Download The Yellow House: Van Gogh, Gauguin, and Nine Turbulent by Martin Gayford PDF

By Martin Gayford

This chronicle of the 2 months in 1888 whilst Paul Gauguin shared a home in France with Vincent Van Gogh describes not just how those hallowed artists painted and exchanged principles, but additionally the feel in their daily lives. contains 60 B&W reproductions of the artists' work and drawings from the interval.

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The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles

This chronicle of the 2 months in 1888 while Paul Gauguin shared a home in France with Vincent Van Gogh describes not just how those hallowed artists painted and exchanged principles, but in addition the feel in their daily lives. comprises 60 B&W reproductions of the artists' work and drawings from the interval.

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Extra resources for The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles

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1 Many of his devices have to do with composition: he reduced the number of windings from twenty-three to twenty to allow a slight increase in their height; he placed fewer figures in his compositions, and he eliminated complex details of landscape and architecture. Other devices have to do with style: he made the relief deeper, with ample use of the running and stationary drill to create dramatic detachment of light from shadow—this in contrast to the even modeling and fussy detail on Trajan’s Column.

Just as he carefully diªerentiated among the Dacians and delineated their social hierarchies, the artist represented in remarkable detail the dress, weapons, fighting styles, and even the physiognomies of each component of Trajan’s army. Estimates place the number of soldiers who crossed the Danube with Trajan into Dacian territories around 50,000, with a like number poised to protect garrisons on the river’s right bank. But for our investigation the most interesting fact about the great war is this: men who were not Roman citizens did most of the fighting.

4). First and foremost are the attempts to identify the protagonists in the processional friezes along the north and south sides of the altar’s enclosure. c. 1 Although scholars agree that the south frieze shows Augustus surrounded by members of the four priestly colleges, followed by his (extended) family as they approach the plaza in front of the altar (the west side), there is considerable disagreement about the identities of the men, women, and children pictured there (fig. 5). 2 A second feature of the Ara Pacis that has been the focus of much debate are the four panels on the east and west sides of the enclosure wall.

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