Van Gogh and Gauguin: The Studio of the South

by Douglas W. Druick, Peter Zegers, Bruce Salvesen

Bound in the publisher's original illustrated wraps. Rubbed at the extremities. Profusely illustrated throughout.

Genres: Art, Art History, Nonfiction

418 pages, Paperback

First published September 1, 2001

Reviews

[Andrea Samorini]

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FROM BOOK: Van Gogh. L'infinito specchio. Il problema dell'autoritratto e della firma in Vincent (Mariella Guzzoni)

[翰林院编修]

400页，未。Van Gogh y Gauguin
(目前无人评价) Douglas W. Druick / Electa / 2004

[James F · Rating 4 out of 5]

A large (13" x 10") format book, this was based on an exhibition of the two artists' works in Amsterdam and Chicago, sponsored by the Van Gogh Museum and the Art Institute of Chicago. It has 510 illustrations, more than 60% in color and many half or full page. As great as the illustrations were, the text was important, unlike many art books; each painting is analyzed and placed in the context of their development. The focus of the book was on the mutual influence of Van Gogh and Gauguin. The first chapter, "Origins", traces the beginning of the two artists' careers before they came into contact; the second chapter, "Encounters" is about their first discoveries of each other; the third chapter, "North vs South" deals with their correspondence before the move to Arles. The fourth and longest chapter is of course on the period they worked together at the Yellow House, the "Studio of the South", divided into sections of about a week each. The fifth chapter, "Correspondence" is on their exchanges of letters (and paintings) after the breakup, through Vincent's suicide; and there is a coda on Gauguin after that, focusing on the "myths" of the two painters and what Gauguin said and wrote about Vincent. Each chapter and section is divided into alternating subsections on each of the two painters and their works.
One of the most impressive things about the book is that it was based on new research on the paintings themselves as physical objects, the types of canvas they used and the types of grounds and means of preparation (the details of the methodology and the results are presented in an appendix), which allowed for the paintings to be put into order and roughly dated even within the Arles period, showing that they were part of a discussion between the two artists on style and technique as well as their general views on art. The authors argue that Van Gogh won Gauguin over to a view of art as a sort of substitute for religion and themselves as apostles; both men were influenced by Carlyle's discussion of Heroes and Hero-Worship and saw themselves as the Hero as Artist. They were also both influenced by Zola's L'Oeuvre. Gauguin, on the other hand, was far more in touch with the movements in modern art, the factions of impressionists, neo-impressionists, and so forth. Both were influenced by Japanese art, and Gauguin extended the interest to other so-called "primitive" non-Western art. Both artists influenced each other on color and technique.
This is one of the most informative and interesting art books I have read in a long time.