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{{Short description|Pair of paintings by Vincent van Gogh}}
{{Infobox Artwork
{{Infobox artwork
| image_file=Alyscamps van gogh.jpg
| image_file=Alyscamps van gogh.jpg
| title=Falling Autumn Leaves (F486)
| title=Falling Autumn Leaves (F486)
| artist=[[Vincent van Gogh]]
| artist=[[Vincent van Gogh]]
| year=1888
| year=1888
| catalogue = {{Flatlist}}
⚫
| type=[[Oil painting|Oil on canvas]]
* [[Jacob Baart de la Faille|F486]]
* [[Jan Hulsker|JH1620]]
{{Endflatlist}}
⚫
| medium=[[Oil painting|Oil on canvas]]
| height_metric=73
| height_metric=73
| width_metric=92
| width_metric=92
Line 12: Line 17:
| museum=[[Kröller-Müller Museum]]
| museum=[[Kröller-Müller Museum]]
}}
}}
{{Infobox Artwork
{{Infobox artwork
| image_file=Van gogh alyscamps other.jpg
| image_file=Van gogh alyscamps other.jpg
| title=Falling Autumn Leaves (F487)
| title=Falling Autumn Leaves (F487)
| artist=[[Vincent van Gogh]]
| artist=[[Vincent van Gogh]]
| year=1888
| year=1888
| catalogue = {{Flatlist}}
⚫
| type=[[Oil painting|Oil on canvas]]
* [[Jacob Baart de la Faille|F487]]
* [[Jan Hulsker|JH1621]]
{{Endflatlist}}
⚫
| medium=[[Oil painting|Oil on canvas]]
| height_metric=72
| height_metric=72
| width_metric=91
| width_metric=91
Line 24: Line 33:
| museum=[[Private collection]]
| museum=[[Private collection]]
}}
}}
'''''Fall of Leaves ''''' (original French title: '''''Chûte de feuillus'''''), or '''''Falling Autumn Leaves''''' is a pair of paintings (in French ''pendants'', i. e. ''counterparts'') by the [[Netherlands|Dutch]] painter [[Vincent van Gogh]] executed during the two months at the end of 1888 that his artist friend [[Paul Gauguin]] spent with him at [[The Yellow House (painting)|The Yellow House]] in [[Arles]], France.
'''''Fall of Leaves ''''' (original French title: '''''Chûte de feuilles'''''), or '''''Falling Autumn Leaves''''' is a pair of paintings (in French ''pendants'', i. e. ''counterparts'') by the Dutch painter [[Vincent van Gogh]]. They were executed during the two months at the end of 1888 that his artist friend [[Paul Gauguin]] spent with him at [[The Yellow House]] in [[Arles]], France.


==Les Alyscamps==
==Les Alyscamps==
Following months of correspondence, [[Paul Gauguin]] joins Van Gogh in Arles in October 1888. Both were intent on depicting a "non-naturalist landscape". The paintings are of the first works that van Gogh and Gauguin painted following Gauguin's arrival.<ref name=MdO/>
Following months of correspondence, [[Paul Gauguin]] joined van Gogh in Arles in October 1888. Both were intent on depicting a "non-naturalist landscape". These two paintings, emphasizing the artist's [[Post-Impressionism]] emotional style, rather than being a pure representation of nature are among the first works that Van Gogh painted following Gauguin's arrival.<ref name=MdO/>


Van Gogh and Gauguin visited an ancient Roman necropolis, ''[[Les Alyscamps]]'', which had been built by the Romans outside city walls. Over time the grounds were overtaken by factories and the railroad. The city relocated some of the sarcophagi in a long alley lined with benches and poplar trees that led to a Romanesque chapel and which became known as the ''Allée des Tombeaux''. It quickly became a [[lover's lane]] celebrated throughout France.<ref>Gayford pp. 76-8</ref><ref>Naifeh and Smith pp. 667-8</ref>
Van Gogh and Gauguin visited an ancient Roman [[necropolis]], ''[[Les Alyscamps]]''(the Elysian Fields), which had been built outside the city walls and stood a few hundred metres from the centre of Arles. Over time the grounds were overtaken by factories and the railroad. The city relocated some of the [[sarcophagi]] in a long alley lined with benches and poplar trees that led to a Romanesque chapel which became known as the ''Allée des Tombeaux''. It quickly became a [[lover's lane]] celebrated throughout France.<ref>Gayford pp. 76-8</ref><ref>Naifeh and Smith pp. 667-8</ref>
In total Van Gogh would complete four paintings of the Alyscamps between 20 February 1888 and 8 May 1889. Gauguin made two.<ref>{{cite web |title=Van Gogh in Alyscamps |url=https://vangoghroute.com/france/arles/alyscamps/ |website=Van Gogh Route |publisher=Van Gogh Route |access-date=23 February 2024}}</ref>


==The paintings==
==The paintings==
During a period of bad weather Van Gogh worked on a second pair of "Les Alyscamps" paintings, which were taken from a vantage point above the lane and looking through the poplar trees, made in the studio. The yellow-orange of the leaves contrast to the violet-blue trunks of the poplar trees. This painting, made shortly after Gauguin's arrival in Arles, was unique to Van Gogh's body of work and representative of the artistic achievements found by two great artists working together. To [[Émile Bernard]] Van Gogh described the collaborative process as a pooling of thoughts and techniques where each artist creates their own unique work that is different, yet complements one another. Van Gogh believed that his pair of paintings ''Falling Autumn Leaves'' was just such a collaborative effort influenced by his own ideas as well as those of Gauguin and Bernard.<ref name=Gayford72>Gayford p.72</ref>
During a period of bad weather van Gogh worked on a second pair of "Les Alyscamps" paintings, which were taken from a vantage point above the lane and looking through the [[poplar tree]]s, made in the studio. The yellow-orange of the leaves contrasts with the violet-blue trunks of the poplar trees. This painting, made shortly after Gauguin arrives in Arles, was unique in van Gogh's body of work and representative of the artistic achievements realised by two great artists working together. To [[Émile Bernard]], van Gogh described the collaborative process as a pooling of thoughts and techniques where each artist creates their own unique work that is different, yet complements one another. Van Gogh believed that his pair of paintings ''Falling Autumn Leaves'' was just such a collaborative effort influenced by his own ideas as well as those of Gauguin and Bernard.<ref name=Gayford72>Gayford p.72</ref>


The paintings were made on Gauguin's jute which with Van Gogh’s brushstroke made a finished tapestry-like texture. The high vantage point represented in the work resembled that of Gauguin's ''Vision''. Creating a composition of a landscape viewed through the trunks of trees was something used previously by Bernard. Van Gogh used complementary, contrasting colors to intensify the effect of each color. The blue poplar trunks against the yellow path of leaves. Green used against red. Violet was paired with apricot. To his sister, Van Gogh wrote of selection and placement of contrasting colors "which cause each other to shine brilliantly, which form a couple, which complete each other like man and woman."<ref name=Gayford72-74>Gayford pp. 72-4</ref>
The paintings were made on Gauguin's [[jute]] which with Van Gogh's brushstroke made a finished tapestry-like texture. The high vantage point represented in the work resembled that of Gauguin's ''[[Vision After the Sermon]]''. Creating a composition of a landscape viewed through the trunks of trees was something used previously by Bernard. Van Gogh used [[complementary colors|complementary]], contrasting colors to intensify the effect of each color. The blue poplar trunks against the yellow path of leaves. Green is used against red. Violet was paired with an apricot. To his sister, Vincent wrote of the selection and placement of colors "which cause each other to shine brilliantly, which form a couple, which completes each other like man and woman."<ref name=Gayford72-74>Gayford pp. 72-4</ref>


Van Gog's imagination created the figures in the paintings. In one, a couple of a thin man with an umbrella is paired with a large woman, much like Van Gogh’s image of a woman he might settle down with. On the lane is also a red-dressed woman. The other painting holds a couple who walk along the lane between stone [[sarcophagi]], a yellow sunset at their backs.<ref name=Gayford72-74/>
Van Gogh's imagination created the figures in the paintings. In one, a couple of a thin man with an umbrella is paired with a large woman, much like van Gogh's image of a woman he might settle down with. On the lane is also a red-dressed woman. The other painting holds a couple who walk along the lane between stone sarcophagi, a yellow sunset at their backs.<ref name=Gayford72-74/>


==Van Gogh's other Les Alyscamps paintings==
==Van Gogh's other Les Alyscamps paintings==
Line 47: Line 57:


==Gauguin's paintings==
==Gauguin's paintings==
For his painting of ''Les Alyscamps'', painted on the same day as Van Gogh's, Gauguin chose a different vantage point from Van Gogh, and excluded any reference to ancient sarcophagi.<ref name=MdO>{{cite web |url=http://www.musee-orsay.fr/en/collections/ |title=Les Alyscamps |year=2006 |work=Collections, artist Paul Gauguin, Les Alyscamps |publisher=Musee d'Orsay |accessdate=2011-05-08}}</ref>
For his painting of ''Les Alyscamps'', painted on the same day as van Gogh's, Gauguin chose a different vantage point, and excluded any reference to ancient sarcophagi.<ref name=MdO>{{cite web |url=http://www.musee-orsay.fr/en/collections/ |title=Les Alyscamps |year=2006 |work=Collections, artist Paul Gauguin, Les Alyscamps |publisher=Musee d'Orsay |access-date=2011-05-08 |archive-date=2012-03-13 |archive-url=https://web.archive.org/web/20120313214013/http://www.musee-orsay.fr/en/collections/ |url-status=dead }}</ref>


<gallery widths="180" heights="240">
<gallery widths="180" heights="240">
Image:Paul Gauguin 085.jpg|[[Paul Gauguin]], ''Les Alyscamps''<br>1888<br>[[Musee d'Orsay]], Paris
Image:Paul Gauguin 085.jpg|[[Paul Gauguin]], ''Les Alyscamps''<br>1888<br>[[Musée d'Orsay]], Paris
Image:Lane at Alchamps, Arles 1888 Paul Gauguin.jpg|[[Paul Gauguin]], ''Allée des Alyscamps''<br>1888<br>Seiji Togo Memorial Sompo Japan Museum of Art, Tokyo
Image:Lane at Alchamps, Arles 1888 Paul Gauguin.jpg|[[Paul Gauguin]], ''Allée des Alyscamps''<br>1888<br>Seiji Togo Memorial Sompo Japan Museum of Art, Tokyo
</gallery>
</gallery>

==See also==
* [[List of works by Vincent van Gogh]]


==References==
==References==
Line 58: Line 71:


==Bibliography==
==Bibliography==
* {{cite book | title=The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles | author=Gayford, M | publisher=Penguin | location= | year=2006 | isbn=0-670-91497-5 | url=https://books.google.com/books?id=8QVAevUM7oIC&pg=PA57}}
* {{cite book | title=The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles | author=Gayford, M | publisher=Penguin | year=2006 | isbn=0-670-91497-5 | url=https://books.google.com/books?id=8QVAevUM7oIC&pg=PA57}}
* Naifeh, Steven; Smith, Gregory White. Van Gogh: ''[http://www.vangoghbiography.com The Life]''. Profile Books, 2011. ISBN 978-1846680106
* Naifeh, Steven; Smith, Gregory White. Van Gogh: ''[http://www.vangoghbiography.com The Life]''. Profile Books, 2011. {{ISBN|978-1846680106}}


== External links ==
== External links ==
Line 68: Line 81:


{{DEFAULTSORT:Falling Autumn Leaves}}
{{DEFAULTSORT:Falling Autumn Leaves}}
[[Category:Vincent van Gogh paintings of Arles]]
[[Category:Paintings of Arles by Vincent van Gogh]]
[[Category:1888 paintings]]
[[Category:1888 paintings]]
[[Category:Paintings by Vincent van Gogh]]
[[Category:Paintings by Vincent van Gogh]]
[[Category:Paintings in Ede]]
[[Category:Collection of the Kröller-Müller Museum]]
[[Category:Oil on canvas paintings]]


[[it:Les Alyscamps]]
[[it:Les Alyscamps]]

Latest revision as of 00:30, 26 August 2024

Falling Autumn Leaves (F486)
ArtistVincent van Gogh
Year1888
Catalogue
MediumOil on canvas
Dimensions73 cm × 92 cm (29 in × 36 in)
LocationKröller-Müller Museum, Otterlo
Falling Autumn Leaves (F487)
ArtistVincent van Gogh
Year1888
Catalogue
MediumOil on canvas
Dimensions72 cm × 91 cm (28 in × 36 in)
LocationPrivate collection

Fall of Leaves (original French title: Chûte de feuilles), or Falling Autumn Leaves is a pair of paintings (in French pendants, i. e. counterparts) by the Dutch painter Vincent van Gogh. They were executed during the two months at the end of 1888 that his artist friend Paul Gauguin spent with him at The Yellow House in Arles, France.

Les Alyscamps

[edit]

Following months of correspondence, Paul Gauguin joined van Gogh in Arles in October 1888. Both were intent on depicting a "non-naturalist landscape". These two paintings, emphasizing the artist's Post-Impressionism emotional style, rather than being a pure representation of nature are among the first works that Van Gogh painted following Gauguin's arrival.[1]

Van Gogh and Gauguin visited an ancient Roman necropolis, Les Alyscamps(the Elysian Fields), which had been built outside the city walls and stood a few hundred metres from the centre of Arles. Over time the grounds were overtaken by factories and the railroad. The city relocated some of the sarcophagi in a long alley lined with benches and poplar trees that led to a Romanesque chapel which became known as the Allée des Tombeaux. It quickly became a lover's lane celebrated throughout France.[2][3] In total Van Gogh would complete four paintings of the Alyscamps between 20 February 1888 and 8 May 1889. Gauguin made two.[4]

The paintings

[edit]

During a period of bad weather van Gogh worked on a second pair of "Les Alyscamps" paintings, which were taken from a vantage point above the lane and looking through the poplar trees, made in the studio. The yellow-orange of the leaves contrasts with the violet-blue trunks of the poplar trees. This painting, made shortly after Gauguin arrives in Arles, was unique in van Gogh's body of work and representative of the artistic achievements realised by two great artists working together. To Émile Bernard, van Gogh described the collaborative process as a pooling of thoughts and techniques where each artist creates their own unique work that is different, yet complements one another. Van Gogh believed that his pair of paintings Falling Autumn Leaves was just such a collaborative effort influenced by his own ideas as well as those of Gauguin and Bernard.[5]

The paintings were made on Gauguin's jute which with Van Gogh's brushstroke made a finished tapestry-like texture. The high vantage point represented in the work resembled that of Gauguin's Vision After the Sermon. Creating a composition of a landscape viewed through the trunks of trees was something used previously by Bernard. Van Gogh used complementary, contrasting colors to intensify the effect of each color. The blue poplar trunks against the yellow path of leaves. Green is used against red. Violet was paired with an apricot. To his sister, Vincent wrote of the selection and placement of colors "which cause each other to shine brilliantly, which form a couple, which completes each other like man and woman."[6]

Van Gogh's imagination created the figures in the paintings. In one, a couple of a thin man with an umbrella is paired with a large woman, much like van Gogh's image of a woman he might settle down with. On the lane is also a red-dressed woman. The other painting holds a couple who walk along the lane between stone sarcophagi, a yellow sunset at their backs.[6]

Van Gogh's other Les Alyscamps paintings

[edit]

Van Gogh made another pair of paintings at Les Alyscamps.

  • Les Alyscamps 1888 Private collection (F569)
    Les Alyscamps
    1888
    Private collection (F569)
  • Les Alyscamps 1888 Collection Basil P. and Elise Goulandris, Laussane, Switzerland
    Les Alyscamps
    1888
    Collection Basil P. and Elise Goulandris, Laussane, Switzerland

Gauguin's paintings

[edit]

For his painting of Les Alyscamps, painted on the same day as van Gogh's, Gauguin chose a different vantage point, and excluded any reference to ancient sarcophagi.[1]

See also

[edit]

References

[edit]
  1. ^ a b "Les Alyscamps". Collections, artist Paul Gauguin, Les Alyscamps. Musee d'Orsay. 2006. Archived from the original on 2012-03-13. Retrieved 2011-05-08.
  2. ^ Gayford pp. 76-8
  3. ^ Naifeh and Smith pp. 667-8
  4. ^ "Van Gogh in Alyscamps". Van Gogh Route. Van Gogh Route. Retrieved 23 February 2024.
  5. ^ Gayford p.72
  6. ^ a b Gayford pp. 72-4

Bibliography

[edit]
[edit]
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