![]() "Is It or Isn't It? A Van Gogh Languishes in Limbo." New York Times (July 8, 1990), pp. Bogomila Welsh-Ovcharov in Van Gogh à Paris. or a less masterly repetition of" the Amsterdam painting. 1354, ill., compares it with the artist's "Self-Portrait with Gray Felt Hat" (F344 Van Gogh Museum, Amsterdam), calling it "a preliminary study for. The Complete Van Gogh: Paintings, Drawings, Sketches. ![]() Vincent van Gogh: His Paris Period, 1886–1888. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. "Duktus und Bildform bei Vincent van Gogh." PhD diss., Ruprecht-Karl University, Heidelberg, 1973, p. F365 verso, ill., dates it Paris 1887 substitutes the Charpentier Art Gallery, Paris, for the unknown Russian collector formerly included in the early provenance of the picture, since this individual acted for the Charpentier Gallery. The Works of Vincent van Gogh: His Paintings and Drawings. L'opera pittorica completa di Van Gogh e i suoi nessi grafici. 15, ill.], believes it could have been painted later than fall 1886, when Bromig-Kolleritz dates it. e, states that the self-portraits in a straw hat probably all date from the summer of 1887 describes the visible influence of Seurat and Signac, and mentions that the presence of the straw hat may be related to Van Gogh's admiration for Monticelli. The Complete Letters of Vincent van Gogh with Reproductions of All the Drawings in the Correspondence. "Die Selbstbildnisse Vincent van Goghs: Versuch einer kunsthistorischen Erfassung der Darstellungen." PhD diss., Universität München, 1955, p. Katharina Bromig-Kolleritz von Novisancz. "The de Groot Collection." Metropolitan Museum of Art Bulletin 6 (June 1948), p. 209, notes that this picture is currently on view in the MMA galleries, lent by an anonymous collector. "A Loan of Paintings." Metropolitan Museum of Art Bulletin 31 (October 1936), p. (March 15, 1932), unpaginated, states that the Nationalgalerie Berlin had the opportunity to purchase six paintings by Van Gogh before World War I for the relatively modest sum of 25,000 marks but passed on the chance because of Wilhelm II's objections (see Koldehoff 2017). "Liebermann und Justi: Wieder eine van-Gogh-Affäre." Vossische Zeitung no. Ap, writes that there is no evidence against the attribution to Van Gogh. C, states that it was in a private collection, Russia, before going to the Hans Bammann Gallery in Düsseldorf. L'Oeuvre de Vincent van Gogh: Catalogue Raisonné. 101–2, ill., dates it Paris 1887 states that it is at the Kunsthandlung Hans Bammann, Düsseldorf. "Unbekannte Bilder von Vincent van Gogh." Der Cicerone 19 (February 1927), pp. Düsseldorf, 1927, unpaginated, ill., mentions authentications by Meier-Graefe and La Faille. Alte Meister: Deutsche und Französische Kunst des 19. , mentions four small paintings that he has given or is planning to give to the comtesse de La Boissière, possibly including this picture. ![]() "Van Gogh and Expressionism," March 23–July 2, 2007, no. "Van Gogh: The Drawings," October 12–December 31, 2005, not in catalogue. "Van Gogh in Arles," October 18–December 30, 1984, no. "The Impressionist Epoch," December 12, 1974–February 10, 1975, not in catalogue. "Van Gogh as Critic and Self-Critic," October 30, 1973–January 6, 1974, no. "Portrait of the Artist," January 18–March 7, 1972, no. "Masterpieces from the Collection of Adelaide Milton de Groot," April 14–May 3, 1958, no. 49A (as "Portrait of the Artist," lent by Adelaide Milton de Groot, New York). "Van Gogh: Paintings and Drawings," October 21, 1949–January 15, 1950, no. Department of Paintings Conservation records, The Metropolitan Museum of Art. Johnson, The Thread Count Automation Project, “Counting Van Gogh Thread Count Reports List," February 2019. of Electrical & Computer Engineering, of The Thread Count Automation Project Don H. ![]() Abercrombie Professor Emeritus, Rice University, Dept. The report, dated August 2011, on the automated thread counting of Self-Portrait with a Straw Hat (reverse: The Potato Peeler) was prepared by Don H. Hendriks et al., "Automated Thread Counting and the Studio Practice Project," Van Gogh's Studio Practice, edited by M. Hendriks, “Automated thread counting” and E. Analysis of the canvas of Self-Portrait with a Straw Hat (reverse: The Potato Peeler) shows that it comes from the same bolt as seven other paintings by the artist, dating from 1885 to 1887, and that the canvases of two of these paintings are weft matches. Recent studies of Van Gogh’s canvas supports, undertaken by the Thread Count Automation Project in collaboration with the Van Gogh Museum, have used thread count and weave pattern to identify canvases cut from the same bolt.
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