고흐의 파리에서, 첨단의 아방가르드 실험

[반 고흐 인 파리전] 예술의 전당 디자인미술관에서 2012.11.8-2013.3.24일까지 1588-2618 
[오마이뉴스관련기사] 고흐의 파리 시절, 첨단의 아방가르드 실험 bit.ly/UXQKIY 

빈센트 반 고흐 동생 테오의 초상화 ⓒ 2012 Van Gogh Museum The Netherlands 

The Paris Period (March 1886-February 1888) 
Although Vincent and Theo had discussed the future possibility of living together in Paris, Theo's answers had been somewhat vague and evasive, prompting a desperate, exhausted, and sick Vincent to arrive in Paris unannounced in March 1886. He sent a letter to Theo by messenger apologizing for the surprise and telling Theo to meet him at the Louvre. In June the brothers moved in together, renting a spacious apartment with a studio in Montmartre. 

[사진출처] www.mediatoday.co.kr/news/articleView.html?idxno=105905 이치열 

In April 1886 Vincent began working in the studio of the painter Fernand Cormon as he had intended to do when in Antwerp, and this apprenticeship allowed him to meet the painters John Russell, Louis Antequin, Henri de Toulouse-Lautrec, and Emile Bernard, who became one of Vincent's dearest friends. Goupil and Company having been dissolved, Theo had begun to work for the firm's successor, Boussod, Valadon, and Company. 

Van Gogh I '탕귀 아저씨 Pere Tanguy' ⓒ 2012 Van Gogh Museum The Netherlands 

Through Theo's work selling Barbizon School Realist and Impressionist work, Vincent was able to see the avant-garde painting about which he had heard so much, and he even had the opportunity to meet many members of the central Impressionist circle of Paris, including Monet, Degas, Renoir, Sisley, Pissarro, and Aragon. In May, Vincent saw the eighth Impressionist exhibit, where he was struck especially by the Symbolist work of Gauguin and Seurat's neo-Impressionism, also known as Pointillism. 

Although he was still an outsider because of his non-French nationality, his unallied work, and his unpredictable bipolarity (which sometimes made him seem extremely argumentative and eccentric), Vincent finally felt part of a community of artists. He was able to trade paintings with many of the Impressionists, and a Parisian dealer even took some of his work. However, he was still unable to sell any work for money. By January 1887, Vincent had become closer to Bernard and the rest of the Paris avant-garde through time spent at the art shop of Pere Tanguy, which served as an informal avant-garde headquarters. He began to concentrate on still-lives (like A Plate with Lemons and a Carafe and the famous Still Life of Shoes) and portraits and self-portraits, which occupied him throughout the rest of his time in Paris. 

고흐가 파리시절 너무 가난해 안료나 마분지를 쓸 때 시간이 지나면 색이 날라가는 것을 모르고 써 색이 바래다 

[서울경제신문] economy.hankooki.com/lpage/entv/201210/e20121018164009118220.htm 

The progression of his style is extraordinary, from his 1886 Self-Portrait in a Dark Gray Felt Hay and Portrait of a Man with a Skullcap, through his winter 1886–87 Self-Portrait as an Artist and Portrait of Pere Tanguy, to his incredible Woman at a Table in the Cafe du Tambourin, Self-Portrait in a Straw Hat, and Portrait of Pere Tanguy, painted in the spring and summer of 1887 and the following winter. His idiosyncratic sense of patterned brushstrokes, thick textures, vibrant and unnatural, even acidic color, and distorted, flat forms alter "the reality of things" and "natural laws" to achieve profound emotional ends, "to touch people...by expressing deep and profound emotions" (L 218).[...] 

고흐 I 밤의 카페테라스 1888. 빈센트 반 고흐는 밤이 낮보다 더 풍부한 색채를 낸다고 생각했다 
[사진출처] http://my.opera.com/fred/blog/2012/06/14/image 

In February 1888, after experiencing a near physical and mental breakdown due to stress and alcohol, "seriously sick at heart and in body and nearly an alcoholic...without the courage to hope" (L 544a), Vincent decided he must move to Arles, in the south of France, where he could work in a more temperate climate more quietly and independently and with fewer expenses. He intended to return to bucolic landscapes, open-air light and color, and peasant portraiture, writing to his sister Wil, "the thing I hope to achieve is to paint a good portrait" (LW 1). He decorated Theo's apartment with Japanese prints and his own paintings and then left his brother (whose health was in decline due to syphilis) and artist friends in Paris on February 18, 1888. 
[Text source] www.sparknotes.com/biography/vangogh/section6.rhtml 

고흐 자화상 

반 고흐 '쟁기로 간 들판' ⓒ 2012 Van Gogh Museum The Netherlands 

반고희 회화의 색채와 이미지를 활용한 아트상품