Moon starry night. The story of one masterpiece: Van Gogh's Starry Night
Starry Sky by Vincent Van Gogh
As long as a person has existed, he has been attracted by the starry sky.
Lucius Annaeus Seneca, a Roman sage, said that “if there was only one place on earth from which the stars could be observed, people would continuously flock to it from all over.”
Artists captured the starry sky on their canvases, and poets dedicated many poems to it.
Paintings Vincent Van Gogh so bright and unusual that they surprise and are remembered forever. And Van Gogh’s “star” paintings are simply mesmerizing. He managed to unsurpassedly depict the night sky and the extraordinary radiance of the stars.
Night cafe terrace
"Cafe Terrace at Night" was painted by the artist in Arles in September 1888. Vincent van Gogh hated everyday life, and in this painting he masterfully overcomes it.
As he later wrote to his brother:
“The night is much more vibrant and richer in colors than the day.”
I’m working on a new painting depicting the outside of a night cafe: tiny figures of people drinking on the terrace, a huge yellow lantern illuminates the terrace, the house and the sidewalk, and even gives some brightness to the pavement, which is painted in pinkish-purple tones. The triangular gables of buildings on a street running into the distance under a blue sky strewn with stars seem dark blue or purple ... "
van Gogh Stars over the Rhone
Starry night over the Rhone
Amazing painting by Van Gogh! The night sky above the city of Arles in France is depicted.
What better way to reflect eternity than the night and starry sky? 
The artist needs nature, real stars and the sky. And then he attaches a candle to his straw hat, collects brushes and paints and goes out to the banks of the Rhone to paint night landscapes...
Perspective of Arles at night. Above him are the seven stars of the Big Dipper, seven small suns, shading the depths of the firmament with their radiance. The stars are so distant, but so accessible; they are part of Eternity, since they have always been here, unlike the city lamps, pouring their artificial light into the dark waters of the Rhone. The flow of the river slowly but surely dissolves the earthly lights and carries them away. Two boats at the pier invite you to follow, but people do not notice the earth signs, their faces are turned upward, to the starry sky.
Van Gogh's paintings inspire poets:
From a white pinch of underwing down
Having painted a wandering angel with his brush,
He will then pay with a cut off ear
And he will pay with black madness later,
And now he will come out, loaded with an easel,
To the shore of the blackening slow Rhone,
Almost a stranger to the chilly wind
And almost a stranger to the human world.
He will touch you with a special, alien brush
Colorful oil on a flat palette
And, not recognizing the learned truths,
He will draw his own world, filled with lights.
A heavenly colander, weighed down with radiance,
Will shed golden paths in a hurry
Into the cold Rhone flowing in the pit
Its shores and guarded prohibitions.
A stroke on the canvas - I would like to stay like that,
But he won't write with an underwing pinch
For me - only the night and the wet sky,
And the stars, and the Rhone, and the pier, and the boats,
And the reflection of light paths in the water,
The night city lights are involved
To the dizziness that arose in the sky,
Which will be equal to happiness...
...But He and She are the foreground, coupled with lies,
Return to the warmth and have a glass of absinthe
They will smile kindly, having learned the impossibility
Vincent's crazy and stellar insights.
Solyanova-Leventhal
………..
Starlight Night
Vincent Van Gogh made “truth” his rule and highest standard, the depiction of life as it really is.
But Van Gogh’s own vision is so unusual that the world around him ceases to be ordinary, excites and shocks.
Van Gogh's night sky is not just dotted with sparks of stars, it is swirled with vortices, the movement of stars and galaxies, full of mysterious life and expression.
Never, looking into the night sky with the naked eye, will you see the movement (of galaxies? of stellar wind?) that the artist saw. 
Van Gogh wanted to depict a starry night as an example of the power of imagination, which can create a more amazing nature than what we can perceive when looking at the real world. Vincent wrote to his brother Theo: "I still need religion. That's why I left the house at night and started drawing stars."
This picture arose entirely in his imagination. Two giant nebulae are intertwined; eleven hypertrophied stars, surrounded by a halo of light, break through the night sky; on the right is a surreal moon of orange color, as if combined with the sun.
In the picture, man's aspiration to the incomprehensible - the stars - is opposed by cosmic forces. The impetuosity and expressive power of the image are enhanced by the abundance of dynamic brushstrokes.
The cart wheel was spinning and creaking.
And they twirled around him in unison
Galaxies, stars, Earth and Moon.
And a butterfly near a silent window,
By creating this picture, the artist is trying to give vent to the overwhelming struggle of feelings.
“I paid with my life for my work, and it cost me half my sanity.” Vincent Van Gogh.
“Looking at the stars always makes me dream. I ask myself: why should bright spots on the sky be less accessible to us than black spots on a map of France? - wrote Van Gogh.
The artist told his dream to the canvas, and now the viewer is surprised and dreams, looking at the stars painted by Van Gogh. Van Gogh's original Starry Night adorns the hall of the Museum of Modern Art in New York.
…………..
Anyone who wants to interpret this painting by Van Gogh in a modern way can find there a comet, a spiral galaxy, a supernova remnant - the Crab Nebula...
Poems inspired by Van Gogh's painting "Starry Night"
Come on Van Gogh
Wind up the constellations.
Give these colors a brush
Light a cigarette.
Bend your back, slave,
Bowing to the abyss
the sweetest of torments,
until dawn...
Yakov Rabiner
……………
How did you guess, my Van Gogh,
How did you guess these colors?
Smears magical dances -
It's like a stream of eternity.
Planets for you, my Van Gogh,
Spinning like fortune telling saucers,
Revealed the secrets of the universe,
Giving obsession a sip.
You created your world like a god.
Your world is a sunflower, sky, colors,
The pain of a wound under a blind bandage...
My fantastic Van Gogh.
Laura Treen
………………
Road with cypress trees and a star
“A night sky with a thin crescent moon barely peeking out from the thick shadow cast by the earth, and an exaggeratedly bright, soft pink-green star in an ultramarine sky where clouds float. Below is a road bordered by tall yellow reeds, behind which one can see the low blue Lesser Alps, an old inn with orange-lit windows and a very tall, straight, gloomy cypress tree. On the road there are two belated passers-by and a yellow cart harnessed to a white horse. The picture as a whole is very romantic, and you can feel Provence in it.” Vincent Van Gogh. 
Each pictorial zone is made using a special character of strokes: thick - in the sky, sinuous, superimposed parallel to each other - on the ground and writhing like tongues of flame - in the image of cypress trees. All elements of the picture merge into a single space, pulsating with the tension of forms.
The road going into the sky
And a nagging thread along it
The loneliness of all his days.
Silence of the purple night
Like the sound of a hundred thousand orchestras,
Like a prayer revelation
Like a breath of eternity...
In a painting by Vincent Van Gogh
Only a starry night and the road...
…………………….
After all, hundreds of night suns and day moons
They promised indirect roads...
…Hangs by herself (and doesn’t need tape)
Of the large stars, Vangogh's night
“I still have a passionate need,” I will allow myself this word, “of religion. That’s why I left the house at night and began to draw stars,” Van Gogh wrote to his brother Theo.
It’s worth going to New York if only to see her, Van Gogh’s Starry Night.
Here I would like to give the text of my work on the analysis of this picture. Initially, I wanted to rework the text so that it would be more consistent with the article for the blog, but due to glitches in Word and lack of time, I will post it in its original form, which was difficult to restore after a program failure. I hope even the original text will be at least somewhat interesting.
Vincent van Gogh(1853-1890) – a prominent representative of post-impressionism. Despite Van Gogh's difficult life path and rather late development as an artist, he was distinguished by perseverance and hard work, which helped him achieve great success in his mastery of drawing and painting techniques. Over the ten years of his life devoted to art, Van Gogh went from an experienced viewer (he began his career as an art seller, so he was familiar with many works) to a master of drawing and painting. This short period became the most vivid and emotional in the artist’s life.
The personality of Van Gogh is shrouded in mystery in the presentation of modern culture. Although Van Gogh left a large epistolary legacy (extensive correspondence with his brother Theo Van Gogh), accounts of his life were compiled long after his death and often contained fictitious stories and distorted views of the artist. In this regard, the image of Van Gogh emerged as a crazy artist who, in a fit, cut off his ear, and later completely shot himself. This image attracts the viewer with the mystery of the work of a crazy artist, balancing on the brink of genius and madness and mystery. But if you examine the facts of Van Gogh’s biography, his detailed correspondence, then many myths, including those about his madness, are debunked.
Van Gogh's work became accessible to a wide circle only after his death. At first, his works were classified in different directions, but later they were included in post-impressionism. Van Gogh's handwriting is unlike anything else, so even with other representatives of post-impressionism it cannot be compared. This is a special way of applying a stroke, using different stroke techniques in one work, a certain coloring, expression, compositional features, means of expression. It is this characteristic manner of Van Gogh that we will analyze using the example of the painting “Starry Night” in this work.
Formal-stylistic analysis
"The Starry Night" is one of Van Gogh's most famous works. The painting was painted in June 1889 in Saint-Rémy and has been kept in the Museum of Modern Art in New York since 1941. The painting is painted in oil on canvas, dimensions – 73x92 cm, format – horizontally elongated rectangle, it is an easel painting. Due to the nature of the technique, the picture should be viewed at a sufficient distance.
Looking at the picture, we see a night landscape. Most of the canvas is occupied by the sky - the stars, the moon, depicted large on the right, and the moving night sky. Trees rise in the foreground on the right, and a town or village is depicted below on the left, hidden in the trees. The background is dark hills on the horizon, gradually becoming higher from left to right. The painting, based on the plot described, undoubtedly belongs to the landscape genre. We can say that the artist brings to the fore the expressiveness and some conventionality of what is depicted, since the main role in the work is played by expressive distortion (color, in the technique of brushstrokes, etc.).
The composition of the picture is generally balanced - on the right with dark trees below, and on the left with a bright yellow moon above. Because of this, the composition tends to be diagonal, including because of the hills increasing from right to left. In it, the sky prevails over the earth, since it occupies most of the canvas, that is, the upper part prevails over the lower. At the same time, the composition also has a spiral structure that gives the initial impetus to the movement, expressed in a spiraling flow in the sky in the center of the composition. This spiral sets in motion some of the trees, the stars, the rest of the sky, the moon, and even the lower part of the composition - the village, the trees, the hills. Thus, the composition transforms from the static nature usual for the landscape genre into a dynamic, fantastic plot that captivates the viewer. Therefore, it is impossible to distinguish the background and clear planning in the work. The traditional background, the background, ceases to be a background, since it is included in the overall dynamics of the picture, and the foreground, if you take the trees and the village, is included in the spiral movement and ceases to stand out. The layout of the picture is vague and unsteady due to the combination of spiral and diagonal dynamics. Based on the compositional solution, it can be assumed that the artist’s angle of view is directed from bottom to top, since most of the canvas is occupied by the sky.
Undoubtedly, in the process of perceiving the picture, the viewer is involved in interaction with the image. This is obvious from the described compositional solution and techniques, that is, the dynamics of the composition and its direction. And also thanks to the color scheme of the painting - the color scheme, bright accents, palette, brush stroke technique.
A deep space has been created in the painting. This is achieved due to the color scheme, composition and movement of strokes, and the difference in the size of strokes. Including due to the difference in the size of what is depicted - large trees, a small village and trees near it, smaller hills on the horizon, a large moon and stars. The color scheme builds depth due to the dark foreground of the trees, the muted colors of the village and the trees around it, the bright color accents of the stars and the moon, the dark hills on the horizon, shaded by a light strip of the sky.
The picture does not meet the criterion in many ways linearity, and most expresses just picturesqueness. Since all forms are expressed through color and strokes. Although in the image of the bottom plan - the town, trees and hills, a distinction is made with separate dark contour lines. It can be said that the artist deliberately connects certain linear aspects to emphasize the difference between the upper and lower planes of the painting. Therefore, the top plan, the most important compositionally, in meaning and in terms of color and technical solutions, is the most expressive and picturesque. This part of the painting is literally sculpted with color and brushstrokes; there are no contour or any linear elements.
Concerning flatness And depths, then the picture gravitates towards depth. This is expressed in the color scheme - contrasts, darker or smoky shades, in technique - due to the different directions of strokes, their sizes, in composition and dynamics. At the same time, the volume of objects is not clearly expressed, as it is hidden by large strokes. Volumes are only outlined with individual contour strokes or created through color combinations of strokes.
The role of light in the picture is not significant in comparison with the role of color. But we can say that the sources of light in the picture are the stars and the moon. This can be seen in the brightness of the settlement and trees in the valley and the darker part of the valley on the left, in the dark trees in the foreground and the darkening hills on the horizon, especially those located on the right under the moon.
The silhouettes depicted are closely related to each other. They are inexpressive due to the fact that they are painted with large strokes; for the same reason, the silhouettes are not valuable in themselves. They cannot be perceived separately from the entire canvas. Therefore, we can talk about the desire for integrity within the picture, achieved by technology. In this regard, we can talk about the generality of what is depicted on the canvas. There is no detail due to the scale of what is depicted (far away, therefore small towns, trees, hills) and the technical solution of the painting - drawing with large strokes, dividing what is depicted into separate colors with such strokes. Therefore, it cannot be said that the picture conveys the variety of textures of what is depicted. But a generalized, rough and exaggerated hint of the difference in shapes, textures, and volumes due to the technical solution of the painting is given by the direction of the strokes, their size and the actual color.
Color in “Starry Night” plays a major role. Composition, dynamics, volumes, silhouettes, depth, light are subject to color. Color in a painting is not an expression of volume, but a meaning-forming element. Thus, due to the color expression, the radiance of the stars and the moon is exaggerated. And this color expression creates not just an emphasis on them, but gives them significance within the picture, creates their semantic content. The color in the painting is not so much optically accurate as it is expressive. Using color combinations, an artistic image and expressiveness of the canvas are created. The painting is dominated by pure colors, combinations of which create shades, volumes and contrasts that influence perception. The boundaries of color spots are distinguishable and expressive, since each stroke creates a color spot that is distinguishable in contrast with neighboring strokes. Van Gogh focuses on spot-strokes that fragment the volumes of what is depicted. This way he achieves greater expression of color and shape and achieves dynamics in the painting.
Van Gogh creates certain colors and their shades using a combination of color spots and strokes that complement each other. The darkest parts of the canvas are not reduced to black, but only to a combination of dark shades of different colors, creating in perception a very dark shade, close to black. The same thing happens with the lightest places - there is no pure white, but there is a combination of strokes of white with shades of other colors, in combination with which white ceases to be the most important in perception. Highlights and reflections are not clearly expressed, as they are smoothed out by color combinations.
We can say that the painting contains rhythmic repetitions of color combinations. The presence of such combinations both in the image of the valley and the settlement, and in the sky creates the integrity of the perception of the picture. Different combinations of shades of blue with each other and with other colors throughout the canvas show that it is the main color developing in the picture. The contrasting combination of blue with shades of yellow is interesting. The surface texture is not smooth, but embossed due to the volume of strokes, in some places even with gaps in the blank canvas. The strokes are clearly distinguishable and significant for the expression of the picture and its dynamics. The strokes are long, sometimes larger or smaller. They are applied in different ways, but with quite thick paint.
Returning to binary oppositions, it must be said that the picture is characterized by openness of form. Since the landscape is not fixated on itself, on the contrary, it is open, it can be expanded beyond the boundaries of the canvas, which is why the integrity of the picture will not be violated. The picture is inherent atectonic beginning. Because all the elements of the picture strive for unity, they cannot be taken out of the context of the composition or canvas, they do not have their own integrity. All parts of the picture are subordinated to a single concept and mood and do not have autonomy. This is expressed technically in composition, in dynamics, in color patterns, and in the technical solution of strokes. The picture represents incomplete (relative) clarity depicted. Since only parts of the depicted objects (tree settlement houses) are visible, many overlap each other (trees, field houses), the scales have been changed to achieve semantic accents (the stars and the moon are exaggerated).
Iconographic and iconological analysis
The actual plot of “Starry Night” or the type of landscape depicted is difficult to compare with paintings by other artists, much less to place in a series of similar works. Landscapes depicting night effects were not used by the impressionists, since lighting effects at different times of daylight and working in the open air were just important for them. Post-Impressionists, even if they did not paint landscapes from life (like Gauguin, who often painted from memory), still chose daylight hours and used new ways of depicting light effects and individual techniques. Therefore, the depiction of night landscapes can be called a feature of Van Gogh’s work (“Cafe Terrace at Night,” “Starry Night,” “Starry Night over the Rhone,” “Church at Auvers,” “Road with Cypress Trees and Stars”).
Characteristic of Van Gogh's night landscapes is the use of color contrasts to emphasize important elements of the picture. The contrast of shades of blue and yellow was most often used. Night landscapes were mostly painted by Van Gogh from memory. In this regard, they paid more attention not to reproducing real lighting effects seen or of interest to the artist, but emphasized the expressiveness and unusualness of light and color effects. Therefore, light and color effects are exaggerated, which gives them additional meaning in the paintings.
If we turn to the iconological method, then in the study of “Starry Night” we can trace additional meanings in the number of stars on the canvas. Some researchers connect the eleven stars in Van Gogh's painting with the Old Testament story of Joseph and his eleven brothers. “Listen, I had a dream again,” he said. “There was in it the sun and the moon and eleven stars, and they all bowed down to me.” Genesis 37:9. Considering Van Gogh's knowledge of religion, his study of the Bible and his attempts to become a priest, the inclusion of this story as an additional meaning is justified. Although it is difficult to consider this reference to the Bible as determining the semantic content of the picture, because the stars make up only part of the canvas, and the depicted town, hills and trees are not related to the biblical plot.
Biographical method
When considering The Starry Night, it is difficult to do without a biographical method of research. Van Gogh painted it in 1889 while he was in the Saint-Rémy hospital. There, at the request of Theo Van Gogh, Vincent was allowed to paint in oils and make drawings during periods of improvement in his condition. Periods of improvement were accompanied by creative upsurge. Van Gogh devoted all his available time to working outdoors and wrote quite a lot.
It is noteworthy that “Starry Night” was written from memory, which is unusual for Van Gogh’s creative process. This circumstance can emphasize the special expressiveness, dynamics and color of the picture. On the other hand, these features of the painting can also be explained by the mental state of the artist during his stay in the hospital. His social circle and opportunities for action were limited, and the attacks occurred with varying degrees of intensity. And only during periods of improvement did he have the opportunity to do what he loved. During that period, painting became a particularly important way of self-realization for Van Gogh. Therefore, the canvases become more vibrant, expressive and dynamic. The artist puts great emotionality into them, since this is the only possible way to express it.
It is interesting that Van Gogh, who describes his life, thoughts and works in detail in letters to his brother, mentions The Starry Night only in passing. And although by that time Vincent had already moved away from the church and church dogmas, he writes to his brother: “I still passionately need,” I will allow myself this word, “in religion. That's why I left the house at night and started drawing stars."
Comparing "Starry Night" with earlier works, we can say that it is among the most expressive, emotional and exciting. Tracing the change in his writing style throughout his creative work, there is a noticeable increase in expressiveness, color intensity, and dynamics in Van Gogh’s works. "Starry Night over the Rhone", written in 1888 - a year before "Starry Night", is not yet filled with that culmination of emotions, expressiveness, color richness and technical solutions. You can also notice that the paintings that followed “Starry Night” became more expressive, dynamic, emotionally heavy, and brighter in color. The most striking examples are “Church in Auvers”, “Wheat Field with Crows”. This is how “Starry Night” can be described as the last and most expressive, dynamic, emotional and brightly colored period of Van Gogh’s work.
The painting “The Starry Night” by Vincent van Gogh is considered by many to be the pinnacle of expressionism. It is curious that the artist himself considered it an extremely unsuccessful work, and it was written at the moment of the master’s mental discord. What is so unusual about this painting? Let’s try to figure it out later in the review.
Van Gogh wrote Starry Night in a mental hospital
Self-portrait with a cut off ear and a pipe. Van Gogh, 1889. The moment of creating the painting was preceded by a difficult emotional period in the artist’s life. A few months earlier, his friend Paul Gauguin came to Van Gogh in Arles to exchange paintings and experiences. But a fruitful creative tandem did not work out, and after a couple of months the artists finally fell out. In the heat of emotional distress, Van Gogh cut off his earlobe and took it to a brothel to the prostitute Rachel, who favored Gauguin. This was done with a bull defeated in a bullfight. The matador received the cut off ear of the animal. Gauguin left soon after, and Van Gogh's brother Theo, seeing his condition, sent the unfortunate man to a hospital for the mentally ill in Saint-Rémy. It was there that the expressionist created his famous painting. "Starry Night" is a fake landscape
Starlight Night. Van Gogh, 1889. Researchers are trying in vain to figure out which constellation is depicted in Van Gogh’s painting. The artist took the plot from his imagination. Theo agreed at the clinic that a separate room would be allocated for his brother, where he could create, but the mentally ill would not be allowed outside. Turbulence in the sky
Flood. Leonardo da Vinci, 1517-1518 Either a heightened perception of the world, or the discovery of a sixth sense, forced the artist to depict turbulence. At that time, eddy currents could not be seen with the naked eye. Although 4 centuries before Van Gogh, another brilliant artist Leonardo da Vinci depicted a similar phenomenon. The artist considered his painting extremely unsuccessful
Starlight Night. Fragment. Vincent Van Gogh believed that his “Starry Night” was not the best painting, because it was not painted from life, which was very important to him. When the painting came to the exhibition, the artist rather dismissively said about it: “Maybe it will show others how to depict night effects better than I did.” However, for the expressionists, who believed that the most important thing was the manifestation of feelings, “Starry Night” became almost an icon. Van Gogh created another "Starry Night"
Starry night over the Rhone. Van Gogh. There was another “Starry Night” in Van Gogh’s collection. The stunning landscape cannot leave anyone indifferent. After creating this painting, the artist himself wrote to his brother Theo: “Why can’t the bright stars in the sky be more important than the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, so we die to reach the stars.” Hello!
Today we will be writing a free copy of Vincent van Gogh's painting "Starry Night". This is one of the most famous and recognizable paintings ever created. Vincent Van Gogh's "Starry Night" is a symbol of the power of human imagination, one of the most amazing and incredible landscapes you can imagine.
While working on the painting, we will try to get at least a little closer to the author’s technique, to convey the inherent dynamism, rhythm and impasto of the brushstroke inherent in this work. Let's try to guess the mood and energy of the picture.
How did Vincent Van Gogh paint his painting?
It is possible that one night, Vincent Van Gogh left his house, armed with a canvas, brushes and paints, with the completely convincing intention of painting the most incredible landscape, with the most incredible stars, moon, light, sky, wind...
Let's take a close look at the painting by Vincent Van Gogh, admire it, try to catch all the details and start writing our “Starry Night”.
Vincent van Gogh writes "Starry Night"
The process of painting this painting and the result of the work will make you fall in love with this painting and the author’s work.
"The Starry Night" by Vincent Van Gogh is one of the most famous works of fine art. But what is the meaning of this masterpiece of painting?
Most people can tell you that Vincent Van Gogh was a famous impressionist who painted The Starry Night. Many people have heard that Van Gogh was “crazy” and suffered from mental illness throughout his life. The story that Van Gogh cut off his ear after a fight with his friend, the French artist Paul Gauguin, is one of the most popular in the history of art. After which he was placed in a psychiatric hospital in the city of Saint-Rémy, where the painting “Starry Night” was painted. Did Van Gogh's health affect the meaning and imagery of the painting?
Religious interpretation
In 1888, Van Gogh wrote a personal letter to his brother Theo: “I still need religion. That’s why I left the house at night and started drawing stars.” As you know, Van Gogh was religious, even serving as a priest in his youth. Many scientists believe that the painting contains a religious meaning. Why are there exactly 11 stars in the film “Starry Night”?
“Behold, I saw another dream: behold, the sun and the moon and eleven stars worshiped.”[Genesis 37:9]
Perhaps by painting exactly 11 stars, Vincent van Gogh is referring to Genesis 37:9, which tells of the dreamy Joseph who was cast out by his 11 brothers. It is not difficult to understand why Van Gogh could compare himself to Joseph. Joseph was sold into slavery and deprived of his freedom, as was Van Gogh, who made Arles his refuge in the last years of his life. No matter what Joseph did, he could not earn the respect of his 11 older brothers. In the same way, Van Gogh, as an artist, failed to gain the favor of society, the critics of his time.
Van Gogh - cypress?
Cypress, like daffodils, appears in many of Van Gogh's paintings. It would not be surprising if Van Gogh, during the depressive period when The Starry Night was painted, associated himself with the frightening, almost supernatural cypress tree in the foreground of the painting. This cypress is ambiguous, it is contrasted with such bright stars in the sky. Perhaps this is Van Gogh himself - strange and repulsive, he reaches out to the stars, to the recognition of society.
Starry Night (Turbulence SPF Darina), 1889, Museum of Modern Art, New York
“Looking at the stars, I always start to dream. I ask myself: why should the bright points on the sky be less accessible to us than the black points on the map of France?” - wrote Van Gogh. “And just as a train takes us to Tarascon or Rouen, so death will take us to one of the stars.” The artist told his dream to the canvas, and now the viewer is surprised and dreams, looking at the stars painted by Van Gogh.