File:Vincent van Gogh - Peasant woman seated before an open door, peeling potatoes (1885).jpg

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Summary

Vincent van Gogh: Peasant Woman Seated Before an Open Door, Peeling Potatoes

Artist



Alternative names	Vincent Willem van Gogh
Description	Dutch painter, drawer and printmaker
Date of birth/death	30 March 1853	29 July 1890
Location of birth/death	Zundert	Auvers-sur-Oise
Work period	between circa 1880 and circa July 1890 date QS:P,+1850-00-00T00:00:00Z/7,P1319,+1880-00-00T00:00:00Z/9,P1326,+1890-07-00T00:00:00Z/10,P1480,Q5727902
Work location	Netherlands (Etten, The Hague, Nuenen, …, before 1886 date QS:P,+1886-00-00T00:00:00Z/7,P1326,+1886-00-00T00:00:00Z/9 ), Paris (1886–1887), Arles (1888–1889), Saint-Rémy-de-Provence (1889–1890), Auvers-sur-Oise (1890)
Authority file	: Q5582 VIAF: 9854560 ISNI: 0000000120955689 ULAN: 500115588 LCCN: n79022935 NLA: 35130087 WorldCat

Title

Peasant woman seated before an open door, peeling potatoes / Woman seated before an open door, peeling potatoes

Object type

painting

Genre

genre art

Date

Nuenen, March 1885

Medium

oil on canvas mounted on cradled panel

Dimensions

height: 36.5 cm (14.3 in); width: 25 cm (9.8 in)

Collection

Private collection

Place of creation

Nuenen

Notes

Catalogues raisonnés:

F73: Faille, Jacob Baart de la (1970) [1928] The Works of Vincent van Gogh. His Paintings and Drawings, Amsterdam: J.M. Meulenhoff, no. 73 .
JH717 : Jan Hulsker (1980), The Complete Van Gogh, Oxford: Phaidon, no. 717.

References

vangoghgallery.com

Source/Photographer

Christie's, LotFinder: entry 5369428 (sale 2352, lot 75, New York, 3 November 2010)

Licensing

This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:

The author died in 1890, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929.

This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights.

The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details.

File history

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	Date/Time	Thumbnail	Dimensions	User	Comment
current	17:21, 22 August 2013		2,148 × 3,156 (3.13 MB)	Botaurus	== {{int:filedesc}} == {{Artwork \|artist = {{Creator:Vincent van Gogh}} \|title = {{title\|en=Peasant woman seated before an open door, peeling potatoes / Woman seated before an open door, peeling potatoes\|nl=Vrouw zittend voor e...

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- Wikipedista:Wesalius/Seznam děl Vincenta Van Gogha
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- Benutzer:Raymond/Liste der Gemälde von van Gogh
- Juan Antonio Pérez Simón
Usage on en.wikipedia.org
Usage on fr.wikipedia.org
- Liste des tableaux de Vincent van Gogh
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- Մասնակից:Grqaser/Ավազարկղ2
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- Opere di Vincent van Gogh
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- Gebruiker:Zomerklokje/VanGogh
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- Lista de pinturas de Vincent van Gogh
Usage on ru.wikipedia.org
- Список картин Винсента Ван Гога
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- Обговорення:Перелік картин ван Гога

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JPEG file comment

Provenance C. Mouwen Jr., Breda. Oldenzeel Art Gallery, Rotterdam (by 1905). H. Doyer, Chailly-Lausanne (by 1977). By descent from the above to the present owner. -------------------------------------- Exhibited Rotterdam, Kunstzalen Oldenzeel, Vincent van Gogh, November-December 1904, no. 22. Kunsthalle Basel, Vincent van Gogh, October-November 1947, no. 16. -------------------------------------- Notes In December 1883, Van Gogh returned to his parents' home in Nuenen after a year-long stay in The Hague. During the following two years that he spent at Nuenen before setting out for Antwerp and then for Paris, Van Gogh's principal subject was the local Brabant peasantry. His "guide and counselor" in this work, as he wrote to his brother Theo, was Jean-François Millet, whose powerful paintings of weary laborers Van Gogh deeply admired throughout his career (Letter to Theo 493/400). George Keyes has written, "Having solidified his view of the peasant as the embodiment of universal human values, when he moved to Nuenen working peasants became his major project, and for the artist, they also became the chosen subject of modern art. By making this commitment, Van Gogh allied himself with Millet, Jules Breton, and other French painters of the realist tradition who extolled peasant subject matter" (Van Gogh Face to Face: The Portraits, exh. cat., Detroit Institute of Arts, 2000, pp. 39-40). After devoting the first months of his stay at Nuenen to depicting weavers at work on their looms, Van Gogh began his studies of peasants in earnest in October 1884. Over the course of the next six months, he made a long series of heads--several dozen in total--that represent male and female countryfolk, viewed in profile or full-face against a dark background. His letters indicate that he saw his subjects not so much as individuals but as examples of a rural type, with physiognomic characteristics ("full and Millet-like") that reflected their close ties to the cycles of nature and the harsh conditions under which they lived (Letter to Theo 451/372). In January or February 1885, Van Gogh broadened his studies to include interior scenes of peasants at work in their cottages. Within only a few weeks, he had produced more than twenty paintings and drawings of full-length figures absorbed in domestic chores: making baskets and sweeping the floor, darning socks and knitting, and peeling, cooking, and eating potatoes. These laid the groundwork for his most ambitious undertaking in Nuenen and the masterpiece of his early career, The Potato Eaters, completed in early May (De la Faille, no. 82; Rijksmuseum Vincent Van Gogh, Amsterdam). Rainer Metzger and Ingo Walther have written, "The Potato Eaters was a synthesis of countless studies of peasants' heads, of people absorbed in work and handicrafts, which Van Gogh painted that winter in the cottages of poor people in the village. This time, the series approach resulted in a final triumph" (Vincent Van Gogh, Cologne, 1998, p. 46). One of Van Gogh's principal concerns in these interior scenes was the treatment of light. In early March 1885, he mentioned a group of figure studies done by lamplight: "Nowadays I paint... even at night by lamplight, in the cottages, when I can hardly distinguish anything on my palette, to capture if possible at least something of the peculiar effects of artificial light at night with, for instance, a large shadow cast on the wall" (Letter to Theo 484/395). There are at least six figure studies that feature this sort of nocturnal effect, to which Van Gogh would return in The Potato Eaters (De la Faille, nos. 126a, 145, 152, 171, 171a, and 365). By mid-March, Van Gogh had turned his attention to a new lighting effect: "I am brooding over a couple of larger, more elaborate things... namely figures against the light of a window. I have studies of heads for it, against the light as well as turned toward the light, and I have worked several times already on complete figures: winding yarn, sewing, or peeling potatoes. Full face and profile, it is a difficultC:\Program Files (x86)\IrfanView\i_view32.ini

File:Vincent van Gogh - Peasant woman seated before an open door, peeling potatoes (1885).jpg

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Peasant Woman Seated Before an Open Door, Peeling Potatoes

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