Unterrichtsentwurf aus dem Jahr 2004 im Fachbereich Kunst - Kunstpädagogik, Note: Sehr gut, Carl von Ossietzky Universität Oldenburg (Institut für Kunst und Medien), Sprache: Deutsch, Abstract: Im Sommersemester 2004 startet an der Universität Oldenburg ein Seminar der ästhetischwissenschaftlichen Praxis mit dem Titel „Von der Skizze zum Bild - Bilder nach Bildern“ unter der Leitung der Hochschullehrenden Angela Kolter. Ziel der Veranstaltung ist die künstlerische und analytische Auseinandersetzung der Kunststudierenden mit Werken klassischer und zeitgenössischer Kunst. Theoretische und praktische Arbeitsanteile wechseln dabei einander ab. Die Studierenden 1 haben die Möglichkeit eine Bandbreite verschiedener Techniken und Stile zu erproben. Ein Schwerpunkt liegt dabei auf der Acrylmalerei. Während sich der theoretische Veranstaltungsteil neben dem Training analytischen ́Handwerkszeugs ́ auf die Darbietung und Reflexion von Projektarbeiten sowie deren praktische und didaktische Umsetzung nicht nur im schulischen Rahmen erstreckt, bietet sich im Praxisteil die Möglichkeit, Aspekte selbst gewählter Malerei nachzuempfinden und malerisch zu erarbeiten. Ebenso bleibt ausreichend Raum für umfassenden Austausch und Befruchtung untereinander sowie Besprechungen eigener und fremder Arbeiten sowohl im gruppeninternen als auch individuellen Rahmen. Hauptaufgabe zum Ende des Seminars ist die Durchführung eines eigenständigen Projekts in Form von Auswahl eines Werkes der Malerei sowie einer vertieften künstlerischen Auseinandersetzung mit diesem. Gegenstände und Inhalte dieser Auseinandersetzung können beispielsweise emotionale, materielle oder motivische Bezüge sein. Als primäres Medium kommt Acrylmalerei auf Nessel zum Einsatz. Neben der Kreation eines ästhetischen Objekts in Form von Tafelmalerei entwerfen die Studierenden ein Konzept und beschreiben ihr Arbeitsvorhaben in kurzer Berichtsform. Aus diesem Zusammenhang erwächst ebenso die fachpraktische Prüfung, deren Konzeption in diesem Bericht beschrieben wird.
Vincent van Gogh’s life and work are so intertwined that it is hardly possible to observe one without thinking of the other. Van Gogh has indeed become the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider. An article, published in 1890, gave details about van Gogh’s illness. The author of the article saw the painter as “a terrible and demented genius, often sublime, sometimes grotesque, always at the brink of the pathological.” Very little is known about Vincent’s childhood. At the age of eleven he had to leave “the human nest”, as he called it himself, for various boarding schools. The first portrait shows us van Gogh as an earnest nineteen year old. At that time he had already been at work for three years in The Hague and, later, in London in the gallery Goupil & Co. In 1874 his love for Ursula Loyer ended in disaster and a year later he was transferred to Paris, against his will. After a particularly heated argument during Christmas holidays in 1881, his father, a pastor, ordered Vincent to leave. With this final break, he abandoned his family name and signed his canvases simply “Vincent”. He left for Paris and never returned to Holland. In Paris he came to know Paul Gauguin, whose paintings he greatly admired. The self-portrait was the main subject of Vincent’s work from 1886c88. In February 1888 Vincent left Paris for Arles and tried to persuade Gauguin to join him. The months of waiting for Gauguin were the most productive time in van Gogh’s life. He wanted to show his friend as many pictures as possible and decorate the Yellow House. But Gauguin did not share his views on art and finally returned to Paris. On 7 January, 1889, fourteen days after his famous self-mutilation, Vincent left the hospital where he was convalescing. Although he hoped to recover from and to forget his madness, but he actually came back twice more in the same year. During his last stay in hospital, Vincent painted landscapes in which he recreated the world of his childhood. It is said that Vincent van Gogh shot himself in the side in a field but decided to return to the inn and went to bed. The landlord informed Dr Gachet and his brother Theo, who described the last moments of his life which ended on 29 July, 1890: “I wanted to die. While I was sitting next to him promising that we would try to heal him. [...], he answered, ‘La tristesse durera toujours (The sadness will last forever).’”
Four paintings adapted as "body art" include Self-Portrait, Bouquet of Sunflowers, The Church at Auvers, and Self-Portrait with Bandaged Ear.
Discusses the life, works, and lasting influence of Vincent van Gogh.
Artist's remarkable legacy is recalled in this excellent collection that includes "Sunflowers," " The Bridge at Langlois," "The Postman Roulin," "Vincent's Chair," " Cafe Terrace By Night," and 11 others.
A profile of the life of Vincent van Gogh that also focuses on his art, including the development of his signature technique, the artists and styles that inspired him, and how life events influenced the subjects he selected.
Express your creativity with 30 meticulously rendered black-and-white drawings of van Gogh masterpieces. Bring alive skillful adaptations of Sunflowers, Starry Night, Self-Portrait with Bandaged Ear and Pipe, The Church at Auvers, and many more. From great works of the Italian Renaissance to masterpieces from the Impressionist movement, the Dover Masterworks series offers more experienced colorists the opportunity to re-create some of the world's most famous paintings. The illustrations are printed on only one side of perforated pages, making it easy for artists to remove and display their finished pieces. The original paintings are included in full color on the inside covers for reference.
Most unusually among major painters, Vincent van Gogh (1853-90) was also an accomplished writer. His letters provide both a unique self-portrait and a vivid picture of the contemporary cultural scene. Van Gogh emerges as a complex but captivating personality, struggling with utter integrity to fulfil his artistic destiny. This major new edition, which is based on an entirely new translation, reinstating a large number of passages omitted from earlier editions, is expressly designed to reveal his inner journey as much as the outward facts of his life. It includes complete letters wherever possible, linked with brief passages of connecting narrative and showing all the pen-and-ink sketches that originally went with them. Despite the familiar image of Van Gogh as an antisocial madman who died a martyr to his art, his troubled life was rich in friendships and generous passions. In his letters we discover the humanitarian and religious causes he embraced, his fascination with the French Revolution, his striving for God and for ethical ideals, his desperate courtship of his cousin, Kee Vos, and his largely unsuccessful search for love. All of this, suggests De Leeuw, demolishes some of the myths surrounding Van Gogh and his career but brings hint before us as a flesh-and-blood human being, an individual of immense pathos and spiritual depth. Perhaps even more moving, these letters illuminate his constant conflicts as a painter, torn between realism, symbolism and abstraction; between landscape and portraiture; between his desire to depict peasant life and the exciting diversions of the city; between his uncanny versatility as a sketcher and his ideal of the full-scale finished tableau. SinceVan Gogh received little feedback from the public, he wrote at length to friends, fellow artists and his family, above all to his brother Theo, the Parisian art dealer, who was his confidant and mainstay. Along with his intense powers of visual imagination, Vincent brought to the
Features works to accompany an exhibition organized by the Art Institute of Chicago with the Van Gogh Museum of Amsterdam.