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Table of contents
- Vincent van Gogh, The Letters.
- 2. In Less Than 10 Years, He Painted Almost 900 Paintings
- Vincent Van Gogh Quotes
The more I think about it, the more I realize there is nothing more artistic than to love others. Love Think Nothing More. If boyhood and youth are but vanity, must it not be our ambition to become men? Men Youth Ambition Become. Do not quench your inspiration and your imagination; do not become the slave of your model. Imagination Your Inspiration Become.
Love many things, for therein lies the true strength, and whosoever loves much performs much, and can accomplish much, and what is done in love is done well. Love Strength Love Is True. How can I be useful, of what service can I be? There is something inside me, what can it be? Me Service Inside Something.
Vincent van Gogh, The Letters.
If one is master of one thing and understands one thing well, one has at the same time, insight into and understanding of many things. Time Understanding Things Master. There may be a great fire in our hearts, yet no one ever comes to warm himself at it, and the passers-by see only a wisp of smoke. Fire Great Smoke See. Load more quotes. Prev 1 2 Next. Related Authors M.
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Escher Quotes. Piet Mondrian Quotes. Theo Jansen Quotes. Florentijn Hofman Quotes. Christien Meindertsma Quotes. Saskia de Brauw Quotes. Siegfried Woldhek Quotes. One would expect the introduction to address new findings and ideas that the extensive research into the letters has produced or, perhaps, to reflect on the impact the letters have had on the appreciation of van Gogh's work over the past hundred years.
Instead, the introduction offers little that is new. It focuses mostly on the voice, the tone, the language, and the rhetoric of the letters, subjects that are interesting and relevant, but at times rather self-evident. No one will be surprised to hear that van Gogh did not use, in letters to his mother, the same tone that he used in letters to friends like Bernard and Paul Gauguin; nor is it unexpected that to different correspondents he wrote about different subjects. It is also rather natural that his letters became more thoughtful and personal as the artist matured.
In the section on "Strategies and rhetoric," a sub-section covers van Gogh's use of metaphor in the letters, but the examples given are all similes and not metaphors. Again, it sounds rather pedantic to remark on this, but if van Gogh's use of rhetoric is highlighted in the introduction, one would expect it to be done in a more serious manner. Two subsections under the heading, "The letters: from conventional to personal," deal specifically with van Gogh's allusions to art and literature.
Much of this material has been covered extensively in the van Gogh literature, though little or no mention of that literature is made in the notes, which refer almost exclusively to the letters. Some of the misgivings this reviewer has with the introduction may be due to its unsatisfactory translation and lack of proper editing. Sentences such as "The priceless data in the letters on all kinds of subjects form a network within which the significance of a letter or passage cannot be seen in isolation from the whole, while one has to oversee the whole in order to weigh the detail" don't make for easy reading.
2. In Less Than 10 Years, He Painted Almost 900 Paintings
Indeed, a careful editing job that would address the organization of the introductory essay as well as language mechanicals grammar, punctuation, use of tenses, etc. Fortunately, a web edition allows for changes; perhaps this is something the editors may consider for the future. In conclusion, the new web edition of the van Gogh letters exemplifies the enormous advantages of on-line publishing of art historical or, for that matter, literary or historical source material. The search capability alone makes this form of publishing extremely valuable, but other features, discussed above, such as the presentation of multiple views and the possibility of limitless cross-referencing through hot links, also make this form of publishing more useful than paper publishing.
An added feature of this particular edition is the cross-referencing to on-line reproductions of works discussed in the text. As the Van Gogh Museum owns many of the letters and paintings by van Gogh to which the references are made, this was perhaps easier to do in this edition than it might be in the editions of letters of some other artists: the cost of the licensing agreements to reproduce the works could make such a richly illustrated web edition prohibitively expensive.
Of course, this may still be done in the future. And this brings me to another major advantage of on-line publishing, the possibility to constantly update the site. New letters and new information may be added and corrections may be made as necessary. This dynamic potential of on-line publishing is one that has not yet been fully exploited in academic circles, but is widely utilized on such sites as Wikipedia and other popular sites. The final and perhaps most important advantage of on-line publishing is the global availability to readers at no cost. This means, of course, that some institution or institutions must underwrite them.
Generally and here the paper edition of the van Gogh letters may be an exception , the small number of books that are sold do not produce nearly enough income to pay for research and production expenses.
It is this reviewer's hope that the web edition of the van Gogh letters will inspire both scholars and funders to choose the on-line publishing route, which seems to benefit both the quality of the scholarly product and the accessibility by users. The Van Gogh Museum must be congratulated for setting an excellent and path-breaking example! Uitgegeven en toegelicht door zijn schoonzuster J. The "Maatschappij voor goede and goedkoope lectuur" Society for Good and Inexpensive Literature was a progressive a publishing company founded by the Dutch writer Stijn Streuvels in The verse is from 2 Samuel This five-volume edition appears — at the same time as the present web edition — in three languages: English, Dutch and French.
Current Issue Announcements Call for Reviewers Call for Submissions. Introduction 1. How was the whole edition produced? Does the web incarnation make a difference? What added value, if any, does it bring about? Books with a Digital Backbone 4.
It is noteworthy that the digital edition — intended here in the wide sense of the full set of software, programs, scripts, electronic marked-up texts, digital images — represents the backbone not only of the web edition, but also of a refined printed edition; indeed, quoting the editors, the print edition would not exist in its present form without its electronic matrix, which is much more that just the counterpart of its paper version: By changes in the world of publishing and the rapidly growing potential offered by electronic media had caused the steering committee to reconsider, and it was decided to publish the large, all-encompassing edition digitally.
It encompasses more than two thousand pages in six heavy volumes of translucent paper, the first five of which include the corpus of translated letters where each main text section is beautifully laid out in one or two columns and accompanied by editorial side notes, relevant small illustrations art works in the form of paintings and etchings that Van Gogh mentions in his correspondence or that the editors imply are referred to by the Dutch author , and some facsimiles of the letters in full page generally only when a sketch by the artist occurs.
Vincent Van Gogh Quotes
The letters, each of which is preceded by some introductory material, are grouped into chronological sections marking certain segments of Van Gogh's life. In addition, the whole sixth and last volume collects rich contextual information featuring, among other elements, editorial commentary, genealogies, maps and plans, and a technical glossary. The latter includes subdivisions of cities into relevant locations by type e.
All the components that make up the six-volume publication are also available on the web edition. Their inclusion in the web edition — possibly with the exception of the index of locations, which is less granular on the web — is always comprehensive, rather than selective as in the print version, and is enriched by further interconnected material.
Indeed, starting from the text view, the web edition includes the following additional components: the texts in original language mainly Dutch, in few cases French and English , [1] the diplomatic edition and, not only some, but all the facsimiles. A more systematic case of selective rendering in the books that was integrated on the web by additional information is the content of the captions of artworks many institutions and private individuals made image material available to the project : on the web the institution holding the relevant work is always presented when known; in addition, the artistic technique of composition is mentioned, as well as the real dimension of the work in question, while in the volumes such information is entirely missing.
The Editorial Model behind the Web Edition A more detailed analysis of the components that make up the web edition reveals how its features support a fruition process that is rather distinctive from the reading process facilitated by its print form. Those mechanisms offered by the web, such as pointers to a textual note in the books functioning as active links on the web, are obviously exploited in the web resource in question.