See Van Gogh in Detroit with the exhibition Van Gogh in America, which celebrates the Detroit Institute of Arts’ status as the first public museum in the United States to purchase a painting by Vincent van Gogh, his Self-Portrait (1887). On the 100th anniversary of its acquisition, experience 74 authentic Van Gogh works from around the world and discover the fascinating story of America’s introduction to this iconic artist, in an exhibition only at the DIA.
The exhibition explores the considerable efforts made by early promoters of modernism in the United States—including dealers, collectors, private art organizations, public institutions, and the artist’s family—to introduce the artist, his biography, and his artistic production into the American consciousness.
Large, ornate frames convey the importance of each painting installed on richly colored walls. Houses at Auvers illustrates Van Gogh’s masterful use of color as the majority of this painting is rendered in serene greens and blues which are activated with tiny points of earthy red and a touch of terra cotta in the foremost building’s roof and chimney.
Terrace in the Luxembourg Gardens employs a more traditional application yet still boasts the thicker brush associated with Van Gogh’s more celebrated works. Note the minimal but effective use of red that prevents the painting from becoming a banal landscape.
Birds’ Nests’ dark, somber palette was used for several paintings including The Potato Eaters. Here Van Gogh’s realistically textured nests sit over a softly painted background. Bits of color weave into the thatch and light two delicate eggs.
An earlier work mirrors Van Gogh’s melancholy tendencies. The Wounded Veteran exploits the heavily textured paper contributing to the description of the harsh, distressing subject.
Drawings are always such a treat in that they reveal not only an artist’s skills, they hint at their thought process as compositional elements, such as perspective and various marks, are worked out prior to commencing with the formality of a painting.
Concluding with two paintings that are quintessential Van Gogh, the framing is cropped out in order to focus solely on the work itself. Distinctive lines create angry tree bark, turbulent hills and shifting layers of hay. Earth tones blended with cooler shades tame the vigorous staccato of the brushwork that in any other palette would read like the wicked forest from The Wizard of Oz.
Of all the concerts, exhibitions and football games I’ve attended, I’ve never scalped a ticket but once. I traveled to Washington DC to see a number of Van Gogh’s paintings visiting from the Amsterdam museum and paid $10 for someone’s free ticket. That show along with one in Chicago—which highlighted works from Van Gogh and Gaugin during their time in Arles—plus viewing collections at D’Orsay and MOMA, it’s always been the renowned works on display. I was surprised by how small Starry Night is. I learned there was more than one Bedroom. I was completely enthralled with The Potato Eaters and a series of similarly eerie pictures.
This exhibition turns everything I thought I knew about Van Gogh on its head. It contains virtually none of the familiar works. There is a Starry Night, but it’s not THE Starry Night, which may be more sparkly than its famous brother. More than one of the presented pieces demonstrate this painter’s range of execution. He didn’t only paint in a heavy-handed, palette-knifed ferocious manner. He didn’t only paint in the expected, bright colorations. This exhibition acquaints viewers to the darker side of Van Gogh as well as his use of pointillism, reed pen & ink and other materials. The curated diversity grants a deeper look into one superstar artist over whom gossip and myth cast incredible talent into a mentally unbalanced abyss. Who among us hasn’t become acutely aware of our own mental frailties in the past few years? Does that make any one of us less capable of directing our lives or does it imply strength and resilience? Maybe we can finally give Vince a break and acknowledge him for the genius he is.
On view through January 22 at Detroit Institute of Arts 5200 Woodward Detroit
*point of interest: There is a claim that a painting currently on display is stolen. Here is the link to article from the Detroit Free Press
**program note: I’m sending this out earlier than expected so you have time to see the show. A review will not come out Thursday the 19th rather begin weekly posting on January 26th.
***images are mine
direct quote from museum materials
SHOWS OPEN THIS WEEKEND
I saw this back in October and was relieved to see that this wasn’t going to be the Van Gogh we see in pop culture. Loved the twists and turns, scandals and insight into how without his family, Van Gogh might never have been known. And also encouraged that geniuses are fucked up.
Loved this exhibit! Brought my daughter in from Boston to see it. I use a close up of the brushstrokes as my screen saver. Thanks for welcoming me into the art community.