Contextual Anaylysis Are Critique Paper on Stairway at Auvers - Essay Example

Stairway at Auvers Contextual Analysis on Stairway at Auvers The Art Museum of St. Louis contains Vincent Van Goghs paintings Stairway to Auvers. The pictures painted in May 1890, just after he moved to Auvers-Sur-Oise, outside the Paris. The initial experience of the art is its beauty. The art also gives an aesthetic value found in the City. He painted the town’s rustic cottage, the twisting streets, the old church, and the surrounding fields. The painting gives an initial response to beauty.

Van Gogh, motivated by the old buildings found in the Auvers and one found in the countryside in the town (Schapiro & Gogh, 2003). The thick application of paint, the swirling brushstrokes, and the brilliant color in Gogh’s painting provides a landscape that everything seem to move. In the painting, the brushstrokes sweep from the side of the stairway at the center towards all the margins of the canvas. The woman in the painting sways back and forward like curvy path walking down. The stairway seems to be gliding down the hill.

His picture of the street occupied with bright blues, greens yellows of the early spring. The texture of brushstrokes makes a person desire to touch the picture (Cahan, 2003). The comprehensive symmetry, recurrent arabesques, the wavy pairings, and the ribbon patterning are among the popular decorative taste of 1890s. The painting has a tilted quality as it amount a dilute tone of green, yellow, and blue, together with white color. A scene of the many encounters and convergence focused upon the central part on the foot of the steps.

Having no real dominant, the general effect of the painting is governed by the hectic movement of the unsteady diagonal lines imposed upon the objects of the unlike characters. Repetition of the restless theme is very much impulsive, though, contains many interesting variations. Therefore, the painting soon loses the aspect of ornament and ends up becoming a work of concentrated seeing and an intense passion (In Shindler & Contemporary Art Museum St. Louis, 2014). Discovering the contrasting straight lines in the building, the famous red roofs and the stabilizing verticals and horizontals provides the visionary quality of the artistic work.

The numerous touches like yellow hats golden doorways and dark windows show the deliberate opposition to prevailing instability in the city. In between the steps and the house, the long coiling triangular shape is significant. It reminds of the cypress and roads in the previous work of ecstatic (In Shindler & Contemporary Art Museum St. Louis, 2014). Vincent Van Gogh, the artist, was born in 1853 in Netherlands. In 1880, after teaching for a short-term and subsequently working as an amateur preacher, he joined the artistic field.

During his short career of painting, he sold only one painting. Theo, his younger brother, supported him financially. He met and got inspiration from the great painters of the French Impressionism. Two years in his fresh career, he relocated to Arles where painter Paul Gauguin joined him. The tension between the two led him to mutilate his ear. In the year 1889, he willingly entered an asylum. July 27, 1890, the artist, Vincent Van Gogh died two days later after shooting himself (Schapiro & Gogh, 2003).

The paintings have an aesthetic quality that the artist tried to communicate. It gives the picture of the real country. The swirling brushwork, the brilliant colors of the late spring blossoms, the emphatic broken strokes, and the verdant growth animate the ordinary subject he puts across. The motion of the young girls walking along the road brings our attention to the congested heart of the composition. The stairway, road, hill, and the wall intersect in an explosive display of the impressive line.

The first experience from the look of the painting is its beauty. Its aesthetic quality intimately depends on the visual sensory details found in the art. The artist used the wavy lines and the colors that constitute the modern paintings that give it the aesthetic touch. Therefore, the painting radiates with a barely contained energy and sheer passion in seeing the world afresh as intended by Gogh (Cahan, 2003).ReferencesSchapiro, M., & Gogh, V. (2003). Vincent van Gogh. New York: Harry N.

Abrams, Publishers.Cahan, S. (January 01, 2003). A fiction of authenticity: Contemporary Art Museum St. Louis, St. Louis, Missouri. Art South Africa, 2, 56-58.In Shindler, K., & Contemporary Art Museum St. Louis. (2014). The front room: Artists projects at the Contemporary Art Museum St. Louis 2008-2013. Bottom of FormBottom of Form