
| Artists, A-Z
| Arts & Photography
| Subjects
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General
| Artists, A-Z
| Arts & Photography
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General
| Museums & Collections
| Arts & Photography
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General
| Arts & Photography
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Expressionism
| Schools, Periods & Styles
| Arts & Photography
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ASIN: 3775719164
Release Date: 2007-03-01 |
Book Description
From the time of Vincent van Gogh's death in 1890 until the outbreak of World War I, Van Gogh's work came to be seen as the epitome of internationally groundbreaking art--particularly in Germany, where artists like Ernst Ludwig Kirchner and others of Die Brucke (The Bridge) group were fascinated by his technique, his powerful brushwork, his strongly contrasting colors and glowing palette. Vassily Kandinsky and the artists of Der Blaue Reiter (The Blue Rider) movement esteemed van Gogh for rejecting visible reality and penetrating the essence of nature. Austrian artists Egon Schiele and Oscar Kokoschka, on the other hand, were impressed by his soulful expression and insightful psychological portraits. The scholar and curator, Jill Lloyd, who is profoundly knowledgeable in the field of Expressionism, here places an exquisite selection of works by Expressionist artists in the context of van Gogh's most important paintings, documenting the lasting influence of this nineteenth-century Dutch painter on Expressionist art in Germany and Austria.
Customer Reviews:
A new field of study on Van Gogh's art.......2007-05-10
A beautiful catalogue for an exhibition held at the Neue Galerie in NY in 2007, this book shows how German and Austrian artists, from Kokoschka, Kirchner, Schmidt-Rottluff to Egon Schiele, Gerstl and even, to some extent, Klimt, were all inspired by the Dutch master. The book studies the reception of Van Gogh in both countries in the first two decades of the XXth century (German museums started buying his works before American museums), through the active trade of dealers and patrons. It also dwells on the nazi period in Germany, when both Van Gogh and the expressionists were included in the so-called "degenerate art", deemed so by the fascist leaders who ended up selling their works at auction (pictures of the auctions appear in the book).
The illustrations are perfect (sometimes placing next to each other works by Van Gogh and their interpretation, so to speak, by each expressionist artist) and the selection of works, some of them actual masterpieces, makes this book a top-quality companion to the exhibition. An interesting post-war development, which is well described in the book, is the influence Van Gogh had on Francis Bacon, through the latter's series inspired by a painting destroyed during WWII.
Book Description
LUST FOR LIFE is a fictionalized biography of the Dutch painter, Vincent Van Gogh and is based primarily on Van Gogh's three volumes of letters to his brother, Theo. Van Gogh was a violent, clumsy and passionate man who was driven to the extremity of exhaustion by his fervor to get life -- the essence of it -- into paint. Irving Stone treats the artist with great compassion and gives us a portrait that is sympathetic but fair.
Customer Reviews:
A Man Amongst Men.......2007-06-29
This is a beautiful novel about a beautiful human being. If you love Van Gogh's paintings (he is my personal favorite of all painters) then by all means, you need to read this wonderful book. In his prose, Stone is able to paint a vivid, vibrant, illuminating portrait of an amazing artist. I was truly blown away and completely consumed from the first chapter on. I actually read this fine story after visiting the Musee d'Orsay (Museum Orsay) in Paris and seeing first hand the magnificent works of this illustrious Impressionist. Of all the great many paintings presented at the Louvre and d'Orsay, it was the Van Gogh's that captivated me more than all the others (which is saying a lot, because the whole place is captivating!). I couldn't believe some of his self-portraits. What really fascinated me the most was the despondency in those steel blue eyes of his. This is what led me to read this story. I wanted to know where all that pain and suffering came from. Irving Stone answered all of my questions and then some. He is a brilliant and insightful writer and I will be looking forward to reading his novel "The Agony and the Ecstasy" which is based on the life of another favorite artist of mine - Michelangelo.
Anyone who is struggling to become an artist needs to read this! Talk about sacrifice and desire and heart and passion... this man Van Gogh was a true original. A man like no other before or since.
"...for by sadness the countenance of the heart is made better."
I can't recommend this one enough.
Living for Lust.......2006-11-07
I should have read this biography sooner. I used to be in love with his paintings, and even fantasized that IF I were to travel back in time, I would've married him -- all this BEFORE I read this book. After I read it I found out that there was one such infatuated woman (Margot), and also a tragic unrequited love story that led him to religion and then to painting. Anyone who is creative will sympathize with the extent to which pain can be transformed into the strength to create. The creative path is not always materially rewarding, and even if it is all an artist has, it will continuously change others' lives. I absorbed every word of this book and was hooked until the very end. Poverty and disinterest is ephemeral... belief in oneself is revolutionary.
An excellent book.......2006-02-26
An excellent book, amazing story, and very well-written. This book will take you through Van Gogh's life, inform you about this amazing but troubled artist, and leave you with your mouth open. Recommended for all ages and types of people. The only tough thing about the book is that it is sort of a slow journey... you might find yourself wandering a bit in the early chapters, but it is immensely satisfying if you can forge through them and take an amazing ride through this guy's life (don't skip any chapters).
Excellent.......2006-01-17
I just loved it !!! It makes knowing about Van Gogh's life even more interesting, after reading it one can appreciate his art even more- if that's possible !!
Vincent Van Gough: more interesting than I thought........2005-11-15
All throughout this book Vincent Van Gogh meets many people and does everything with very little help from anyone around him. Some of the only things he accepts are the suggestions and advice from experienced painters, and the money that is sometimes sent from his father. He never gave in, he always assumed that God would never give him anything he could not handle and his poverty was just another test of strength from Him.
Even to the end of this book he never gave up. He always tried his hardest to help someone in need, no matter how it would affect him. His creativity never ended, nor did his spirit.
The unhappiness and sorrow that Vincent goes through during Lust for Life, keeps you reading. Irving Stone captured a part of Vincent Van Gogh that I never would think I could read or learn about from any other author. This is definitely a book I would recommend. It may be long, but it is excellent. To know about many of the heartening experiences in this story, you will just have to read the book.
Customer Reviews:
Nice insight.......2007-02-07
It is not as easy a read as Stone's van Gog biography Lust For Life, but for fans, it's a deep book.
Vincent tells of how he went into the fields to paint, and then a rain storm came. He sought meager shelter behind a big tree while it lasted, and then resumed. And because he had started with a low vantage point, he now had to stand on his knees in the mud! He seems to merely mention this to point out why he considers common workman's clothes to be the artist's best friend...
He also tells how he went out to paint the sea, in a storm so strong he could barely stay on his feet. One painting got so full of sand from the beach that he went to a nearby inn and retouched it... and then went back out into the storm to finish it with fresh impressions!
Today, most of us: "Go out with the camera today? Nah, it's a bit nippy, and I just got the Sopranos on DVD..."
Irving Stone edited Dear Theo, and while he may have done a good job generally, I think it was a disservice to the material to not indicate where he cut it. It is just one long text, no dates and no indication where each quote starts or ends.
Let the reader beware - this is more novel than letters.......2005-04-22
I, like the many reviewers of this book, was enthralled and inspired by this collection of letters when I first read it 25 years ago. I have recommended it to many friends. At the time I would have given it five stars or even more if they were available. Irving Stone writes in his preface "My aim has been to edit the 1670 pages of material down to a swiftly flowing, continuous normal-sized book..." He succeeded but even 25 years ago I was a little disturbed by the complete absence of indications where exactly Mr. Stone had done his cutting, or his editing. Today, in the age of internet we can now do some easy checking. The unabridged letters are on the net and reveal that basically what this Dear Theo is, is another novel written by Irving Stone. There is almost no resemblance to the original letters. The novelist has used his talents and the raw material to create a beautiful saga. Worth reading, but let the reader beware.
A fire starter.......2002-11-03
These letters speak the truth of van Gogh. This book opens a window of knowledge on a man so misunderstood to the world. At 14, I absolutely am in love with this book. "Dear Theo" has ignited a fire in my soul, a burning desire to study art and the men behind the works.
Interesting and revealing.......2001-01-15
Vincent Van Gogh was a great painter, but not a writer. So these letters are of interest in terms of history and painting. The life of Van Gogh is better exposed here than it would have been in a "real" autobiography, because Theo, his younger brother, was the only real friend Vincent ever had. He was his supporter, admirer and listener, and in fact Vincent had an emotional dependence on his brother. People interested in the process of artistic creation and creativity will find this book of enormous value and interest, since Van Gogh speaks a lot about that process in himself, one of the greatest painters of all time. But it is true, as one reviewer said, that these letters include, each and every one, eternal whining and begging from Vincent to his brother. He was, of course, always out of money and, as a genius really disconnected from the common world, unable to make a living by conventional activities. So he depended almost entirely on Theo. I would like to insist in that, although by no means a literary accomplishment, these letters are worth reading, since they expose naked the soul of a great artist and an extremely sensitive man, certainly a tortured and twisted soul.
here's your unadulterated chance to see just how screwed..........2000-12-13
here's your unadulterated chance to see just how screwed up van gogh was. letter after letter after letter sitting on the pity pot writing to his younger brother whining for money, crying for assistance, guilting his brother into supporting his art...his art habit...his art addiction. ya know, after reading this book my perspective on van gogh changed. he struck me as an ultra-martyr (in the icky sense of the word), so big into self-pity. now, having since read a little more of his history - screwy parents, etc. - i have some more compassion for the guy and for why he was so screwed up, but these letters are honestly nothing short of tedious. one after the other, whining for money, then waxing eloquent about his art, which actually struck me often as quite manipulative - like he was justifying his existence and his productivity to theo.
anyway, i still think van gogh is a wonderful artist, but what a messed up life - can't miss that from these letters. but god, i wish they'd been even more edited. and one other thing - irving stone (the editor) thinks van gogh is one of the world's greatest writers and philosophers of all times, in addition to being the honcho primo artist. well, as for philosopher, sorry irving, no. the guy was miserable and depressed and lonely, and seemed to philosophize in his letters to just keep contact with the world, but his philosophy gets under my skin.
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