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MessaggioInviato: Ven Giu 09, 2017 19:55    Oggetto: FESTIVAL DI SPOLETO 60 _ 1, 2 e 3 luglio 2017 _ VAN GOGH _ Rispondi citando

dal Forum di Alessandro aggiornamenti info teatrale

nel ruolo di Vincent V.Gogh ALESSANDRO PREZIOSI


di Stefano Massini - per la regia di Alessandro Maggi

scene|costumi Marta Crisolini Malatesta; disegno luci
Valerio Tiberi, Andrea Burgaretta; musiche Giacomo
; supervisione artistica di Alessandro Preziosi

produz. KHORA.teatro, TSA Teatro Stabile d'Abruzzo

in coproduzione con NAPOLI TEATRO Festival ITALIA

e in collaborazione con il FESTIVAL DI SPOLETO 60

FESTIVAL DI SPOLETO 60 .-. Auditorium della Stella

(ex Chiesa Santi Stefano e Tommaso) Garibaldi

orari : 1 (22:00) - 2 (18:30) - 3 (20:00) luglio 2017

[foto:] come arrivare

Alessandro Preziosi a Spoleto60 in "VAN GOGH", un imprevedibile thriller psicologico sugli infiniti universi della creatività.
Il doloroso vissuto di uno dei più grandi artisti di tutti i tempi rivive nel testo potente e visionario del drammaturgo Stefano Massini, offrendo considerevoli opportunità di riflessione sul rapporto tra le arti e sul ruolo dell’artista nella società contemporanea.

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MessaggioInviato: Ven Giu 09, 2017 20:19    Oggetto: NAPOLI TEATRO FESTIVAL ITALIA 27-28/06/2017 21:00 - VAN GOGH Rispondi citando

in collaborazione con : FONDAZIONE CAMPANIA DEI

FESTIVAL REGIONE CAMPANIA la decima edizione di



di Stefano Massini - per la regia di Alessandro Maggi

nel ruolo di Vincent V.Gogh ALESSANDRO PREZIOSI

produz. KHORA.teatro, TSA Teatro Stabile d'Abruzzo


        Vincent Van Gogh - Alessandro Preziosi
        Dottor Peyron - Francesco Biscione
        Theo Van Gogh - Massimo Nicolini
        Dottor Vernon-Lazàre - Roberto Manzi
        Roland - Vincenzo Zampa
        Gustave - Alessio Genchi


Palazzo Reale, cortile d'onore; Napoli, p.zza Plebiscito


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MessaggioInviato: Ven Giu 09, 2017 20:27    Oggetto: introduzione a Conferenza sul MEZZOGIORNO, 05/06/2017 Matera Rispondi citando

Si è svolta lunedì 5 giugno 2017 presso l'Auditorium "Roberto Gervasio" di Matera, la Conferenza "Mezzogiorno protagonista: missione possibile", dedicata alle attuali problematiche istituzionali, economiche e sociali del Sud. La conferenza, articolata in una sessione mattutina e in una pomeridiana, è stata conclusa dall'intervento del Presidente del Consiglio, Paolo Gentiloni. Alla discussione
hanno preso parte studiosi, economisti, giuristi, imprenditori, intellettuali.

Alessandro Preziosi ha aperto la seconda sessione "Il Mezzogiorno oggi: Cultura
e società" recitando, con intensa partecipazione, versi e prose di autori lucani.

"Il Mediterraneo non è solo geografia, i suoi confini non sono definiti né nello
spazio né nel tempo e sono irriducibili alla sovranità o alla storia, non sono né
statali né nazionali, perché sul Mediterraneo è stata concepita l'Europa". _ dal
testo di Predrag Matvejevic in "Breviario mediterraneo" - (durata: 15 minuti).

ha scritto:

Corriere del Mezzogiorno ed. Campania - M. Pennetti 06/06/17

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MessaggioInviato: Sab Giu 10, 2017 02:14    Oggetto: Rispondi citando

Grazie Giuly!

Complimenti caro Ale! Ti ho ascoltato con attenzione e leggevi col cuore e si notava la tua forte emozione!!! Laughing Laughing Laughing

Eri davvero elegantissimo e con questi nuovi occhiali stai benissimo!!!! Wink Smile Classe.....professionalità e fascino innati e indiscussi!!!

Sei sempre il numero UNO!!!
Un forte abbraccio Laughing Laughing

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MessaggioInviato: Sab Giu 10, 2017 03:20    Oggetto: Rispondi citando

Alessandro, This is Theo van Gogh's response to the letter I posted yesterday.

From: Theo Van Gogh
To: Vincent van Gogh
Date: Paris, Sunday, June 16,1889

[Letterhead: Goupil and Boussod Paris]

June 16, 1889

My dear Vincent,
I should have written to you a long, long time ago but I couldn’t put my thoughts into words. There are moments which one feels well, but when it’s so difficult to take account of what has taken shape in thought and what is still in a vague state. So I’m not sure of being able to write to you as I wanted today, but my letter will leave all the same, if only to tell you that we often think of you and that your latest paintings have given me a great deal to think about as regards your state of mind when you made them. All of them have a power of color which you hadn’t attained before, which in itself is a rare quality, but you have gone further, and if there are people who occupy themselves seeking the symbol by dint of torturing the form, I find it in many of your canvases through the expression of the summary of your thoughts on nature and living beings, which you feel are so strongly attached to it.

But how hard your mind must have worked and how you endangered yourself to the extreme point where vertigo is inevitable. With regard to that, my dear brother, when you tell me that you’re working again, which gladdens me on the one hand, because in it you find a means of avoiding the state into which many of the unfortunates fall who are cared for in the establishment where you are, I think of it with a little anxiety, for before your complete recovery you mustn’t put yourself at risk in these mysterious regions, which it appears one can touch lightly but not enter with impunity. Don’t give yourself more trouble than is necessary, for if you give only a simple account of what you see, there are sufficient good qualities for your canvases to last. Think of the still lifes and of the flowers Delacroix did when he went to the country to stay with G. Sand.

(Note: Delacroix stayed with George Sand at her country estate at Nohant in June 1842, July 1843 and August 1846. Delacroix was inspired by the garden at Nohant, where he made various studies of flowers and trees. The flower studies were painted partly as preparation for five large paintings that he exhibited at the Salon in 1849. One of the studies, Two vases of flowers (Bremen, Kunsthalle), was included in the retrospective exhibition in the Ecole des Beaux-Arts in Paris in 1885, which Theo had visited)

It’s true that afterwards he had a reaction by doing the Education of the Virgin,

(Note: During his first stay at Nohant in 1842, Delacroix painted The education of the Virgin for his hostess (Paris, Musée National Eugène Delacroix). According to reports, this painting was inspired by something he had seen on one of his walks: a peasant girl, seated on a tree trunk, receiving a lesson from her mother. In 1853 Delacroix made a smaller version of the painting, titled The education of the Virgin or Saint Anne)

and that’s not to say that in doing as I tell you you won’t make a masterpiece afterwards. But direct your works in such a way that they don’t over-exert you. As you know, there’s an exhibition in a café at the exhibition where Gauguin and a few others (Schuffenecker) are exhibiting. At first I’d said that you would exhibit there too, but they acted like such rowdies there that it became really bad to be part of it. However, Schuff. claims that this display will eclipse all the other painters, and if one had let him have his way I think he would have walked through Paris with the flags of all colors to show that he was the great conqueror. It was a bit like going to the World Exhibition by the back stairs. As always there were exclusions. As Lautrec had exhibited at a circle he wasn’t allowed to be in it, etc.

(Note: Theo probably criticized the Volpini exhibition in similar terms in a now-lost letter to Gauguin, who was staying in Pont-Aven. Gauguin responded to it in his letter of about July 1, 1889: ‘Yes, there are a few rowdies but if I had been there, everything would have been done more simply’. He also explained why Lautrec had not been allowed to exhibit: ‘As far as Lautrec is concerned, I believe the truest reason is that Lautrec thinks of one thing only, that’s himself and not the others. So it’s probable that these gentlemen will have judged it preferable to do the same, i.e., to manage without him.’)

The other day a Rembrandt sketch was sold in a public sale, I would like you to have seen it, it was the figure of the Angel Gabriel standing, which is in the sky of his etching of the annunciation to the shepherds.

(Note: Theo must have seen The archangel Raphael (present whereabouts unknown; no longer attributed to Rembrandt) at one of the viewings of the Sellar Collection, which was sold in Paris at Galerie Georges Petit (8 rue de Seine) on June 6, 1889. The catalogue surmised that the panel, ‘full of vigour and of a sparkling palette’, was a study for Rembrandt’s painting The angel leaving Tobias.
The panel – also known as Study for an angel, c. 1655-1660 – was first attributed to Barent Fabritius and later to Aert de Gelder)

What a marvel! The color had remained quite bright; perhaps originally it was all yellow. The shadows were much more colored than he usually does them, and were probably very pronounced blue, green and violet, but of an exquisite unity and harmony. Those who hold up the best at the big exhibition are Corot, Manet, Delacroix, Millet, Ricard, and above all Daumier. Some Degas were put in it, but he had them taken out. Gauguin left for Pont-Aven a fortnight ago, so he hasn’t seen your paintings. Isaäcson likes your latest consignment very much. I’ll send the Bedroom back to you, but you shouldn’t retouch this canvas, it can be repaired. Copy it and send that one back so that I can have it lined. The red vineyard is very beautiful, I’ve hung it in one of our rooms. I also very much like the vertical figure of a woman,(Note: Marie Ginoux) there was a fellow here named Polack who knows Spain and the paintings there well.

(Note: This was the French painter Emile Ferdinand Polack, who painted many Spanish subjects, such as The triumph of the sword, 1889 (Paris, Musée d’Orsay), which was exhibited at the 1889. Theo often took people home to his apartment to show them Vincent’s work. On June 27, 1889 Jo van Gogh-Bonger wrote to her family in Amsterdam: ‘this morning I again had to make sure that all the rooms were tidied up very early, because a gentleman came to see Vincent’s paintings!’)

He said that it was as beautiful as one of the great Spaniards. Good health and good handshake from Jo and from


"Men in general are quick to believe that which they wish to be true."
―Julius Caesar

"I'm gonna live till I die."
―Frank Sinatra

"I've got a good right hook."
―Julie Andrews

Later, Love ya, me.
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MessaggioInviato: Sab Giu 10, 2017 14:11    Oggetto: Rispondi citando

Rolling Eyes Rolling Eyes Rolling Eyes
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MessaggioInviato: Dom Giu 11, 2017 02:57    Oggetto: Rispondi citando

Alessandro, this letter is Vincent van Gogh's response to Theo's letter that I posted yesterday.

From: Vincent van Gogh
To: Theo van Gogh
Date: Saint-Rémy-de-Provence, on or about Tuesday, June 18, 1889

My dear Theo,
Thanks for your letter of yesterday. I too cannot write as I would wish, but anyway we live in such a disturbed age that there can be no question of having opinions that are firm enough to judge things.
I would have very much liked to know if you now still eat together at the restaurant or if you live at home more. I hope so, for in the long run that must be the best.

As for me, it’s going well – you’ll understand that after almost half a year now of absolute sobriety in eating, drinking, smoking, with two two-hour baths a week recently, (Note: These baths were part of the hydrotherapy treatment)

this must clearly calm one down a great deal. So it’s going very well, and as regards work, it occupies and distracts me – which I need very much – far from wearing me out.
It gives me great pleasure that Isaäcson found things in my consignment that please him. He and De Haan appear very faithful, which is sufficiently rare these days for it to be worthy of appreciation. And that, as you say, there was another who found something in the yellow and black figure of a woman,

(Note: This was the fellow named Polack, mentioned by Theo in the letter I posted yesterday who had praised Vincent’s Marie Ginoux (‘The Arlésienne’)

that doesn’t surprise me, although I think that its merit lies in the model and not in my painting.
I despair of ever finding models. Ah, if I had some from time to time like that one, or like the woman who posed for the Berceuse, (Note: This model was Augustine Roulin.)

I’d do something quite different.

I think you did the right thing by not exhibiting paintings of mine at the exhibition by Gauguin and others. There’s reason enough for me to abstain from doing so without offending them as long as I’m not cured myself.
For me it’s beyond doubt that Gauguin and Bernard have great and real merit.

It’s still perfectly understandable, though, that for beings like them, really alive and young, who must live and try to carve out their path, it’s impossible to turn all their canvases to the wall until it pleases people to admit them somewhere in the official pickle. One causes a stir by exhibiting in the cafés, which I don’t say isn’t in bad taste. But for myself, I have that crime on my conscience, and to the point of doing it twice, having exhibited at the Tambourin and at avenue de Clichy.

(Note:Regarding Café Le Tambourin, where van Gogh exhibited his own work and some Japanese prints, In November-December 1887 he had organized an exhibition of paintings by himself and his friends in Grand Bouillon-Restaurant du Chalet in avenue de Clichy)

Not counting the disturbance caused to 81 virtuous cannibals of the good town of Arles and to their excellent mayor.

(Note: van Gogh is referring to the neighbourhood residents, who had signed a petition complaining about him and submitted it to Jacques Tardieu, the mayor of Arles. Thirty people signed the petition, Including his "dear friend" Joseph Ginoux)

So in any case, I am worse and more blameworthy than they are in that regard (causing a stir quite involuntarily, my word).
Young Bernard – according to me – has already made a few absolutely astonishing canvases in which there’s a gentleness and something essentially French and candid, of rare quality.
Anyway, neither he nor Gauguin are artists who could look as if they were trying to go to the World Exhibition by the back stairs. You can be sure of that. It’s understandable that they couldn’t keep silent. That the Impressionists’ movement has had no unity is what proves that they’re less skilled fighters than other artists like Delacroix and Courbet.

At last I have a landscape with olive trees, and also a new study of a starry sky.
Although I haven’t seen the latest canvases either by Gauguin or Bernard, I’m fairly sure that these two studies I speak of are comparable in sentiment. When you’ve seen these two studies for a while, as well as the one of the ivy, (Note: van Gogh is referring to Trees with ivy in the garden of the asylum)

I’ll perhaps be able to give you, better than in words, an idea of the things Gauguin, Bernard and I sometimes chatted about and that preoccupied us. It’s not a return to the romantic or to religious ideas, no. However, by going the way of Delacroix, more than it seems, by color and a more determined drawing than trompe-l’oeil precision, one might express a country nature that is purer than the suburbs, the bars of Paris. One might try to paint human beings who are also more serene and purer than Daumier had before him. But of course following Daumier in the drawing of it. We’ll leave aside whether that exists or doesn’t exist, but we believe that nature extends beyond St-Ouen.

Perhaps, while reading Zola, we are moved by the sound of the pure French of Renan, for example.
And after all, while Le Chat Noir draws women for us after its own fashion, and above all Forain does so in a masterly way, we do some of our own, less Parisian but no less fond of Paris and its elegances, we try to prove that something else quite different exists.

Gauguin, Bernard or I will all remain there perhaps, and won’t overcome but neither will we be overcome. We’re perhaps not there for one thing or the other, being there to console or to prepare for more consolatory painting. Isaäcson and De Haan may not succeed either, but in Holland they’ve felt the need to state that Rembrandt did great painting and not trompe l’oeil, they also felt something different.
If you can get the Bedroom lined it’s better to have it done before sending it to me.
I have no more white at all at all.

You’ll give me a lot of pleasure if you write to me again soon. I so often think that after a while you’ll find in marriage, I hope, the means to gain new strength, and that a year from now your health will have improved.
What I’d very much like to have here to read from time to time would be a Shakespeare. There’s one priced at one shilling, Dicks' Shilling Shakespeare, which is complete.

(Note:In 1861 the London publishing house of John Dicks published an illustrated edition of Shakespeare’s Complete works, which was reprinted a number of times. A letter in the Bookseller of 1868 reveals how popular this edition was: ‘John Dicks sold within a few years nearly a million copies of this shilling edition.’)

There’s no shortage of editions, and I think the cheap ones have been changed less than the more expensive ones. In any case I wouldn’t want one that cost more than three francs.
Now, whatever is too bad in the consignment, put it completely to one side, pointless to have stuff like that; it may be of use to me later to remind me of things. Whatever is good will show up better by being part of a smaller number of canvases. The rest, if you put them in a corner, flat between two sheets of cardboard with old newspapers between the studies, that’s all they’re worth.
I’m sending you a roll of drawings.
Handshakes to you, to Jo and to our friends.

Ever yours,

The drawings Hospital in Arles,(Note: van Gogh is referring to The courtyard of the hospital)

the weeping tree in the grass,(Note: Weeping tree on a lawn)

the fields and the olive trees, are a continuation of those from Montmajour from back then.(Note: van Gogh is referring to the six large pen drawings he had made on Montmajour in 1888.)

The others are hasty studies done in the garden.
There’s no hurry for the Shakespeare, if they don’t have an edition like that, it won’t take an eternity to have one sent.
Don’t be afraid that I would ever venture onto dizzy heights of my own free will, unfortunately, whether we like it or not, we’re subject to circumstances and to the illnesses of our time. But with all the precautions I’m now taking, it will be difficult for me to relapse, and I hope that the attacks won’t start again.

"The soul, fortunately, has an interpreter - often an unconscious, but still a truthful interpreter - in the eye."
―Charlotte Bronte

"Three things cannot be long hidden: the sun, the moon, and the truth."

"I am the Way, the Truth, and the Life. No one comes to the Father except through me."
―Jesus Christ

Later, Love ya, me.
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MessaggioInviato: Dom Giu 11, 2017 19:39    Oggetto: Rispondi citando

Rolling Eyes Rolling Eyes Rolling Eyes Rolling Eyes
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MessaggioInviato: Lun Giu 12, 2017 02:37    Oggetto: Rispondi citando

Here's an interesting letter, Alessandro, that Vincent van Gogh and Paul Gauguin sent to French Post-Impressionist painter and writer, Emile Bernard.

From: Vincent van Gogh
To: Emile Bernard
Date: Arles, Thursday, 1 or Friday, 2 November 1888

My dear old Bernard,
We’ve done a great deal of work these past few days, and in the meantime I’ve read Zola’s Le rêve, so I’ve hardly had time to write.

(Note: . Le rêve (The dream) (1888), Emile Zola’s most recent novel in the Rougon-Macquart series, was published on October 11, 1888. It is the story of the orphan Angélique Marie, who spends her time embroidering the lives of saints and dreaming of a knight in shining armour. He appears in the person of Félicien. At the height of her happiness, however, after the nuptial mass, she dies in her husband’s arms. Losing touch with reality and coping with disillusion, including disappointments with catastrophic outcomes, are recurring themes in Zola’s work.)

Gauguin interests me greatly as a man — greatly. For a long time it has seemed to me that in our filthy job as painters we have the greatest need of people with the hands and stomach of a labourer. More natural tastes — more amorous and benevolent temperaments — than the decadent and exhausted Parisian man-about-town. Now here, without the slightest doubt, we’re in the presence of an unspoiled creature with the instincts of a wild beast. With Gauguin, blood and sex have the edge over ambition. But enough of that, you’ve seen him close at hand longer than I have, just wanted to tell you first impressions in a few words.

Next, I don’t think it will astonish you greatly if I tell you that our discussions are tending to deal with the terrific subject of an association of certain painters. Ought or may this association have a commercial character, yes or no? We haven’t reached any result yet, and haven’t so much as set foot on a new continent yet. Now I, who have a presentiment of a new world, who certainly believe in the possibility of a great renaissance of art. Who believe that this new art will have the tropics for its homeland.

(Note: Aurier reworked this passage in his article ‘Les isolés: Vincent van Gogh’, which appeared in the Mercure de France of January 1890, to provide the following characterization of van Gogh: ‘a dreamer, an exalted believer, a devourer of beautiful Utopias, who lives on ideas and illusions. For a long time he has taken delight in imagining a renovation of art made possible through a displacement of civilization: an art of tropical regions.’)

It seems to me that we ourselves are serving only as intermediaries. And that it will only be a subsequent generation that will succeed in living in peace. Anyway, all that, our duties and our possibilities for action could become clearer to us only through actual experience. I was a little surprised not yet to have received the studies that you promised in exchange for mine.

(Note: van Gogh used the plural, so apparently Bernard had told him that he had taken two works from van Gogh’s consignment, in which case he must have chosen two of the following three works: ‘Red sunset’, Garden with flowers and an unidentified work)

Now something that will interest you — we’ve made some excursions in the brothels, and it’s likely that we’ll eventually go there often to work. At the moment Gauguin has a canvas in progress of the same night café that I also painted, but with figures seen in the brothels. It promises to become a beautiful thing.

I’ve made two studies of falling leaves in an avenue of poplars, and a third study of the whole of this avenue, entirely yellow. I declare I don’t understand why I don’t do figure studies,

(Note: The last figure pieces that van Gogh had made – apart from his Self-portrait, which he traded with Gauguin – dated from September: the portraits of Eugène Boch and Lieutenant Milliet, respectively).

while theoretically it’s sometimes so difficult for me to imagine the painting of the future as anything other than a new series of powerful portraitists, simple and comprehensible to the whole of the general public. Anyway, perhaps I’ll soon get down to doing brothels. I’ll leave a page for Gauguin, who will probably also write to you, and I shake your hand firmly in thought.

Ever yours,

Milliet the 2nd lieut. Zouaves has left for Africa, and would be very glad if you were to write to him one of these days.

[Continued by Paul Gauguin]

You will indeed do well to write him what your intentions are, so that he could take steps beforehand to prepare the way for you.
Mr Milliet, second lieutenant of Zouaves, Guelma, Africa.
Don’t listen to Vincent; as you know, he’s prone to admire and ditto to be indulgent. His idea about the future of a new generation in the tropics seems absolutely right to me as a painter, and I still intend going back there when I find the funds. A little bit of luck, who knows?

(Note: Gauguin had lived with Laval on Martinique from May to November 1887; in Arles he was making plans to return to the tropics. He finally left for Tahiti on April 1, 1891.)

Vincent has done two studies of falling leaves in an avenue, which are in my room and which you would like very much. On very coarse, but very good sacking.

(Note: Soon after arriving in Arles, Gauguin bought 20 metres of ‘very strong canvas’, as Vincent informed Theo in a previous letter. It was coarse jute, which van Gogh and Gauguin divided equally and worked on almost exclusively until they ran out of it in December.)

Send news of yourself and of all the pals.

Paul Gauguin

"It’s quite true that I may take a blue for a green in the dark, a blue lilac for a pink lilac, since you can’t make out the nature of the tone clearly. But it’s the only way of getting away from the conventional black night..."
―Vincent van Gogh, describing painting en plein air at night.(Café Terrace at Night)

"I want to do it because I want to do it."
―Amelia Earhart

"The truth is incontrovertible. Malice may attack it, ignorance may deride it, but in the end, there it is."
―Winston Churchill

Over and out, Talk to ya later, me.
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MessaggioInviato: Lun Giu 12, 2017 10:20    Oggetto: Rispondi citando

Grazie mille carissima Giuly per tutta questa bellissima informazione. Wink Razz
Tanti baci, carissima Razz Razz !!!

Mio caro Ale,

Sono d'accordo con la parte del testo che hai citato di Predrag Matvejevic ....
Sono anche mediterranea, europea, di sul dal Mediterraneo meridionale Razz Wink

Ho visto molto emozionato, complimenti mio caro amico, per me, questa emozione, la dice lunga sulla tua sensibilità e la tua grandezza ...
Tu non mai mi deludi, mai!!!

Sempre tocchi il mio cuore, come attore e come persona Crying or Very sad Crying or Very sad !!

Grazie caro amico Ale, sei speciale Wink Wink !!

Tanti baci con grande affetto da Madrid!!!



La vera ricchezza è prendere la vita con amore, donando amore.

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MessaggioInviato: Mar Giu 13, 2017 03:08    Oggetto: Rispondi citando

Alessandro, Here's another letter Vincent van Gogh wrote to Emile Bernard. He again speaks of many of his paintings.

From: Vincent van Gogh
To: Emile Bernard
Date: Saint-Rémy, on or about Tuesday, October 8, 1889

dear friend Bernard,
The other day my brother wrote to me that you (vous) were going to come to see my canvases; so I know that you’re back, and I’m very pleased that you thought of going to see what I’ve done.

(Note: van Gogh now occasionally addresses his ‘pal’ Bernard with ‘vous’, since in his previous letters he always used the familiar ‘tu’.)

(Note: On October 4 Theo had reported that Bernard was coming to look at Vincent’s paintings. van Gogh’s mention, later in the letter, of ‘the ones from this summer’ must refer to the second consignment of paintings from Saint-Rémy, which contained eight works that he had painted in the summer.
Bernard had contacted Theo not only to see Vincent’s paintings, but also to ask for work. He wrote to Theo that he was urgently in need of money, and asked whether he could perhaps work at Boussod, Valadon & Cie at ‘retouching photo-engraving or some other procedure taking place’)

For my part, I’m extremely curious to know what you’ve brought back from Pont-Aven.

(Note: Bernard had spent some time in Saint-Briac in the summer of 1889. In contrast to what van Gogh evidently thought he had not been in Pont-Aven, where Gauguin was staying at the time. Bernard’s father thought that Gauguin had a bad influence on his son, and had forbidden all contact between them.)

I hardly have a head for writing, but I feel a great emptiness in no longer being at all up to date with what Gauguin, you and others are doing. But I really must have patience. I have another dozen studies here,

(Note:In addition to the three canvases that van Gogh describes in this letter the dozen recent studies included Mulberry tree, Poplars in the mountains, Trees in the garden of the asylum, Pine trees in the garden of the asylum and The husband is at sea (after Demont-Breton)

which will probably be more to your taste than the ones from this summer that my brother will have shown you. Among these studies there’s an entrance to a quarry, pale lilac rocks in reddish earth, as in certain Japanese drawings.

In terms of design and the division of color into large planes, it’s quite closely related to what you’re doing in Pont-Aven.

I had more control over myself in these latest studies, because my state of health had firmed up. So there’s also a no. 30 canvas with broken lilac ploughed fields and a background of mountains that go all the way up the canvas; so nothing but rough ground and rocks, with a thistle and dry grass in a corner, and a little violet and yellow man. (Note: Ploughed field with a man carrying a bundle of straw)

That will prove, I hope, that I haven’t yet gone soft.

Dear God, this is a pretty awful little part of the world, everything’s hard to do here, to disentangle its intimate character, and so that it’s not something vaguely true, but the true soil of Provence. So to achieve that, you have to toil hard. And so it naturally becomes a little abstract. Because it will be a question of giving strength and brilliance to the sun and the blue sky, and to the scorched and often so melancholy fields their delicate scent of thyme. The olive trees down here, my good fellow, they’d suit your book; I haven’t been fortunate this year in making a success of them, but I’ll go back to it, that’s my intention. It’s silver against orangeish or purplish earth, under the great blue sky. Well now, I’ve seen some by certain painters, and by myself, which didn’t render the thing at all. Those silver greys are like Corot first of all, and that, above all, hasn’t been done yet — while several artists have been successful with apple trees, for example, and willows.

So there are relatively few paintings of vineyards, which are nevertheless of such changing beauty. So there’s still plenty for me to fiddle around with here.
Look here, what I very much regret not having seen at the Exhibition is a series of houses of all the nations; I think it was Garnier or Viollet-le-Duc who organized it.

(Note: For the dwellings in the section ‘Histoire de l’habitation’ at the World Exhibition, The architect was Charles Garnier.)

Well, could you, who will have seen it, give me an idea, and especially a croquis with the colour of the primitive Egyptian house? It must be very simple, a square block, I believe, on a terrace — but I’d like to know the coloring too. I was reading in an article that it was blue, red and yellow.

(Note: The illustrated magazines devoted a lot of space to the ‘Histoire de l’habitation’, so it is impossible to identify the article from which van Gogh got his information about the Egyptian house.)

Did you pay attention to it? Please inform me without fail! And it mustn’t be confused with the Persian or the Moroccan; there must be some that are more or less it, but not it.

Anyway, for me the most wonderful thing that I know in terms of architecture is the cottage with a mossy thatched roof, with its blackened hearth. So I’m very fussy. I saw a croquis of ancient Mexican houses in an illustrated magazine; that, too, seemed primitive and really beautiful.

(Note: This sketch of Mexican houses has not been traced; in any case, it did not appear in L’Illustration.)

Ah, if only one knew the things of those days, and if one could paint the people of those days who lived in them — it would be as beautiful as Millet. Anyway, what we do know that’s solid these days, then, is Millet; I’m not talking about colour — but as character, as something significant, as something in which one has solid faith.
Now, about your service; will you go? I hope you’ll go to see my canvases again when I send the studies of autumn, in November. And if possible let me know what you’ve brought back from Brittany, because I’d really like to know what you yourself believe to be your best things. So I’ll write again soon.

I’m working on a large canvas of a ravine; it’s a subject just like the study with a yellow tree that I still have from you,

(Note: Bernard’s Yellow tree fits this description and is accordingly often dated to 1888. However, it is dated to around 1892 on stylistic grounds in exhib. cat. Mannheim. If that is correct, the work referred to here is not known.)

two bases of extremely solid rocks, between which a trickle of water flows, a third mountain that closes off the ravine. These motifs certainly have a beautiful melancholy, and it’s enjoyable to work in really wild sites where you have to bury your easel in the stones so that the wind doesn’t send everything flying to the ground.

Yours truly,

"I experience a period of frightening clarity in those moments when nature is so beautiful. I am no longer sure of myself, and the paintings appear as in a dream."
―Vincent van Gogh

"I may be drunk, Madam, but in the morning I will be sober and you will still be ugly." Laughing
―Winston Churchill

"All truths are easy to understand once they are discovered; the point is to discover them."
―Galileo Galilei

I'll talk to ya later, Namaste, me.
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MessaggioInviato: Mer Giu 14, 2017 02:17    Oggetto: Rispondi citando

Alessandro, In this letter that Vincent van Gogh wrote to Emile Bernard, Vincent has a lot to say. Laughing

From: Vincent van Gogh
To: Emile Bernard
Date: Arles, on or about Tuesday, November 26, 1889

My dear friend Bernard,
Thank you for your letter, and thank you especially for your photos, which give me an idea of your work. Incidentally, my brother wrote to me about it the other day, saying that he very much liked the harmoniousness of the color, a certain nobility in several figures.

(Note: Theo had written about Bernard’s paintings The annunciation and Christ in the Garden of Olives)

Look, in the adoration of the shepherds, the landscape charms me too much for me to dare to criticize, and nevertheless, it’s too great an impossibility to imagine a birth like that, on the very road, the mother who starts praying instead of giving suck, the fat ecclesiastical bigwigs, kneeling as if in an epileptic fit, God knows how or why they’re there, but I myself don’t find it healthy.

(Note: van Gogh must have received a photograph of The adoration of the shepherds , 1889 (private collection), which Bernard had recently painted. An unpublished inventory, drawn up by Bernard in 1895, reveals that the work dates from 1889.)

Because I adore the true, the possible, were I ever capable of spiritual fervour; so I bow before that study, so powerful that it makes you tremble, by père Millet — peasants carrying to the farmhouse a calf born in the fields.

(Note: This refers to the painted sketch for Millet’s painting Birth of the calf, c. 1864, which van Gogh must have seen at the retrospective exhibition of Millet’s work in Paris in 1887. This first, unfinished version was well known through the engraving that Maxime François Antoine Lalanne made after it for the catalogue of the Alfred Saucède sale in 1879)

Now, my friend — people have felt that from France to America. After that, would you go back to renewing medieval tapestries for us? Truly, is this a sincere conviction? no, you can do better than that, and you know that one has to look for the possible, the logical, the true, even if to some extent you had to forget Parisian things à la Baudelaire. How I prefer Daumier to that gentleman!

An annunciation of what — — — I see figures of angels, elegant, my word, a terrace with two cypresses, which I like very much; there’s an enormous amount of air, of clarity in it....but in the end, once this first impression is past, I wonder if it’s a mystification, and these secondary characters no longer tell me anything.
But this is enough for you to understand that I would long to see things of yours again, like the painting of yours that Gauguin has, those Breton women walking in a meadow, the arrangement of which is so beautiful, the color so naively distinguished. Ah, you’re exchanging that for something — must one say the word — something artificial — something affected.

(Note: Bernard himself claimed that this work had influenced Gauguin: ‘This is the canvas of which I once spoke in the Mercure de France, ‘Breton women in the meadow’, in my article Histoire de l’Ecole dite de Pont-Aven, and which brought about such a change in technique and assumptions in Gauguin. In 1888 he had exchanged it with me for a painting of his of the same size, and had taken it to Arles, where Vincent saw it and made a copy of it’ van Gogh made the copy in watercolor in December 1888: Breton women in the meadow (after Emile Bernard)

Last year, from what Gauguin was telling me, you were doing a painting more or less like this, I imagine.

(Note: The letter sketch is based on the description (and presumably an accompanying sketch) that Gauguin gave in the autumn of 1888 of Bernard’s painting Madeleine in the Bois d’Amour, 1888 (Paris, Musée d’Orsay).

Against a foreground of grass, a figure of a young girl in a blue or white dress, lying full length. Behind that: edge of a beech wood, the ground covered in fallen red leaves, the verdigrised trunks crossing it vertically — I imagine the hair a colorful note in the tone required as complementary to the white dress: black if the clothing was white, orange if the clothing was blue. But anyway, I said to myself, what a simple subject, and how he knows how to create elegance with nothing.

(Note: Here Bernard placed another footnote: ‘The exactitude of the description shows how much Gauguin had appreciated the painting’)

Gauguin spoke to me of another subject, nothing but three trees, thus effect of orange foliage against blue sky, but still really clearly delineated, well divided, categorically, into planes of contrasting and pure colors — that’s the spirit!

(Note: The letter sketch is based on the description (and presumably an accompanying sketch) that Gauguin gave in the autumn of 1888 of Bernard’s painting Red poplars, 1887 (private collection).

And when I compare that with that nightmare of a Christ in the Garden of Olives,

(Note: Bernard also sent a photograph of this painting to Gauguin, who, unlike van Gogh, reacted positively: ‘the Christ seems to me not only better, but even more beautiful. Overall, the canvas breathes a purposefulness, an imaginative style that I find quite amazing. The disproportionate length of the figure at prayer is very bold and adds to its movement. You were right to exaggerate it, at least one doesn’t think of the model, or of that bloody reality. The soldiers well arranged. In the photograph you can see a head of Judas that vaguely resembles me. Rest assured, I don’t see anything wrong in it’. Bernard told Gauguin about the criticism voiced by van Gogh in this letter. Gauguin reacted in a letter written to Bernard in late 1889: ‘Vincent wrote much the same to me, that we were becoming affected etc... I replied replied to him!’ )

well, it makes me feel sad, and I herewith ask you again, crying out loud and giving you a piece of my mind with all the power of my lungs, to please become a little more yourself again. The Christ carrying his Cross is atrocious. Are the splashes of color in it harmonious? But I won’t let you off the hook for a commonplace — commonplace, you hear — in the composition.

When Gauguin was in Arles, I once or twice allowed myself to be led into abstraction, as you know, in a woman rocking a cradle,

(Note: While Gauguin was in Arles, van Gogh had started the first version of La berceuse which he finished in January 1889.)

a dark woman reading novels in a yellow library,(Note: Woman reading a novel) and at that time abstraction seemed an attractive route to me. But that’s enchanted ground,(Note:Possibly an allusion to Bunyan) - my good fellow — and one soon finds oneself up against a wall. I’m not saying that one may not take the risk after a whole manly life of searching, of fighting hand-to-hand with reality, but as far as I’m concerned I don’t want to rack my brains over that sort of thing. And the whole year, have fiddled around from life, hardly thinking of Impressionism or of this or that.

However, once again I’m allowing myself to do stars too big, &c., new setback, and I’ve enough of that.

(Note: van Gogh seems to be referring to Starry night which he had made in June of that year. When mentioning the work in earlier letters, however, he was not so negative about it; he even defended it to Theo)

So at present am working in the olive trees, seeking the different effects of a grey sky against yellow earth, with dark green note of the foliage; another time the earth and foliage all purplish against yellow sky, then red ochre earth and pink and green sky. See, that interests me more than the so-called abstractions.

And if I haven’t written for a long time, it’s because, having to struggle against my illness and to calm my head, I hardly felt like having discussions, and found danger in these abstractions. And by working very calmly, beautiful subjects will come of their own accord; it’s truly first and foremost a question of immersing oneself in reality again, with no plan made in advance, with no Parisian bias. Besides, am very dissatisfied with this year, but perhaps it will prove a solid foundation for the coming one. I’ve let myself become thoroughly imbued with the air of the small mountains and the orchards. With that, I’ll see. My ambition is truly limited to a few clods of earth, some sprouting wheat. An olive grove. A cypress; the latter not easy to do, for example.

You who love the primitives, who study them, I ask you why you appear not to know Giotto. Gauguin and I saw a tiny panel of his in Montpellier, the death of some sainted woman or other.

(Note: In December 1888 van Gogh and Gauguin had travelled to Montpellier to visit the Musée Fabre. The ‘tiny panel’ van Gogh refers to is The death and assumption of the Virgin (now no longer attributed to Giotto).

The expressions in it of pain and ecstasy are human to the point that, 19th century though it may be, you feel you’re in it — and believe you were there, present, so much do you share the emotion. If I saw your actual canvases, I believe the color could nevertheless excite me. But then you speak of portraits that you’ve done, and have captured precisely; that’s something that will be good, and where you will have been yourself.

Here’s description of a canvas that I have in front of me at the moment. A view of the garden of the asylum where I am, on the right a grey terrace, a section of house, some rosebushes that have lost their flowers; on the left, the earth of the garden — red ochre — earth burnt by the sun, covered in fallen pine twigs. This edge of the garden is planted with large pines with red ochre trunks and branches, with green foliage saddened by a mixture of black. These tall trees stand out against an evening sky streaked with violet against a yellow background. High up, the yellow turns to pink, turns to green. A wall — red ochre again — blocks the view, and there’s nothing above it but a violet and yellow ochre hill. Now, the first tree is an enormous trunk, but struck by lightning and sawn off. A side branch thrusts up very high, however, and falls down again in an avalanche of dark green twigs.

This dark giant — like a proud man brought low — contrasts, when seen as the character of a living being, with the pale smile of the last rose on the bush, which is fading in front of him. Under the trees, empty stone benches, dark box. The sky is reflected yellow in a puddle after the rain. A ray of sun — the last glimmer — exalts the dark ochre to orange — small dark figures prowl here and there between the trunks.

(Note: The canvas van Gogh describes in such detail is The garden of the asylum. There are two variants, the one referred to here is probably the second one.)

You’ll understand that this combination of red ochre, of green saddened with grey, of black lines that define the outlines, this gives rise a little to the feeling of anxiety from which some of my companions in misfortune often suffer, and which is called ‘seeing red’.

(Note: This characteristic expression has always been read wrongly as ‘noir-rouge’, and is often cited as such. The expression ‘voir rouge’ (which is easily legible in the manuscript) is still current and means ‘to be in a state of violent psychological or emotional agitation’)

And what’s more, the motif of the great tree struck by lightning, the sickly green and pink smile of the last flower of autumn, confirms this idea. Another canvas depicts a sun rising over a field of new wheat. Receding lines of the furrows run high up on the canvas, towards a wall and a range of lilac hills. The field is violet and green-yellow. The white sun is surrounded by a large yellow aureole. (Note: Wheatfield at sunrise) In it, in contrast to the other canvas, I have tried to express calm, a great peace.

I’m speaking to you of these two canvases, and especially the first, to remind you that in order to give an impression of anxiety, you can try to do it without heading straight for the historical garden of Gethsemane; in order to offer a consoling and gentle subject it isn’t necessary to depict the figures from the Sermon on the Mount

(Note: van Gogh cites this merely as an example; as far as we know, Bernard did not paint the Sermon on the Mount (Matt. 5-7).)

ah — it is — no doubt — wise, right, to be moved by the Bible, but modern reality has such a hold over us that even when trying abstractly to reconstruct ancient times in our thoughts — just at that very moment the petty events of our lives tear us away from these meditations and our own adventures throw us forcibly into personal sensations: joy, boredom, suffering, anger or smiling.

The Bible — the Bible — Millet was brought up on it from his childhood, used to read only that book and yet never, or almost never, did biblical paintings.

(Note: According to Sensier, it was the Bible that Millet ‘considered the painters’ book, the book in which the most moving paintings are found in imposing forms’.)

Corot did a Garden of Olives with Christ and the star of Bethlehem: sublime. In his work you feel Homer, Aeschylus, Sophocles too, sometimes, as well as the Gospels, but how sober and always giving due weight to modern, possible sensations common to us all. But, you’ll say, Delacroix — yes, Delacroix — but then you’d have to study in a very different way, yes, study history before putting things in their place like that.

So, they’re a setback, my dear fellow, your biblical paintings, but... there are few who make mistakes like that, and it’s an error, but your return from it will be, I dare to say, astonishing, and it’s by making mistakes that one sometimes finds the way. Look, avenge yourself by painting your garden as it is, or anything you like. In any case, it’s good to look for what’s distinguished, what’s noble in figures, and your studies represent an effort that’s been made, and so something other than wasted time.

To know how to divide a canvas into large, tangled planes like that, to find contrasting lines and forms — that’s technique — trickery, if you like, but anyway, it means you’re learning your craft more thoroughly, and that’s good. No matter how hateful and cumbersome painting may be in the times in which we live, the person who has chosen this craft, if he nevertheless practises it with zeal, is a man of duty, both sound and loyal. Society sometimes makes existence very hard for us, and from that too comes our impotence and the imperfection of our works. I believe that Gauguin himself suffers greatly from it, too, and cannot develop as he yet has it in him to do.

I myself suffer in that I’m utterly without models. On the other hand, there are beautiful sites here. Have just done 5 no. 30 canvases of the olive trees. And if I still stay here it’s because my health is recovering greatly. What I’m making is harsh, dry, but it’s because I’m trying to reinvigorate myself by means of rather arduous work, and would fear that abstractions would make me soft. Have you seen a study of mine with a little reaper? A field of yellow wheat and a yellow sun. It isn’t there yet — but in it I’ve again attacked this devil of a question of yellow. I’m talking about the one that’s impastoed and done on the spot, not about the repetition with hatching, in which the effect is weaker. I wanted to do it in pure sulphur. I’d have plenty more things to tell you — but although I write today that my mind is somewhat stronger, previously I was afraid of overheating it before I was cured. In thought a very warm handshake, to Anquetin too, to other friends if you see them, and believe me

Ever yours,

No need to tell you that I regret, for you as well as for your father, that he didn’t approve of your spending the season with Gauguin. The latter wrote to me that for reasons of health your service has been postponed for a year.

(Note: Gauguin had written about Bernard’s father and the deferred military service in a previous letter)

Thank you anyway for the description of the Egyptian house. I would still have liked to know if it was larger or smaller than a cottage back home — the size relative to the human figure, in short. I was looking for information about the coloring particular.

"This above all; to thine own self be true."
―William Shakespeare

And that’s a wrap! Later, me.
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MessaggioInviato: Mer Giu 14, 2017 14:34    Oggetto: Rispondi citando

Rolling Eyes Rolling Eyes Rolling Eyes Rolling Eyes Rolling Eyes
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MessaggioInviato: Gio Giu 15, 2017 02:53    Oggetto: Rispondi citando

Alessandro, in this letter that Vincent van Gogh sent to Theo van Gogh, he speaks of: the hot weather, his paintings, Gauguin, his health, The novel, "Le sens de la vie" by Edouard Rod, other novelists/books and Paris.

From: Vincent van Gogh
To: Theo van Gogh
Date: Saint-Rémy-de-Provence, Tuesday, June 25, 1889

My dear Theo,
Enclosed you’ll find an order for colors to replace the one in my previous letter.

(Note: Vincent had included in a previous letter a new order for paints for the month of June. The replacement list sent with this letter is not known.)

We’ve had some fine hot days and I’ve got some more canvases on the go, so that there are 12 no. 30 canvases on the stocks.

(Note: Among these twelve no. 30 canvases were the eleven paintings of which Vincent would send drawings to Theo a week later, Trees with ivy in the garden of the asylum Cypresses, Cypresses, Fields with poppies, Wheatfield and cypresses, Starry night, Olive trees with the Alpilles in the background Wheatfield, Wheatfield after a storm, Reaper and the underlying depiction of Ravine
If indeed there was a twelfth canvas, the possibilities include Olive grove, Olive grove and Green wheatfield with rising sun)

Two studies of cypresses of that difficult shade of bottle green. I’ve worked their foregrounds with thick impastos of white lead which gives firmness to the ground. I believe that Monticellis were very often prepared in this way. One then places other colors on top. But I don’t know if the canvases are strong enough for this work.

Speaking of Gauguin, Bernard and the fact that they might well do more consolatory painting, I must, however, add what I’ve anyway often said to Gauguin himself, that one must then not forget that others have already done so. But whatever the case, outside Paris one quickly forgets Paris, by throwing oneself into the heart of the country one changes one’s ideas. But I for one couldn’t forget all those beautiful Barbizon canvases then, and it seems unlikely and anyway unnecessary to do better than that. What’s Andries Bonger doing, you don’t mention him in your last two or three letters.

As for me, my health is still very good. And work is distracting me.
I have received, from one of our sisters probably, a book by Rod which is not bad but whose title, Le sens de la vie, is really a little pretentious for the contents, it would appear to me.

Above all it’s not very cheering. The author, it seems to me, must have a lot of trouble with his lungs. And consequently a little with everything.
Anyway, he admits that he finds solace in the company of his wife, which is very well observed, but anyway, for my own use he teaches me absolutely nothing whatsoever about the meaning of life. For my part I could find him a little trite and be surprised that in these days he has had a book like that printed and that he’s selling it for 3 francs 50.

(Note: The novel Le sens de la vie by Edouard Rod (1889) consists of four parts: ‘Mariage’, ‘Paternité’, ‘Altruisme’ and ‘Religion’. It is a sequel to the novel La course à la mort, in which the protagonist is interested only in selfish pleasures. In Le sens de la vie he assumes social responsibility and becomes bound up in married life and fatherhood, albeit after a good deal of scepticism and inner struggle. The first and second editions, which were published in Paris in 1889 in the series ‘Librairie Académique Didier’ at Perrin et Cie, ‘Libraires-Éditeurs’, state the price on the cover: 3.50 francs.)

Anyway, I prefer Alphonse Karr, Souvestre, Droz, because it’s a bit more alive than this. It’s true that I’m perhaps ungrateful, not even appreciating Abbé Constantin and other literary productions that illuminate the sweet reign of the naїve Carnot.

(Note: In 1887 Sadi Carnot was elected President of France by an overwhelming majority. He was known for his respectful attitude towards the church and encouraged the Ralliement (‘Rallying’; the acceptance of the Third Republic by the French monarchists). In May 1889 Carnot had spoken four times at the opening of the World Exhibition, where he called for peace and solidarity. The connection between Carnot and Halévy’s L’abbé Constantin probably has to do with van Gogh’s criticism of this peaceful novel, in which all conflict is avoided, as ‘terribly sweet and heavenly’)

It appears that this book has made a great impression on our good sisters. Wil had moreover spoken to me of it, but the little women and books are two different things. I’ve re-read Voltaire’s Zadig ou la destinée with much pleasure. It’s like Candide. There, at least, the powerful author makes one glimpse that it’s still possible that life has a meaning, ‘although one agreed in conversation that the things of this world did not always go according to the wisest people’s liking’.

(Note: With regard to Voltaire’s Candide, Here van Gogh quotes from Voltaire’s Zadig, ou la destinée, ‘L’Ermite’ (The hermit) (chapter 18. ) The protagonist, Zadig, has an experience similar to that of Candide: he, too, is forced to flee and subsequently experiences the outside world. While Candide comments on optimism, however, Zadig treats the connection between fate and chance. Voltaire’s view is moderately optimistic: evil and the absurdity of chance only seem to prevail.)

As for me, I don’t know what to wish for, first of all working here or elsewhere appears to me more or less the same thing, and since I’m here, staying here the most simple. Only there’s a lack of news to write to you, for the days are all the same, as for ideas I have no others except to think that a wheatfield or a cypress are well worth the effort of looking at them from close at hand, and so on.
I have a wheatfield, very yellow and very bright, perhaps the brightest canvas I’ve done. The cypresses still preoccupy me, I’d like to do something with them like the canvases of the sunflowers because it astonishes me that no one has yet done them as I see them.

It’s beautiful as regards lines and proportions, like an Egyptian obelisk.
And the green has such a distinguished quality.
It’s the dark patch in a sun-drenched landscape, but it’s one of the most interesting dark notes, the most difficult to hit off exactly that I can imagine.
Now they must be seen here against the blue, in the blue, rather.
To do nature here, as everywhere, one must really be here for a long time.

intimate note, for the light is mysterious, and Monticelli and Delacroix felt that. Then Pissarro used to talk about it very well in the old days, and I’m still a long way from being able to do as he said one should.

(Note: Montenard was known for his depiction of the warm Mediterranean sunlight in his Provençal landscapes and seascapes.)

(Note: van Gogh is probably referring to Pissarro’s statements about painting effects of color and light, which he referred to in previous letters)

Naturally it will please me if you send me the colors, soon if that’s possible, but above all do what you can without it exhausting you too much.
So if you prefer to send me it in two batches, that’s also all right.

I think that of the two canvases of cypresses, the one I’m making the croquis of will be the best. The trees in it are very tall and massive. The foreground very low, brambles and undergrowth. Behind, violet hills, a green and pink sky with a crescent moon. The foreground, above all, is thickly impasted, tufts of bramble with yellow, violet, green highlights. I’ll send you drawings of them with two other drawings that I’ve also done.

That will keep me busy for the next few days. Finding something to do all day is the big thing here. What a pity that one can’t move the building here. It would be magnificent to hold an exhibition there, all the empty rooms, the big corridors.
I’d very much have liked to see that Rembrandt painting you spoke about in your last letter.

In the old days I saw in Braun’s window a photo after a painting which must be from the fine late period (probably in the Hermitage series), in it there were large figures of angels, it was Abraham’s meal. figures I think. That too was extraordinary. As touching as The pilgrims at Emmaus, for example.

If ever there were a question of giving something to Mr Salles for the trouble he has gone to – later one should give him Rembrandt’s Pilgrims.
Is your health good? Handshake to you and your wife, I hope to send you new drawings next week.

Ever yours,

"Facts which at first seem improbable will, even on scant explanation, drop the cloak which has hidden them and stand forth in naked and simple beauty."
―Galileo Galilei

"I've loved reading all my life."
―John Wayne

"if you were my husband, I would poison your drink."
―Lady Astor to Winston Churchill
"Madam, if you were my wife, I would drink it." Laughing Hilarious!
―Winston Churchill to Lady Astor

I'll talk to ya later, Over and out, me.
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MessaggioInviato: Gio Giu 15, 2017 14:24    Oggetto: NAPOLI TEATRO FESTIVAL ITALIA 27-28/06/2017 21:00 - VAN GOGH Rispondi citando

ha scritto:

L’appuntamento - Il NAPOLI TEATRO FESTIVAL ITALIA compie
dieci anni
: oltre 150 eventi, molte prime italiane e internazionali
Il neo direttore Ruggero Cappuccio spiega come l’anima
«tellurica» della metropoli dia energia a un circolo virtuoso


Il NAPOLI TEATRO FESTIVAL ITALIA compie 10 anni. A dirigerlo, per la prima volta, Ruggero Cappuccio, drammaturgo ma anche attore e regista. E forse non è un caso nella terra di Raffaele Viviani, Eduardo Scarpetta, Antonio Petito, Eduardo De Filippo... grandi autori che sono stati attori e realizzatori scenici delle loro opere. «Napoli è un palcoscenico naturale — esordisce Cappuccio — non solo per le caratteristiche del suo spazio urbano, in cui è ancora possibile rintracciare l’antico perimetro della polis greca, ma perché tutto a Napoli è esplosione sonora: ciò che si scrive è destinato a essere detto o cantato. È un perimetro di comunione e di comunità, con strade strette e alte quinte di palazzi che fungono da cassa armonica, dove ci si chiama a voce da un balcone all’altro, si parla forte, a volte si urla. Gli immensi portali del centro storico così come i cortili sono scenografie già disegnate, dove il concetto di festa, oggi festival, nasce spontaneamente con azioni teatrali: la prima scena della “Gatta Cenerentola” di Roberto De Simone, per esempio, era ambientata proprio in un cortile; una delle celebri opere di De Filippo è ambientata nel rione Sanità».
Fino al 10 luglio la manifestazione, organizzata dalla Fondazione Campania dei Festival, si dipana nel tessuto urbano della città e anche della regione, con 155 appuntamenti, 57 spettacoli tra prosa e danza, 43 concerti, 10 laboratori distribuiti in 11 sezioni.
«Napoli è terreno fertile per un festival — insiste il direttore — sia perché beneficiata dall’eredità di grandi artisti, sia perché è luogo di moltiplicazioni di suoni. Il suo grande fascino è proprio dovuto al fatto che la natura stessa suona, perché ci sono il mare e il Vesuvio, perché borbottano i Campi Flegrei. La sua telluricità si manifesta e si declina nelle più diverse e contraddittorie partiture. Ma un’altra contraddizione affascinante risiede nel contrasto tra ragione e sentimento: da un lato una scuola di filosofi come Giambattista Vico o Benedetto Croce, dall’altro il regno dell’irrazionale, dell’emozione. Un’eredità pesante, difficile da maneggiare. Il rischio è restarne schiacciati».

di Emilia Costantini

Dalla folla di appuntamenti emergono, nella sezione [...] italiana,

«L’odore assordante del bianco» di Stefano Massini con
Alessandro Preziosi nei panni di VINCENT VAN GOGH.

Riproduzione riservata

CORRIERE DELLA SERA · 11 giu 2017 · pag.36 Eventi \\\ IODONNA.IT

        Il Festival dei palcoscenici partenopei

Definire in poche parole il Napoli Teatro Festival? Un viaggio nella cultura teatrale della città partenopea, che ne supera i confini per scoprire quello che accade sui palcoscenici internazionali. E una manifestazione che, con i suoi 80 appuntamenti – anche di danza, cinema, musica, letteratura – dà spazio al vecchio e al nuovo, ai grandi attori e autori e ai giovani.
Qualche titolo.

Van Gogh. L’odore assordante del bianco di Stefano Massini, con Alessandro Preziosi nel ruolo del pittore olandese.

Info: Napoli, Palazzo Reale e altre sedi, fino al 10 luglio.

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