Mungkinmasih banyak orang yang tidak tahu nama-nama pelukis indonesia dan mancanegara serta lukisan mereka yang terkenal, kali ini saya akan menulis tentang karya seni lukis pelukis indonesia dan mancanegara. -starry night over the rhone pada 1888-view of arles, flowering orchards pada 1889. Itulah pelukis indonesia dan mancanegara dengan EvanBeard. Apr 18, 2018 10:18pm. Paul Cézanne, The Large Bathers, 1900-1906. Courtesy of the Philadelphia Museum of Art. It has been reported that the $450 million price of the rediscovered Leonardo da Vinci, Salvator Mundi (c. 1500), was due to a vanity war between the Saudi royal family and the de facto ruler of the United Arab Emirates Tahapanberikutnya yaitu Analisis, analisis adalah tahapan dalam kritik karya seni untuk menelusuri sebuah karyaseni berdasarkan struktur formal atau unsur-unsur pembentuknya. Bentuk-bentuk seperti itu terlihat pada lukisan The Starry Night yang dilukis tahun:1889 dan Road with Cypress and Star pada:1890. Salah satu lukisan terakhirnya yang MalamBerbintang di atas Rhône. Perancis: Nuit étoilée sur le Rhône. Seniman : Vincent van Gogh Tahun : 1888 Medium : Minyak di atas kanvas Ukuran : 72.5 cm × 92 cm (28.5 in × 36.2 in) Lokasi :Musée d'Orsay, Paris. Seorang seniman terkenal atas kemauannya sendiri, Vincent Van Gogh mungkin paling terkenal dengan lukisan "starry night" -nya, termasuk karya mahakarya TUTORIALPHOTOSHOP CS5 - MEMBUAT TWIBBON Tutorial Photoshop CS5 gimana caranya buat twibbon, sesuai dengan janji gua kemarin meskipun agak telat uploadnya karna waktunya belum ada kali ini gua upload cara buat twibbonnya setelah video StarryNight menggambarkan sebuah lukisan klasik yang memanggil emosi dari ketenangan di menara gereja ke alam bebas meninggalkan warna yang digunakan untuk langit malam itu. kawanan mahluk itu bergegas menghilang di kedinginan laut utara yang banyak esnya.Berbagai teori dan analisis dari berbagai belahan bumi, yang dikaitkan dengan misteri WeYUh93. 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I am evaluating a famous piece by Vincent van Gogh titled, The Starry Night. In this piece, I see the wind in the air, I see the stars in the sky as well as, the light that expels off of them. I see the beautiful little village below all the wonder in the sky that God created. The village is painted using dark colors but I find comfort in the light coming from the windows. Colors used to paint the village are brown, grey and blue. Each building in the small village is clearly outlined in black but my eyes are directed towards the stars and the moon in the sky. The air and sky have patterns that kind of flow like a spiral or whirlwind and the hills and the sky seem to blend together. It looks as if it might be cold or windy outside. There is a presence in the sky that goes beyond the elements and far beyond what you can see. The village seems to be quiet and still while the sky and the things above seem to have their own agenda. It looks like the painting was done in the early hours of the morning. The painting is calm yet exciting. The sky in this oil painting looks like it reaches into the heavens. The Starry Night is an oil painting created on a canvas. The original artwork was 29 x 36 ¼”. The colors in The Starry Night are largely different shades of blue as well as, yellow, white, black, green and brown. The oil painting seems to have its own unique flow and rhythm. It seems, as though, the air, hills and trees have a life of their own. The painting has lines and patterns made up of dots that give this oil painting uniqueness. Analysis The elements of design used in The Starry Night are composition, color, tone and brushstroke. The Starry Night is made of whirling clouds, shinning stars and an even brighter moon. These aspects gave this paining fluidity smooth elegance or grace. The use of white and yellow in this art piece direct attention towards the sky and bring the piece together in unity by the dominant color blue. The cypress tree and church tower are made up of vertical lines that break up the composition without taking away from the beautiful night sky. Value plays a key role in the color scheme as well because there are multiple shades of blue in this oil piece. The brushstrokes are thick, visible and not smeared together. This makes the lines in this piece distinct. Texture in The Starry Night is most certainly present. You can feel the art without necessarily touching the art. The primary shape used in The Starry Night are circles. Attention is drawn to the sky which have many circles that seem to be in motion. The principles of design used in the Starry Night are balance, proximity, repetition and contrast. The Starry Night is asymmetrical meaning the left and the right side are not identical to one another. Balance is achieved in this piece by contrast. Proximity is used in this piece by the spirals in the night sky surrounding the stars, moon and clouds. Repetition is used with the circular spiral shapes repeated in the night sky. I notice that shape, repetition and proximity are emphasized in this particular piece with the circles and spirals. Interpretation This morning when I woke up I didn’t particularly want to be alive. I wanted to choose a piece of artwork that was kind of dark in a comparable way to how I feel. I already feel like I am going through a dark season in my own life. Initially looking at this piece it felt dark to me. The dark mystical bush at the top of the hill gives me a sense of danger and makes me feel insecure. Somehow this piece and this art evaluation has lifted my spirits. The wind, stars and the moon seem to have God’s presence in the mist. The night sky which could have been even darker are quite bright for the night sky. This piece makes me feel secure with assurance that it might be nighttime but even during the night God is still there for me. I know during this time in Vincent van Gogh’s life he was said to have found religion. He was in an asylum, hallucinating and having mental problems in his own life. In a storm in his own life he created this masterpiece and it is very cool how it could speak to me during the storm I am going through right now in my own life. The Starry Night is said to be the view seen from Vincent van Gogh room in the asylum. Looking at this piece gives me a sense that more is going on then what I can see with my eyes. The moon and the stars are very big and although it is nighttime it is very bright. At first glance, the painting is kind of dreary or gloomy but once you look again the sky looks like its dancing and seems more hopeful. There is a feeling of something bigger and greater than the small village in this painting. I sense God’s presence in this painting; like I can have an overwhelming sense of security knowing that God is above protecting all that is underneath. Judgment I cannot imagine what life might have been like for Vincent van Gogh in this season of his life. The hallucinations and mental instability was not something happened but definitely not by choice. I feel like I can understand what the artist was trying to communicate. I feel like he found stability in the Lord during some frightening times of instability. I believe the message van Gogh might have been trying to send is important. I cannot trust myself and the choices I make at times but knowing God is in control is a relief. When one experiences the stars and infinity with great vividness, then despite the routine, life becomes almost enchanted. When I have a terrible need of—shall I say the word?—religion, then I go out at night to paint the stars.—Vincent van Gogh1 ON APRIL 24, 1889, Theo van Gogh2 made the following request to the director of the Hospital of Saint-Paul–de-Mausole in Saint-Rémy-de-Provence, France With the consent of the person concerned, who is my brother, I would like to ask you to admit to your establishment Vincent Willem van Gogh, artist, age 36, born at Groot-Sundert Netherlands, at present living in Arles. . . . As his confinement is required more to prevent a recurrence of previous attacks rather than because his mental condition is at present affected, I hope that you will find no inconvenience in granting him the liberty to paint outside the establishment when he wishes to do so. On May 8, 1889, Vincent was admitted to the hospital asylum and, on admission, was "perfectly calm and explained his case himself to the director as a man fully conscious of his condition."2 The following month, in mid June, asymptomatic, and supported by the structured life of the asylum, he painted The Starry Night. Vincent van Gogh 1853-1890, Dutch, The Starry Night, 1889. Oil on canvas. 29 × 36¼ in. Courtesy of the Museum of Modern Art, New York, NY; acquired through the Lillie P. Bliss Bequest. Vincent was initially hospitalized in Arles on December 24, 1888, after the notorious episode when he apparently threatened Gauguin with a razor and, later that night, cut off the lower part of his own left ear. He presented the ear fragment to a prostitute; much as a matador does to his lady after the death of the bull, although he had no recollection of these events. Vincent suffered 3 attacks in Arles, from December 24, 1888, to January 19, 1889, from February 4 to February 18, 1899, and February 26 to mid April 1889. Although he seemed fully recovered between episodes and was treated by a local physician, 30 citizens of Arles petitioned the mayor asking that Vincent be returned to his family or committed to an asylum stating that "he does not dispose of his full mental faculties, that he indulges in excessive drinking after which he finds himself in such a state of excitement that he does not know what he says or does and that his instability inspires public fear."2 His friend Signac reported that Vincent ate hardly anything and what he drank was always too much. After spending a day in the blazing sun he would "take his seat on the terrace of a café. And the absinthes and brandies would follow each other in quick succession."2 During his episodes he reported both visual and auditory hallucinations, writing to his sister that he "didn't in the least know what I said, what I wanted, and what I did."1 When confronted with his neglect and alcohol use, he wrote to Theo "I admit all that, but at the same time it is true that to attain the high yellow note that I attained last summer, I had to be pretty well keyed up."1 His home in Arles was the famed "Yellow House" that he and Gauguin shared for 2 months in an aborted attempt to establish the Studio of the South. This was to be an art colony that would promulgate a new postimpressionist movement in art that would express the religious impulse with an authentic emotional immediacy and directness that they felt must be restored in the modern era. Vincent's father and grandfather were ministers in the Dutch Reform Church and, after initially failing as an art dealer he, too, had pursued the ministry and lived for a time as an evangelist until his efforts to identify with the poor and lead a Christ-like life proved too much for the authorities of the church. Subsequently, he turned away from traditional religion, preferring a religion of nature. Although stimulated toward a religious vocation by his family, Blumer3,4 suggests that his heightened religiosity might also have been linked to underlying temporal lobe epilepsy. The painting is the culmination of his examination of the night sky initiated a year earlier with Starry Night Over the Rhône. An avid reader, he had written1 to his sister Anna then that he sought to reproduce in his painting the feeling that Walt Whitman elicited in him in his poetry when Whitman wrote of "the great starlit vault of heaven." The Starry Night is an imaginative reconstruction of natural images. Vincent wrote that the "imagination alone can lead us to the creation of a more exalting and consoling nature than a single brief glance at reality."5 Yet he preferred to accurately reflect nature, noting that he may "exaggerate and sometimes change a motif but in the end I never invent."5 Thus, The Starry Night depicts the eastern predawn sky as Vincent saw it from his room at Saint-Rémy at about 4 AM in mid June. The position of the morning star, Venus near the cyprus tree on the left, and the waning moon, with its aureole, are astronomically consistent6 with the early morning sky of June 19, 1889, the day he said he completed the The central image of interlocking clouds may be drawn from his knowledge of popular depictions of the whirlpool galaxy M51. Out of these elements, with the intervention of his imaginative genius, The Starry Night has become a visionary image with its network of pulsating white, orange, and blue stars above the village surrounded by wheat fields and an olive grove. Although the sky is in turmoil, the overall effect of the painting is an invigorating calmness. For Vincent, this may be an image of psychological mastery following the suffering that he had experienced. The cloudlike images in the center of the sky assume the archetypal form of a mandala, a symmetrical form that frequently emerges as psychological conflicts come into balance. The flaming cyprus tree dwarfs the traditional church steeple on the right. The olive trees seem to echo the undulating currents in the sky. It is as if the tidal wave of his illness represented by the turbulence in the sky and the flowing lines on earth have now been sublimated into a composition that documents his newfound stability. Yet despite the balance found here, the looming dark cypress, which is on the viewer's left, the funeral tree and symbol of death in this region of France, may portend another episode of illness. Indeed, in July, a month after completing this painting, van Gogh suffered another attack. His temperamental difficulties were a lifelong problem in his relationships with others. He was exquisitely sensitive to loss and rejection and responded with depressed moods. Epilepsy was the diagnosis he was given at the time in both Arles and Saint-Rémy. Blumer reviews3,4 the psychiatric aspects of temporal lobe epilepsy and applies diagnostic criteria to Vincent's illness, arguing convincingly that Vincent's presentation is consistent with the psychosis of epilepsy and interictal dysphoric disorder. It is proposed that Vincent's facial asymmetry may have resulted from a birth injury that led to mesial temporal sclerosis. The cylothymic quality of his moods has led Jamison7 to a diagnosis of bipolar disorder, or at least, periods of major depression and hypomania. Arnold8 has proposed the diagnosis of acute intermittent porphyria with attacks initiated by his poor nutrition and use of absinthe, alcohol, turpentine to mix paints and clean brushes, pinene, and camphor for insomnia. Regardless of the diagnosis he received, all authors agree that his use of absinthe,8 the "cocaine of the artists of the last century,"9 may have contributed to his attacks. Because of its toxicity, absinthe was subsequently banned in France and throughout the world. A major ingredient in absinthe is alpha thujone a convulsant that blocks the γ-aminobutyric acid type A GABAA receptor chloride It is proposed that when Vincent was released from the hospital in Arles, his return to the use of alcohol and absinthe precipitated the recurrence of his attacks. After diagnosing his condition as epilepsy, Dr Ray, his physician in Arles, used a bromide salt, the standard medication available at the time for treatment. Vincent seemed to respond and wrote to Theo that "the unbearable hallucinations have ceased, and are now reduced to simple nightmares, in consequence of taking bromide of potassium, I think."1 Potassium bromide may well have benefited him, as it functions as an anticonvulsant that also affects the GABAergic Yet when he entered the asylum in Saint-Rémy, his custodian physician discontinued its use. Vincent probably suffered from partial complex seizures temporal lobe epilepsy as well as a mood disorder aggravated by stress and his concerns about continued support from Theo. His illness may have been exacerbated by his chronic use of absinthe, brandy, turpentine, and camphor. Ironically, an ornamental tree, the thuja tree, Thuja occidentalis, a source for alpha thujone was planted over his grave where it remained for 15 years. When his coffin was disinterred for reburial next to that of his brother Theo, the roots of the thuja tree entwined Alpha thujone, the most toxic compound in absinthe, the drink that may have a played a major role in his psychosis, accompanied him to his grave. The image is copyrighted by The Museum of ModernArt/Licensed by SCALA/Art Resource, New York, NY. Complete Letters of Vincent van Gogh. 3 Boston, Mass Bullfinch Press of Little Brown &Co2000; ME Vincent van Gogh. New York, NY The Alpine Fine Arts Collection Ltd1981; D Dysphoric disorders and paroxysmal affects recognition and treatment of epilepsy-related psychiatric disorders. Harv Rev Psychiatry. 2000;88- 17Google ScholarCrossref A Van Gogh's Starry Night a history of matter and a matter of history. Arts Magazine. 1984;5986- 103Google KR Touched With Fire Manic-Depressive Illness and the Artistic Temperament. New York, NY Simon & Schuster1993; WN Vincent van Gogh Chemicals, Crises, and Creativity. Boston, Mass Birkhauser1992; D Absinthe The Cocaine of the Nineteenth Century. Jefferson, NC McFarland & Co1995; KMSirisoma NSIkeda TNarahashi TCasida JE Alpha-thujone the active component of absinthe gamma-aminobutyric acid type A receptor modulation and metabolic detoxification. Proc Natl Acad Sci U S A. 2000;973826- 3831Google ScholarCrossref HGrunig FGutschmidt UGutierrez RPfeiffer MDraguhn ABruckner CHeinemann U Sodium bromide effects on different patterns of epileptiform activity, extracellular pH changes and GABAergic inhibition. Naunyn Schmiedebergs Arch Pharmacol. 2000;36125- 32Google ScholarCrossref

analisis lukisan the starry night