Copies by Vincent van Gogh, form an important group of paintings executed by Vincent van Gogh between 1887 and early 1890. While at Saint-Paul asylum in Saint-Rémy-de-Provence, France where Van Gogh admitted himself, he strived to have subjects during the cold winter months. Seeking to be reinvigorated artistically, Van Gogh did more than 30 copies of works by some of his favorite artists. About twenty-one of the works were copies after, or inspired by Jean-François Millet. Rather than replicate, Van Gogh sought to translate the subjects and composition through his perspective, color, and technique. Spiritual meaning and emotional comfort were expressed through symbolism and color. His brother Theo van Gogh (art dealer) would call the pieces in the series some of his best work.
Read more about Copies By Vincent Van Gogh: Background, Copy After Émile Bernard, Copy After Virginie Demont Breton, Copy After Honoré Daumier, Copy After Gustave Doré, Copy After Keisai Eisen, Copies After Utagawa Hiroshige, Copy After Jacob Jordaens, Copies After Rembrandt
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“An artist needn’t be a clergyman or a churchwarden, but he certainly must have a warm heart for his fellow men.”
—Vincent Van Gogh (1853–1890)
“When van Gogh paints sunflowers, he reveals, or achieves, the vivid relation between himself, as man, and the sunflower, as sunflower, at that quick moment of time. His painting does not represent the sunflower itself. We shall never know what the sunflower itself is. And the camera will visualize the sunflower far more perfectly than van Gogh can.”
—D.H. (David Herbert)
“When we reflect on our past sentiments and affections, our thought is a faithful mirror, and copies its objects truly; but the colours which it employs are faint and dull, in comparison of those in which our original perceptions were clothed.”
—David Hume (1711–1776)
“Country of hunchbacks!—where the strong, straight spine
Jeered at by crooked children, makes his way
Through by-streets at the kindest hour of day,”
—Edna St. Vincent Millay (1892–1950)
“The variables of quantification, ‘something,’ ‘nothing,’ ‘everything,’ range over our whole ontology, whatever it may be; and we are convicted of a particular ontological presupposition if, and only if, the alleged presuppositum has to be reckoned among the entities over which our variables range in order to render one of our affirmations true.”
—Willard Van Orman Quine (b. 1908)
“It is not the language of painters but the language of nature which one should listen to.... The feeling for the things themselves, for reality, is more important than the feeling for pictures.”
—Vincent Van Gogh (1853–1890)