Ceci est une reproduction photographique fidèle d'une œuvre d'art originale en deux dimensions. L'œuvre d'art elle-même est dans le domaine public pour la raison suivante :
Public domainPublic domainfalsefalse
L’auteur est mort en 1890 ; cette œuvre est donc également dans le domaine public dans tous les pays pour lesquels le droit d’auteur a une durée de vie de 100 ans ou moins après la mort de l’auteur.
Cette œuvre est dans le domaine public aux États-Unis car elle a été publiée avant le 1er janvier 1929.
https://creativecommons.org/publicdomain/mark/1.0/PDMCreative Commons Public Domain Mark 1.0falsefalse
La position officielle de la Fondation Wikimedia est que « les représentations fidèles des œuvres d'art du domaine public en deux dimensions sont dans le domaine public et les exigences contraires sont une attaque contre le concept même de domaine public ». Pour plus de détails, voir Commons:Quand utiliser le bandeau PD-Art. Cette reproduction photographique est donc également considérée comme étant élevée dans le domaine public.
Merci de noter qu'en fonction des lois locales, la réutilisation de ce contenu peut être interdite ou restreinte dans votre juridiction. Voyez Commons:Reuse of PD-Art photographs.
Légendes
Ajoutez en une ligne la description de ce que représente ce fichier
Bat iyeltak va loplekufa giva ruldar. Bata giva male reduso ok tuotukaso wanuyasiko iku ksudasiko lanon zo loplekuyur. Ede iyeltak malion di zo betayar, konaka pinta va betayana ewava rotir me co tcazecked.
Commentaire de fichier JPEG
http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5289386
--------------------------------------
Sale 7831 Lot 17
2 February 2010 London, King Street
-------------------
Vincent van Gogh (1853-1890)
The Iron Mill in The Hague
gouache, watercolour, wash, pen and India ink and pencil on paper
35.8 x 60.4 cm
Executed in The Hague in July 1882
--------------
Provenance
H.P. Bremmer, The Hague.
Floris Bremmer, The Hague, by descent from the above.
Georg Schäfer, Schweinfurt.
Anonymous sale, Christie's, London, 23 June 2005, lot 363.
Private collection, America, by whom acquired at the above sale; sale Christie's, New York, 9 May 2007, lot 26.
Acquired at the above sale by the present owner.
-----------------------------------------------
Exhibited
Rotterdam, Kunstzalen Oldenzeel, Vincent van Gogh, November - December 1904, no. 55.
Essen, Villa Hügel, Vincent van Gogh, Leben und Schaffen, Dokumentation, Gemälde, Zeichnungen, October - December 1957, no. 134.
Paris, Musée Jacquemart-André, Vincent van Gogh 1853-1890, February - March 1960, no. 76.
Frankfurter Kunstverein, Vincent van Gogh, Zeichnungen und Aquarelle, April - June 1970.
----------------------------------
Van Gogh painted The Iron Mill in The Hague at a crucial juncture in his early development as an artist. Previously he had made numerous chalk and ink drawings, washed drawings, and largely monochromatic watercolors. He was still only comfortable in working within a limited range of tonal values, and had little understanding of how to use the expressive possibilities of color. He was indeed a late starter; he was almost thirty years old and had not yet tried his hand at oil painting, the real test of a young artist's progress and skills. Nevertheless, during the early months of 1882 that he spent in The Hague, he made tremendous strides in his draughtsmanship, and acquired a useful understanding of perspective. He put these means to use in a series of carefully composed and executed watercolors, including the present work, which were more opaquely rendered than previously and heightened with white body-color, that he painted in the late spring and early summer. In August, less than a month after he painted The Iron Mill, van Gogh made his first oil paintings.
It was a time of significant development in van Gogh's personal life as well. He had begun a liaison with a pregnant prostitute, Sien. He was also hospitalized after contracting a venereal disease. During the spring of 1882, prior to his hospital stay, van Gogh had been concentrating on landscapes with figures, in addition to figure drawings for which Sien and members of her family had served as models. The principal motivation for the landscapes was a commission from the artist's uncle, Cornelis Marinus van Gogh, an art dealer in The Hague. On 11 March, having seen some of van Gogh's recent city drawings (Hulsker, nos. 111 and 112), C.M. van Gogh ordered a dozen more, for which he offered to pay his nephew one rijksdaalder apiece. Before 24 March the artist completed the first group of the drawings he hoped his 'Uncle Cor' would buy (H., nos. 111-119, 121 and 125). He completed three more by the end of the month (H., nos. 122-124). One wonders at how 'Uncle Cor,' whom one might presume had very traditional tastes, responded to Gas Tanks (H., no. 118), the most modern of the subjects that van Gogh depicted in his The Hague townscapes. Lacking any picturesque qualities, it is nonetheless a strong and confidently executed drawing, rendered in convincing perspective with a varied touch, and combining many details within a broadly expansive view. These are the very same qualities that van Gogh would bring to his mature landscape drawings at the end of the decade. In any case, 'Uncle Cor' commissioned further drawings, which van Gogh continued to work on into May. He began to heighten these drawings with white body color. Among them were several backyard scenes, such as the well-known Carpenter's Yard and Laundry (H., no. 150; Rijkmuseum Kröller-Müller, OttC:\Program Files (x86)\IrfanView\i_view32.ini