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Vincent van Gogh’s paintings and drawings are fabulously expensive. Millions of people admire his work, but are those masterpieces all genuine? To this day, the international art world struggles to separate the real Van Goghs from the fake ones, and the key question addressed in this book is what may happen to art experts when they publicly voice their opinions on a particular Van Gogh (or not). The story starts with art expert J.B. de la Faille who discovered to his own bewilderment that he had included dozens of fake Van Goghs in his 1928 catalogue raisonné. He wanted to set the record straight, but met with strong resistance from art dealers, collectors, critics, politicians and others, marking the beginning of a fierce clash of interests that had seized the art world for many decades of the twentieth century.

When he died at the age of thirty-seven, Vincent van Gogh left a legacy of over two thousand artworks, for which he is now justly famous. But van Gogh was also a prodigious writer of letters - more than eight hundred of them, addressed to his parents, to friends such as Paul Gauguin, and, above all, to his brother Theo. His letters have long been admired for their exceptional literary quality, and art historians have sometimes drawn on the letters in their analysis of the paintings. And yet, to date, no one has undertaken a critical assessment of this remarkable body of writingÑnot as a footnote to the paintings but as a highly sophisticated literary achievement in its own right. Patrick Grant's long-awaited study provides such an assessment and, as such, redresses a significant omission in the field of van Gogh studies. As Grant demonstrates, quite apart from furnishing a highly revealing self-portrait of their author, the letters are compelling for their imaginative and expressive power, as well as for the perceptive commentary they offer on universal human themes. Through a subtle exploration of van Gogh's contrastive style of thinking and his fascination with the notion of imperfection, Grant illuminates gradual shifts in van Gogh's ideas on religion, ethics, and the meaning of art. He also analyzes the metaphorical significance of a number of key images in the letters, which prove to yield unexpected psychological and conceptual connections, and probes the relationships that surface when the letters are viewed as a cohesive literary product. The result is a wealth of new insights into van Gogh's inner landscape.

Art dealer Otto Wacker's 1932 sensational trial in Berlin for selling fake Van Goghs leads Eksteins to a unique narrative of a collapsing Weimar Germany, the rise of another misfit, Adolf Hitler, and the replacement of nineteenth-century certitude with twentieth-century doubt.

Décryptez l'art de Van Gogh en moins d'une heure! Personnalité fragile, Van Gogh est le premier artiste à puiser son inspiration dans les méandres de son esprit torturé. Son instabilité mentale, qui trouve un écho dans la torsion de la ligne ou dans la violence des couleurs, est paradoxalement à l'origine d'une œuvre d'une puissance extraordinaire. Dans une conception de l'art où esprit et matière ne font plus qu'un, le tableau capture la psyché de l'artiste, devenant ainsi, en quelque sorte, son manifeste. Ce livre vous permettra d'en savoir plus sur: - Le contexte socio-politique et culturel dans lequel Van Gogh s'inscrit - La vie du peintre et son parcours - Les caractéristiques et spécificités de son art - Une sélection d'œuvres-clés de Van Gogh - L'impact de l'artiste dans l'histoire de l'art Le mot de l'éditeur: « Dans ce numéro de la série \"50MINUTES | Artistes\", Eliane Reynold de Seresin passe en revue les moments-clés du parcours de Vincent Van Gogh, sans oublier d'évoquer sa fragilité mentale, qui aboutira à son suicide et fera de lui un artiste maudit. Quant à son œuvre, l'auteure nous en fournit un bel aperçu en analysant, entre autres, Les Mangeurs de pommes-de-terre, les célèbres Tournesols ou encore Nuit étoilée. De quoi mieux appréhender les caractéristiques d'une production qui n'a cessé d'évoluer au fil du temps. » Stéphanie Felten À PROPOS DE LA SÉRIE 50MINUTES | Artistes La série « Artistes » de la collection « 50MINUTES » aborde plus de cinquante artistes qui ont profondément marqué l'histoire de l'art, du Moyen Âge à nos jours. Chaque livre a été conçu à la fois pour les passionnés d'art et pour les amateurs curieux d'en savoir davantage en peu de temps. Nos auteurs analysent avec précision les œuvres des plus grands artistes tout en laissant place à toutes les interprétations.

In a sense, both represent an effort to find order in complex systems, and to reveal the hidden patterns that connect them. du Plessis A. ‘Starry Night’ van Gogh—in-depth analysis and facts. Saint Rémy, June 1889 [cited 2025 Apr 10]. https://www.moma.org/collection/works/79802 Saatchi C. The Starry Night [cited 2025 Apr 10]. https://www.charlessaatchi.com/the-starry-night The Metropolitan Museum of Art. The Starry Night [cited 2025 Apr 10]. https://www.metmuseum.org/art/collection/search/828514 The Van Gogh Gallery.

The focus here is on questions regarding beauty and truth in painting (Heidegger 1971, Derrida 1987), which are explored starting from a painting by Vincent van Gogh, Vincent's Chair (1888). Keywords: beauty, everyday life, painting, paradox, Vincent van Gogh. 1. Because his philosophy still has a rare virtue, that of transforming the act of its reading into a living and transformative experience, ready to inspire and give wings to the reader's thinking or imagination. To distinguish them, Afloroaei ingeniously uses the double meaning of the term \"sense\": both a sensory faculty or feeling and meaning. [...]unlike the usual sharp contrast between the classical/metaphysical attitude about beauty and the modern or current relational attitudes, such as the one exposed by Luc Ferry in he sens du beau (1990), for Afloroaei the metaphysical meaning of beauty - in itself, pure, absolute -, did not exclude the human sense of beauty, understood as \"a sensible experience, a way of perception and understanding\". (Afloroaei 2018, 137-138, 143-145) Starting from here, Afloroaei advances a refined and subtle interpretation of the dialogue between Socrates and Hippias, which gives the latter a belated part of justice, because Hippias' question (\"who\" versus \"what is beautiful?\") and the subsequent answers are not considered naive and frivolous. [...]capitalizing on the relevance of the motif of Eros as a mediator in Symposium, Afloroaei further illuminates the presenting of sensitive beauty as something of the nature of inter-mediation: it announces and names \"that which attracts to be loved\" and thus opens up the way to that something \"pure\" or \"timeless\".

Neurocognitive deficits in patients with Alcohol Use Disorder (AUD) may partially arise as a result from nutritional deficiencies. Previous studies have shown associations between nutritional deficiencies and impaired neurocognitive function, but the results are inconclusive. Difficulties with operationalization may play a role in this. This study examined whether nutritional deficiencies, reflected by Body Mass Index (BMI) at admission, predict neurocognitive functioning after six weeks of abstinence and recovery of neurocognitive functions. This was also examined for different groups of BMI (very low, normal and very high). Data was derived from 86 patients who were diagnosed with AUD following DSM-5 criteria and referred for clinical detoxification and neuropsychological examination. At admission, BMI, demographic information, and information regarding alcohol use were derived from the medical record and a clinical interview. During the second and sixth week of admission patients underwent neuropsychological assessment using well normed and validated instruments. Both longitudinal data and cross-sectional data from the sixth week were used to examine neurocognitive recovery. BMI as a continuous and categorical measure predicted the score on two tasks measuring speed and visuomotor performance after six weeks of abstinence. No further relation between BMI with neurocognitive function or recovery of neurocognitive functions was found. This study found tentative support for BMI to predict performance on speed and visuomotor functioning in AUD-patients. These results may partly support an inverted U-shape, in which a very low BMI is negatively related to the outcome. Given the influence of nutritional deficiencies on the development of neurocognitive disorders, there is a need for further research that takes into account a possible non-linear relationship between BMI and neurocognitive functions, using additional physical measures, to identify (past) nutritional deficiencies.

In the late 19th century, artists like Vincent van Gogh used techniques of deep, meditative artistic engagement to reveal how humans form perspectives on the world-whether they are understood negatively as prejudices (\"prejudice\" often implies enmity) or just lived vantage points, from inner watchtowers, built \"brick by brick\" over periods of long exposure to challenges, punishments, rewards, threats, and lures. [...]in Italy, St. Francis of Assisi staged the world's first \"living Nativity scene,\" which he hoped would \"bring the Bible to life\" for a disaffected audience. The power of art to shift perspective also explains history's intermittent outbursts of violent iconoclasm, or image destruction. In the ancient Middle East and Mediterranean, disgraced regimes or defeated rivals could be subject to what the Romans called damnatio memoriae (\"damnation of memory\")-a comprehensive program of primarily visual eradication.

In 1882, he wrote to a Dutch fellow-artist: “My whole life is aimed at making the things from everyday life that Dickens describes and these artists draw.” [...]Worn Out was the title of a painting by Scottish artist Thomas Faed that was known to Van Gogh. [...]he attempted to become a pastor like his father, delivering his first sermon at the Wesleyan Methodist Church in Richmond in October—a period of intense religiosity featured in the film (without mentioning Britain) when Van Gogh is interviewed by a priest in a quiet cloister of the Saint-Rémy asylum. Vincent van Gogh, Sorrowing Old Man (“At Eternity's Gate”), 1890 Oil paint on canvas 810 × 650 mm/Collection Kröller-Müller Museum, Otterlo Vincent van Gogh, Paul Ferdinand Gachet, 1890 Welcome Collection, London During this British period, Van Gogh walked marathon distances alone through the countryside—a habit that continued when he became a painter in France, as frequently depicted in the film. Screenwriters Jean-Claude Carrière, Louise Kugelberg, and Julian Schnabel Curzon Artificial Eye, 2019 https://www.curzonartificialeye.com/at-eternitys-gate/ Vincent van Gogh, Self-Portrait, 1889, oil paint on canvas 572 × 438mm/National Gallery of Art, Collection of Mr and Mrs John Hay Whitney Curzon Artificial Eye 2019 Andrew Robinson is the author of The Last Man Who Knew Everything, a biography of Thomas Young, and an academic study, The Art of Rabindranath Tagore.