Page 98 - ARTE!Brasileiros #54

ENGLISH VERSION IN THE DEBACLE...

work is hidden. Be it in any industrial object, or five works that are copies, copies in Peter, a merchant of artistic material, and
a nail clipper, your glasses ... I mean, it is style, on which he bases on themes similar there he met Toulouse-Lautrec, Signac
an industrial job, in general, because it is to those of Millet. So, in various aspects, and Pissarro. Pissarro will be the most
not rude and does not reveal the existence cultural and religious or his own formation, important guy, who had already been for
of human intervention. And, in the case of this issue was decisive. Cézanne and Gauguin, for the introduction
Van Gogh, due to this very thick use of paint of Van Gogh to the discontinuous
- what is called, in jargon, impasto -, the gsm - Still in this sense, you comment a lot brushstroke of impressionism and all that.
brushstroke is simultaneously the attempt during the book about how Van Gogh’s work So, from the point of view of the
to figure something, be it a face, a pile of was reduced to his situation as a person various modes of artistic representation,
hay, a sunflower. So, because it is very thick, who suffered a lot. Do you think that, not impressionism is indeed a decisive issue
it creates a tension between figuration and wanting to establish a hierarchy, there for Van Gogh, although he will give the
being a yellow, blue material, etc. So, it is a greater force still in this impetus of separate brushstrokes and the more
has to do with this Calvinist notion of work, work to the detriment of that impetus of luminous colors of impressionism an
of work as a kind of praise, of glorifying suffering in his work? almost opposite destination. He himself
God. A job that does not imply reward, That he had psychic sufferings to a more says that he uses color as an expression.
wealth, or prosperity, but rather a certain terrible or less terrible degree seems So, it is as if he wanted to represent
education of the senses, a concentration to me indisputable. He also had severe a landscape with the emotion he felt
on aspects of the sensitive world that would problems with alcoholism. Then people before these themes. It is not for nothing
not be more on the side of vice than virtue, make diagnoses at Van Gogh according that he was one of the most influential
a discipline that is very decisive for this to what psychiatry is changing. So, it was sources of the so-called first German
Protestant denomination. schizophrenia, now it is bipolar disorder, expressionism, especially the group
I believe that in Lutheranism, which it is also said that he had epilepsy. I called The Bridge. Because, think here
is the first Protestant strand, things are think that the main responsible for this with me, as much as I, when representing
not so radical. So much so that in Max slightly more suffering and anguished you, try to represent the feeling I have
Weber’s book, The Protestant Ethics and vision of Van Gogh, which is not a lie, is for you, evidently less realistic this
the Spirit of Capitalism, it is Calvinism. a book called Lust for Life, by the writer representation will be. Therefore, when
Van Gogh comes from a family very close Irving Stone, which later gives rise to you want to approach this world that you
to Calvinism, his father was a pastor and the film by Vincente Minnelli, Sede de represent by emotion, by expression, it
his grandfather, if I’m not mistaken, was a Viver. Both the book and the film were moves further away. After all, he is tinged
theologian of religion. Both in some letters bestsellers and blockbuster. Thus, this with that expression. And I think that this
and in the themes he uses, this issue of the legend became very popular, because relationship, let’s say, a little conflict
work regime is very strong. For example, it has a series of questions that, later, with reality, with the social environment,
in the last stage, more or less the moment when the investigations were deepened, etc., is born a little with him.
when he really starts to paint professionally, questioned even Van Gogh’s suicide. Two I cannot identify in Millet and in anyone
in the end of 1864, in a small village, he German researchers searched the police else this difficult relationship with reality,
paints the famous potato eaters. So, the archives in Arles (France), who said that although, to be intellectually honest, an
themes are also very linked to agricultural he was the one who cut the piece of Van important influence also on expressionists
and peasant work, which has changed Gogh’s ear, but Gauguin. So, it turns out was Matisse. Especially the first phase of
a lot with machines and mechanization, that, of course, you have the letters and Matisse, of fauves (fauvistas), because of
but it was more rustic work, in which the the works that, in short, have only gained the contrasts of color. But Matisse was an
relationship with the land is close. And he prestige and recognition over the years. anguished person, despite the experience
lives, if I’m not mistaken, more than a week Now, what is perhaps also decisive that we have in several works of Matisse is
with that family [of The Potato Eaters] to, for Van Gogh to make the leap forward of unrestrained joy. It is more or less out
finally, better incorporate the gestures, is his trip to Paris. He had already been there that I can equate these elements.
the type of work. An indicator of this issue in Paris, when he worked at the gallery,
is also that the great love of painting for half a second, from some distant relatives. * Gabriel San Martin is a graduate student in
him was Jean-François Millet, who is the When he returned, in 1886, he was shy, Philosophy at Unicamp and a researcher in
painter of the peasants. And he has four not very sociable, but he got close to that aesthetics and art theory

98