Painting Ideas for Kids For Livings Room Canvas for Bedrooms for Begginners art For Kids on Canvas f: Paint Ideas Painting Ideas for Kids For Livings Room Canvas for Bedrooms for Begginners art For Kids on Canvas for Home For Walls for Kitchen

Friday 7 March 2014

Paint Ideas Painting Ideas for Kids For Livings Room Canvas for Bedrooms for Begginners art For Kids on Canvas for Home For Walls for Kitchen

Paint Ideas Biography

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Color has the power to heal your spirit: It can be soothing, healing, and make you feel

reborn. In shades of soft green, blue, and pink, professional interior designers share

their favorite feel-good colors."There's something in the color blue that triggers a

relaxation response. It makes me feel as if I'm floating in a boat, looking up at the sky.

Everything about it speaks of a gentle, tranquil, Zen state of mind. This is not an aloof

blue. It's a blue that gathers you in." —Leatrice Eiseman. Paint by Pantone.

Clean walls.

Remove dust, dirt, and grease spots (which can ruin a smooth finish) with water, a little

mild dishwashing detergent, and a cellulose sponge. Rinse walls with clean water to remove

the soap residue.

Tape the trim, window, and doorframes

Be sure to use painter's blue tape, which can be applied up to a week ahead. Remove tape

immediately after painting, before the wall dries, so you don't peel off any paint with it.

Background

Even with three painted versions it's a relatively straightforward process to pinpoint the

details about the origin of this particular painting--thanks to Van Gogh's voluminous

letters to Theo. In the letter cited above Van Gogh describes the work as a "size 30"

(large) canvas, so this would immediately eliminate the Musée d'Orsay version which is

significantly smaller. Could the Chicago version of the bedroom painting be the original,

however, and not the Van Gogh Museum version? Jan Hulsker, Van Gogh scholar and expert on

the letters argues to the contrary:

As the two others, differing only in very minor details, are size-30 canvases, one of them

must be the replica made in Saint-Rémy. The fact that [JH] 1608 is the original, painted in

Arles, is confirmed by a detail in the picture itself. In Letter 553b, written October

4--only about ten days before the painting was made--Vincent informed his friend Boch:

"Your portrait is hanging in my bedroom, together with that of Milliet, the Zouave, which I

have just completed." The painting on the far right above the bed in 1608 must indeed be

what he referred to as the portrait of Milliet, for the bright red of the kepi can be made

out against the green of the background just below the upper edge of the picture. In the

later replica, 1771, this figure has been replaced by a portrait of a woman.1

(See Table 2 below.)

Furthermore, now that the profiled work has been established as the original, it can be

accurately dated thanks to Van Gogh's Letter 555 (17 October 1888) in which he wrote "I am

adding a line to tell you that this afternoon I finished the canvas representing the

bedroom." It's rare (but always welcome) that Van Gogh's paintings can be dated with such

precision. A recent article in Sky and Telescope (April, 2001) about The White House at

Night is another example in which the completion of a Van Gogh work can be narrowed down to

a matter of a few hours.

Style

The bright and bold use of colour in Vincent's Bedroom in Arles is typical of the vibrant

palette he began to use beginning late in his Paris period. Yellow was Van Gogh's favourite

colour throughout his Arles and Saint-Rémy period--whether outdoors in wheatfields under

the Provencal sun or indoor works such as the bedroom.

Probably the most striking and unusual aspect of the painting is the peculiar perspective.

The work is unrealistic in its warped portrayal of the bedroom, with the subjects skewed

downward toward the viewer. This is one of the aspects that makes the painting so unique

and easily recognizable. The perspective seems extreme, but later in his career as an

artist Van Gogh was not only rebelling against the muted colours of the Dutch artists of

the time, he was also breaking free from the confines of the perspective frame which

dictated a precise and realistic approach to a work's perspective. Van Gogh often rejected

conventional perspective in the latter half of his career as an artist--particularly in

many of his Arles paintings (see The Seated Zouave and The Night Cafe in the Place

Lamartine in Arles, for example).

Interestingly, the unusual perspective isn't necessarily explained solely because of Van

Gogh's conscious stylistic choice. Ronald Pickvance in his book Van Gogh in Arles suggests

an explanation based more on architectural fact than artistic preference. Pickvance

explains that the very shape of Van Gogh's room was unusual and, as a result, Van Gogh's

portrayal of it is actually more realistic than the viewer might initially imagine. The

diagram at right shows the actual shape of Van Gogh's room.2 Note the slant to the outer

wall which, when depicted in Van Gogh's painting, adds to the unusual perspective.

Other versions

As mentioned, Van Gogh produced five versions of his Bedroom in Arles: three oils and two

letter sketches. The two copies of the original painting were produced while Van Gogh was

under voluntary confinement at the mental asylum in Saint-Rémy. Van Gogh chose to paint a

number of copies of his earlier works while in the asylum--perhaps as a reflection of his

mental state at the time. His copies of L'Arlesienne (Madame Ginoux), for example, may

suggest the loneliness of his life at the asylum as he reflected fondly on the few friends

he had made in Arles.

Some have argued that Vincent's original bedroom painting encapsulates all of his dreams

and aspirations during the first several months in Arles. Van Gogh had hoped for form an

artist's colony in the south of France--a cooperative community in which painters could

learn from each other and support their collective goals. When Vincent rented his Yellow

House he took the first step toward realizing this goal. The bedroom painting, in turn,

suggests domesticity and a sense of well being within one's own home (in Letter B22 Van

Gogh himself maintains that the painting conveys "absolute restfulness"). When Van Gogh

pai