Gallery, Van Gogh exhibition, The Baltimore Museum of Art, 1942
View of a gallery in the Van Gogh exhibition held at the Baltimore Museum of Art in Fall of 1942. The exhibition was held in collaboration with the Worcester Art museum, which held their own exhibition of Van Gogh's works directly after the Baltimore Museum of Art's exhibition ended. The exhibition was made possible through generous donation of artworks and knowledge from the government of the Netherlands and additional collectors/lenders. Described in the exhibition pamphlet as a "red-headed, stoop-shouldered man whom few understood and fewer still honored in his lifetime," the exhibit was so... Mehr ...
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Dokumenttyp: | Image; |
Erscheinungsdatum: | 1942 |
Verlag/Hrsg.: |
Archives and Manuscripts Collections
The Baltimore Museum of Art |
Schlagwörter: | The Baltimore Museum of Art / Art museums--Exhibitions / Painting / Gogh / Vincent van / 1853-1890 / Art / Dutch / Post-impressionism (Art) / Modern--19th century |
Sprache: | unknown |
Permalink: | https://search.fid-benelux.de/Record/base-28642521 |
Datenquelle: | BASE; Originalkatalog |
Powered By: | BASE |
Link(s) : | http://cdm16075.contentdm.oclc.org/cdm/ref/collection/p15264coll7/id/443 |
View of a gallery in the Van Gogh exhibition held at the Baltimore Museum of Art in Fall of 1942. The exhibition was held in collaboration with the Worcester Art museum, which held their own exhibition of Van Gogh's works directly after the Baltimore Museum of Art's exhibition ended. The exhibition was made possible through generous donation of artworks and knowledge from the government of the Netherlands and additional collectors/lenders. Described in the exhibition pamphlet as a "red-headed, stoop-shouldered man whom few understood and fewer still honored in his lifetime," the exhibit was solely focused on late nineteenth century Dutch artist Vincent Van Gogh, including his life, travels, and anxious countenance, and the effect of these factors on his artwork. The pieces were arranged chronologically for better comparison of his various phases, styles, countries of inhabitance, and influences throughout the years, until his suicide and subsequent fame and appreciation in the very late 1800s. The gallery contained the 1889 pieces "Irises" and "The Road Menders," as well as others.