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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.

Van Gogh, as a collector of Japanese prints, engaged in nineteenthcentury practices of material collecting in the context of imperialism; through his material collecting, and along with other Europeans of his time, he also collected, in a metaphorical manner, images of the exotic-in van Gogh's case, images of what I shall call \"Japan\" to emphasize the imaginative and idealizing nature of the artist's construction of Japan.

There's a crime key to the plot, too, in \"If Beale Street Could Talk,\" but this sterling adaptation of James Baldwin's novel about a pregnant young woman and her falsely imprisoned boyfriend is really about love and family. Family is also key to \"Shoplifters,\" where the blood ties are non-existent but the loyalty strong among a clan of petty criminals, and \"Leave No Trace,\" a coming-of-age story about a young woman living in the wilderness with her father but yearning for a life more connected to civilization. [...]moviegoers might be burned out on real-life politics, but \"The Front Runner\" proved a smart, multi-sided look at the downfall of presidential candidate Gary Hart (Hugh Jackman) while \"Vice\" took a more gonzo, agenda-ed approach to a divisive figure, Dick Cheney (Christian Bale), from the other side of the aisle.

The glare of the four gas lamps hanging from the ceiling combines with the painting's high-pitched palette of greens and reds - six or seven shades from \"blood-red to delicate pink\" - to evoke, as the artist wrote, \"the terrible human passions\".

The travelling \"exhibition 'Van Gogh to Mondrian: Modern Art from the Kroller-Muller Museum' tells the fascinating story of perhaps the 20th century's greatest patron of modern art, architecture, and design...[Helene Kroller-Muller's] interest in modern painting drew her to the leading Symbolist, Neo-Impressionist, and Cubist painters of the period. She came to see art as evolving from 19th-century Realism towards an increasing 'idealism' of spirituality and inner clarity.\" (USA Today (Magazine)) A review of the \"Van Gogh to Mondrian\" exhibition is presented. Vincent van Gogh, Juan Gris, Fernand Leger, Piet Mondrian, Pablo Picasso and Georges Seurat are briefly profiled.

The Van Gogh exhibition in the Kunstforum, Vienna, focuses on the early work of this artist. The exhibition shows the influence of the Hague School, but also Van Gogh's originality. The artist was poor during this period, and painted pictures of poverty. There are 90 works by this artist, together with works from the Hague School, which allow for a comparison and assessment of the impact of the school on his work.

Let's take the food first. According to Gauguin's not entirely reliable memoir of his ill-fated sojourn with Vincent (23 October to 25 December), it was he, Gauguin, who did the cooking, on a gas stove in their kitchen, while [Vincent van Gogh] did the shopping. But once, Gauguin relates, 'Vincent wanted to make a soup. How he mixed it, I don't know; as he mixed his colours in his pictures, I dare say. At any rate, we couldn't eat it.

\"When, after [Vincent] van Gogh's suicide, in 1890, his fame grew, and the story of the severed ear began to circulate, it became a talisman of modern painting. Before that moment, modernism in the popular imagination was a sophisticated recreation; afterward, it was a substitute religion, an inspiring story of sacrifices made and sainthood attained by artists willing to lose their sanity, and their ears, on its behalf. Last year, though, to front-page headlines around the world, two reputable German academics, Hans Kaufmann and Rita Wildegans, published a book offering a very different account of what happened that night.\" (New Yorker) This article explores differing accounts of what happened the night van Gogh lost his ear. An overview of van Gogh's life and artistic career is included.

Art historians have ignored Vincent van Gogh's faith, but his art was actually the mode he used to express his piety. One of his paintings, \"At Eternity's Gate,\" is used to illustrate this important point.