Van Gogh Research Articles

Exploration of the Expression of Color Emotion in Oil Painting Sketch Creation

This paper deeply analyzes the expression of color emotion in oil painting sketch creation. Starting with the three basic attributes of color theory (hue, lightness, and purity), this paper discusses its emotional symbolic significance and the relationship between contrast and harmony. By interpreting the works of artists such as Van Gogh’s Sunflower, Monet’s Rouen Cathedral, and Cézanne’s Mont Sainte-Victoire, this paper shows the unique charm of different colors in conveying emotions, creating atmosphere, and expressing themes. At the same time, it is expounded that in the creation of an oil painting sketch, the effective expression of color emotion can be realized by observing nature, using subjective colors, and reasonable composition and layout of colors, so as to enhance the artistic value of the works.

Taking the Immersive Dynamic Visual Expression of "Van Gogh Alive" as an Example, Explore the Digital Expression of the City Brand Image

Taking the Immersive Dynamic Visual Expression of "Van Gogh Alive" as an Example, Explore the Digital Expression of the City Brand Image

Digital Dreams and Dubious Dollars: The Challenge of Immersive Van Gogh

The purpose of this study is to discuss the popularity, questions, and controversies surrounding art-themed digital immersive exhibitions based on the life and paintings of Dutch painter Vincent Van Gogh (1853-1890). Since 2019, art-themed immersive exhibits have become extremely popular, with attendance that outstrips many museums showing the same artists, spawning controversy and challenging the fine art world. This study examines the rise of immersive art experiences, arguments for and against immersive spectacles as a way of experiencing artwork, and theoretical perspectives. Methodologies include research into historical, cultural, and commercial contexts including reviews, analyses, critiques, and participant observation. The study discusses components of the exhibition and presents specific arguments for and against them by producers, art critics, critical theorists, and spectators. Questions considered include: Are these exhibitions offering authentic art experiences, or are they exploiting great art for profit? Are they making art more accessible, or are they leading people away from seeing original paintings? Is the way people relate to art fundamentally changing in the age of social media, and if so, how will museums adjust? This study is novel in that it presents and evaluates diverging viewpoints on these controversies and proposes a more flexible approach that centers participant experiences over marketing claims and critical objections.

Immersed in Art: The Impact of Affinity for Technology Interaction and Hedonic Motivation on Aesthetic Experiences in Virtual Reality

Viewing artworks through virtual reality (VR) offers a unique experience, yet understanding how individual traits and motivations affect this process requires further exploration. In this study, we empirically examined the factors influencing aesthetic experiences when viewing artworks in VR. We conducted two experiments using a between-subjects design with VR and 2D videos based on a virtual tour of the Sydney Opera House and an artistic interpretation of Vincent van Gogh's paintings as stimuli. Our moderated mediation analyses identified two pathways through which VR influences aesthetic experiences: a cognitive pathway and an affective pathway. The cognitive pathway reveals that VR enhances the sense of agency and immersion, enriching the aesthetic experience for individuals with a high affinity for technology. The affective pathway shows that VR increases narrative transportation and immersion, enhancing the aesthetic experience particularly for those with strong hedonic motivations.

Hidden turbulence in van Gogh's The Starry Night

Turbulent skies have often inspired artists, particularly in the iconic swirls of Vincent van Gogh's The Starry Night. For an extended period, debate has raged over whether the flow pattern in this masterpiece adheres to Kolmogorov's theory of turbulence. In contrast to previous studies that examined only part of this painting, all and only the whirls/eddies in the painting are taken into account in this work, following the Richardson–Kolmogorov's cascade picture of turbulence. Consequently, the luminance's Fourier power spectrum spontaneously exhibits a characteristic −5/3 Kolmogorov-like power-law. This result suggests that van Gogh had a very careful observation of real flows, so that not only the sizes of whirls/eddies in The Starry Night but also their relative distances and intensity follow the physical law that governs turbulent flows. Moreover, a “–1”-like power-law persists in the spectrum below the scales of the smallest whirls, hinting at Batchelor-type scalar turbulence with a high Schmidt number. Our study, thus, unveils the hidden turbulence captured within The Starry Night.

Anne Sexton's "The Starry Night": A Poetic Response to Van Gogh's Masterpiece

Ekphrastic poetry is a poetic reinterpretation of a visual artwork. There are numerous poems, songs, and lyrics written with inspiration from paintings, sculptures, or photographs. An ekphrastic poem can immortalize a work of art adding a new perspective to it. This paper looks at the tradition of Ekphrastic poetry as a genre and explores Vincent van Gogh’s famous painting The Starry Night through the light of Anne Sexton’s popular ekphrastic poem “The Starry Night”. It observes how Sexton’s poem artfully attempts to capture the spirit of Van Gogh’s painting through words. It also suggests how combining poetry with visual art can enrich both art and literature.

Conceptional Pure-Tungsten Metasurfaces Based on Femtosecond Laser Nanomanufacturing

A laser-induced periodic surface structure (LIPSS), which can be easily produced by femtosecond laser ablation, is a unique nanostructure with a visible refractive color that can be controlled by altering its orientation and uniformity, making it suitable for use in colorful marking, camouflage, and anti-counterfeiting measures. However, single-mode information camouflage can no longer meet increasingly higher-level security requirements. Therefore, metasurfaces offer revolutionary solutions. In this study, conceptual metasurfaces of pure tungsten are theoretically proposed and verified using hierarchical LIPSS/nanoparticle (NP) nanostructures as meta-atoms. The anisotropy of the LIPSS nanostructure enables polarization-sensitive optical modulation, whereas the spatial configuration, particle size, and period of LIPSS in the LIPSS/NP meta-atoms provide flexibility for tailoring broadband optical responses. In x-polarization, the LIPSS/NP meta-atom system provides more visible colors and divergent infrared absorbance (emission) than in y-polarized and unpolarized modes, paving the way for vividly colorful polarization-sensitive displays and information camouflage in infrared bands. A simplified rendition of the world-famous painting “The Starry Night” by Van Gogh is used as a proof-of-concept. Preliminary experimental results are presented, based on which the feasibility and challenges for laser nanomanufacturing of the proposed conceptual metasurfaces are discussed, aiming to provide inspiration for the development of novel metasurfaces through interdisciplinary studies.

Not only Van Gogh: a case of BRASH syndrome with concomitant digoxin toxicity

BackgroundBradycardia, renal failure, atrioventricular (AV) node blocking, shock, and hyperkalemia syndrome is a potentially life-threatening clinical condition characterized by bradycardia, renal failure, atrioventricular (AV) node blocking, shock, and hyperkalemia. It constitutes a vicious circle in which the accumulation of pharmacologically active compounds and hyperkalemia lead to hemodynamic instability and heart failure.Case presentationA 66-year-old Caucasian female patient was admitted to the emergency department presenting with fatigue and bradycardia. Upon examination, the patient was found to be anuric and hypotensive. Laboratory investigations revealed metabolic acidosis and hyperkalemia. Clinical evaluation suggested signs of digoxin toxicity, with serum digoxin concentrations persistently elevated over several days. Despite the implementation of antikalemic measures, the patient’s condition remained refractory, necessitating renal dialysis and administration of digoxin immune fab.ConclusionBradycardia, renal failure, atrioventricular (AV) node blocking, shock, and hyperkalemia syndrome is a life-threatening condition that requires prompt management. It is important to also consider potential coexisting clinical manifestations indicative of intoxication from other pharmacological agents. Specifically, symptoms associated with the accumulation of drugs eliminated via the kidneys, such as digoxin. These manifestations may warrant targeted therapeutic measures.

Using astronomy to analyse the van Gogh drawing ‘Bank of the Rhone’

This paper presents an astronomical analysis of the van Gogh drawing ‘Bank of the Rhone’ to determine the possible dates of its creation. By examining the position of the sun depicted in the drawing and comparing it with the actual sunset positions at the location in Arles, France, a range of dates is derived that differs from the accepted historical dating of the work. The study demonstrates the potential of using interdisciplinary approaches that combine art and astronomy to gain new insights into artistic works. The analysis also serves as an engaging exercise for students to explore the intersection of science and art.

CREATIVITY, GENIUS AND PSYCHOPATHOLOGY

The first part of this conference is a revision of the actual status of the scientific literature related to the concepts of genius, creativity and their association to psychopatology. The current con­cepts will be analyzed trying to explore the relevance and the real meaning of these concepts. In a second step we will analyze new empirical evidence that sustain a specific relationship between creativity, genius and psychopathology. The second part of the conference is dedicated to the most important pathographical studies of one outstanding creative genius. We will start this second part of these studies with the exploration of the life and the multiple artistic expressions of Vincent van Gogh. The Dutch genius left a huge amount of paintings and letters that has been analyzed from diferent perspectives, including biographical explorations, psicological studies and psychiatric approaches. The analisis should help us to understand in what way the psychopatological experiences can influence the development of outstanding artistic creativity.

Suggestive Magic of Van Gogh in Heidegger's Interpretation

The present paper brings to the fore the unforeseen fit and harmony of Heidegger's artwork with the world, and supports the above statement with relevant details. On the one hand, it touches on the Heideggerian conception that takes the interpretation of art in a different direction, making it clear by eliminating established notions of appearance, and on the other hand, it outlines how Heidegger interprets Van Gogh's painting A Pair of Shoes, which has become particularly famous because of the controversy surrounding it. I will present Heidegger's highly perceptive interpretation of the original peasant world through the lens of reviews by Frederic Jameson, Meyer Schapiro and Jacques Derrida.

Unveiling Cross-Cultural Hidden Nexus: An Analysis of Chinas Contribution to the Cultural Influence of the East on the West

Even though the cultural communication between Japan and Europe is massively documented, such as the impact of ukiyo-e prints on Impressionism, Chinese culture's enormous contributions are overlooked. Ukiyo-e is often regarded as the primary source that influenced Impressionism from the East during the Meiji Restoration in the fin de sicle. The East's impact on the West is long-lasting rather than explosive. The critical power of traditional Chinese art and innovations, for example, the moveable type printing, over the evolution of European art movements has yet to be noticed due to political and geographic limitations. Citing paintings by Ma Yuan (1160-1225), Li Song ( active 1190-1230) and Wang Ximeng (1096-1119) in China, Katsushika Hokusai (1760-1849), Utagawa Kuniyoshi (1798- 1861), and Hiroshige (1797- 1858) in Japan, Vincent Van Gogh (1853- 1890) in the Netherlands, and Claude Monet (1840-1926) in France, among others, as examples of specific comparisons and cultural analyses, this article delves into the hidden connections and cultural exchanges, through working on the technical and iconographical forms from ancient China that shaped the European art in the epoch of high modernism.

Video kills the radio star: Copyright and the human versus artificial creativity war

AbstractThis article contributes to the dynamic debate surrounding the intersection of artificial intelligence (AI) and copyright law, offering a fresh perspective that builds upon interdisciplinary analyses. Focusing on the cognitive processes underpinning creativity in both human and AI contexts, the study draws a detailed parallel between Vincent Van Gogh's iconic “Starry Night” and its AI‐generated counterpart generated through DeepDream technology. Central to the investigation is the application of psychological and neuroscientific theories to understand and compare the creative processes in humans and AI. Based on such exercise, the article first examines whether art generated with AI, devoid of human emotions and motivations yet capable of mimicking human creative cognitive processes, qualifies for copyright protection. The analysis suggests that the similarities between human and AI creativity, particularly in their cognitive structuring, could render the work “original” according to different jurisdictional standards and interpretation of copyright law. Second, the article investigates whether AI infringes copyright if protected material is used for its training and processing. This question becomes particularly relevant in light of recent legal actions against AI‐artwork generators in California, which raise issues of potential infringement by AI using latent diffusion techniques on existing artworks. The discussion provides an original perspective that can advance the ongoing debate on the use of copyrighted material for AI training. The paper aims to contribute to the ongoing debate about AI and copyright by challenging the traditional human‐centric view of authorship in copyright law. The article argues for a nuanced understanding that acknowledges the complex nature of creativity, transcending the binary division between human and artificial sources. This approach is critical in redefining legal frameworks, ensuring they are adaptive to the evolving landscape of AI capabilities. At the same time, the article addresses the implications of AI drawing inspiration from existing art, recognizing the need to balance different stakeholders' interests when drawing policy considerations. Ultimately, the goal is to provide a layered perspective that not only deepens the legal discourse but also respects and fosters the coexistence and mutual advancement of both human and artificial creativity in the digital age, in line with the purpose of copyright.

Explore the Influence of Impressionism on Post-Impressionism: Taking Van Gogh's Works as an Example

Impressionism is a pivotal movement in the history of Western art. It revolutionizes the traditional approach to Western painting. This artistic movement emphasized the spontaneous, direct, and visual representation of natural light and its effect on colors, shapes, and textures. Impressionism is a special kind of non-traditional art without a doubt. Vincent van Gogh is one of the most famous impressionist artists. He has many special characteristics: swirl-like brushstrokes, painting themes that are full of compassion and suffering consciousness, and bold and exaggerated colors. Van Gogh's works often express different emotions through strong contrast and bright colors. His works are very distinctive and full of beauty. He is also one of the most representative impressionist artists. This article will use the survey method and document retrieval method to discover the specialties of impressionism works through Van Gogh's paintings. After the discovery, this article has found three main specialties of impressionism: colors, unrealistic descriptions, and nature elements. In conclusion, this article has discovered why impressionist artworks are so special and so ‘impressive’ through the research.

A Deep Learning Approach for Digital Color Reconstruction of Van Gogh’s Paintings Using Unpaired Areas Under the Frame

Factors such as dirt accumulation, aging of paint materials and chemical reactions with the surrounding atmosphere lead to alteration and degradation of paintings. As a result, colors in the paintings can change. Van Gogh’s paintings are no exception to this process, and virtual reconstruction of the original colors is a very challenging problem. In this work we propose a novel approach for color reconstruction that does not require any pre-existing digital reconstructions, physical reproductions or artificial aging experiments, and relies purely on the data within the painting. We exploit the fact that areas of the painting located under the frame are typically well-preserved (mainly due to the protection from light exposure and dirt accumulation offered by the frame) and contain colors which are relatively close to their original look. Inspired by the recent advances in machine learning techniques for unpaired image-to-image translation, a practical weakly supervised approach for digital color reconstruction is formulated. Moreover, its performance is demonstrated for paintings by Vincent van Gogh. To our knowledge, this is the first time that a method for color reconstruction that relies purely on the data available within one painting is described in literature.

Historical space painting art: Its important role on the creation of space-age era in 1950s

The major purpose of this paper is to study the important role of historical painting art on the creation of space-age era eight decades ago in 1950s. According to the Merriam-Webster Dictionary, the first known use of “space age” was in 1946. In the Collins Dictionary, the space age is the present period in the history of the world when travel in space has become possible, and people use “space-age” to describe something that is very modern and makes you think of the technology of the space age. In American English, space age is the period in modern history characterized by space exploration, usually considered as beginning on October 4, 1957, when the Soviet Union launched the first artificial satellite, Sputnik I, into orbit around the Earth. In the ancient time, many artists including Giovanni di Paolo, Albrecht Dürer, Étienne Léopold Trouvelot and Vincent van Gogh created masterpieces of space related paintings. Even in the extreme ancient era, the cave art already evidenced humans’ astronomical knowledge. Besides the technological research and development for space explorations, groups of workers and artists in the areas of culture, painting, architects, installation artwork, etc. had done many contributions in the development of space-age cultural and aesthetic art before 1950s. They not only created so many masterpieces with plenty of space-age aesthetics, but witnessed and recorded the development history of the space age. It goes without doubt that historical space painting art played an important role on the creation of space-age era in 1950s. Therefore, it is mandatory to investigate and reveal the fact.

“A Different Kind of Struggle”: Jacob Lawrence’s Hospital Series and the Politics of Art as Therapy

ABSTRACT Jacob Lawrence created eleven paintings in 1949–50, when he was treated for anxiety and depression at Hillside Hospital in Queens. Critics at the time praised the artworks’ similarities to the asylum art of Van Gogh and observed Lawrence’s apparent lack of interest in depicting Black struggles. My reinterpretation of the series shows, however, that Lawrence had much to say about the social and psychological conditions of African Americans in picturing the hospital’s predominantly white patients. Entering into conversation with Hillside’s clinical practices, his paintings offer powerful statements about both the aesthetics and politics of art as therapy.

THE PHILOSOPHY OF KANT AND THE BOOTS OF VINCENT

This article aims to summarize the Kantian philosophy of visual aesthetics, realize the logical discrimination between plastic aesthetics and the philosophy of aesthetics, the distinction between art object and artwork, and the essentialization of the value significance of the artwork exemplified in a relevant case study: the painting ”Boots” by Vincent Van Gogh.

Vincent van Gogh’s Theological Chromatology: A Critical Reader of the Bible from His Option for the Poor Avant la Lettre

The aim of this article is to show how Vincent van Gogh developed a theological reflection that is mainly present in his paintings with religious motifs. This reflection is the fruit of his religious experience, which combines his spirituality with a social commitment to the miners in Borinage, Belgium, which can be seen as an option for the poor avant la lettre in the 19th century. This experience, far from strengthening his institutional relationship, rather provoked a critical attitude towards the theological discourse of the ecclesial context in which he lived and led the aspiring pastor to become a genius in painting. His theological interpretation as a critical reader of the Bible can be translated into what will be called here a theological chromatology, to be identified through the intersection of letters and paintings of Vincent van Gogh. Given the influence of the Dutch painter genius on contemporary culture, the process through which his reflection on the religious and theological issue emerges can be seen as a significant element in understanding the present in post-secular societies.

Pablo Picasso: In Search Of Language

The article explores Picasso’s multiple influences early in his career as he searched for a language that best expressed his vision of reality. Already the first critics, such as Félicien Fagus for his first exhibition at Galerie Vollard, mentioned the impact on the young Spaniard of a wide range of modern painters in addition to the great classical masters. Many of the identifiable periods in his extensive career can be associated with one or more influential artists: Casas, Rusiñol, Steinlen, Munch during the Modernist years in Barcelona; Toulouse-Lautrec, Renoir, Degas, Van Gogh and others in the first years in Paris; El Greco, Nonell, Puvis, among others during the Blue Period; Matisse, Redon, and others, in the Rose Period; Gauguin later on, etc., etc. These are just a few of the many artists whose styles Picasso explored in numerous ways. Their influence often occurred in complex combinations and would not fully disappear from his works once their incidence had left their imprint. Thus one can find the presence of El Greco or Van Gogh as late as the last years of Picasso’s life. Here we will focus on their influence in the period that preceded Cubism, Picasso’s first truly original language