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{{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)
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| 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)
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| 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]]. 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 (painting)|The Yellow House]] in [[Arles]], France.
'''''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 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==
Line 32: Line 32:


==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 tree]]s, made in the studio. The yellow-orange of the leaves contrast with the violet-blue trunks of the poplar trees. This painting, made shortly after Gauguin's arrival 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 (painter)|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 contrast with the violet-blue trunks of the poplar trees. This painting, made shortly after Gauguin's arrival 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 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 used against red. Violet was paired with apricot. To his sister, Vincent wrote of selection and placement of 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 used against red. Violet was paired with apricot. To his sister, Vincent wrote of selection and placement of 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>


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 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 50: Line 50:


<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>

Revision as of 10:54, 30 January 2020

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

Following months of correspondence, Paul Gauguin joined van Gogh in Arles in October 1888. Both were intent on depicting a "non-naturalist landscape". The paintings are among the first works that the pair painted following Gauguin's arrival.[1]

Van Gogh and Gauguin visited an ancient Roman necropolis, Les Alyscamps, which had been built outside the 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 which became known as the Allée des Tombeaux. It quickly became a lover's lane celebrated throughout France.[2][3]

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 with the violet-blue trunks of the poplar trees. This painting, made shortly after Gauguin's arrival 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.[4]

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 used against red. Violet was paired with apricot. To his sister, Vincent wrote of selection and placement of colors "which cause each other to shine brilliantly, which form a couple, which complete each other like man and woman."[5]

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.[5]

Van Gogh's other Les Alyscamps paintings

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

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]

References

  1. ^ a b "Les Alyscamps". Collections, artist Paul Gauguin, Les Alyscamps. Musee d'Orsay. 2006. Retrieved 2011-05-08.
  2. ^ Gayford pp. 76-8
  3. ^ Naifeh and Smith pp. 667-8
  4. ^ Gayford p.72
  5. ^ a b Gayford pp. 72-4

Bibliography

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