Title of Portrait is Portrait of a Peasant. Artist: Vincent Van Gogh. Date: Aug. 1888. Medium: Oil on Canvas. Dimensions 25-1/4 x 21-1/2 in. Museum: Norton Simon Museum of Art. Website: https://nortonsimon.org
The content of your paper will be strengthened by conducting and incorporating scholarly research. Your research sources will help form the context for your paper and enhance a fact-based analysis of the artwork.
Your research must include at least two scholarly texts used as bibliographical sources. Scholarly texts are books, magazines, journals, etc., written on your subject by a scholarly expert in the field. (A scholar is an individual who has completed academic training pertaining to the subject. Author’s credentials are often listed with their writing.)
Beyond the minimum two research sources, you may include as many internet-based references as you wish.
Compile all of your research sources into an annotated bibliography using standard MLA formatting.
An annotated bibliography is a list of citations of the scholarly texts used in your research. Each citation is followed by a brief, descriptive and evaluative paragraph informing the reader of the relevance of the source cited. See websites linked below for examples.
Save the annotated bibliography as a Word or other text-based digital file. Upload the completed file to the assignment page.
Submission should include a color image of the artwork including the artwork title, artist’s name, date, medium, size, and country/culture of origin. Include a web link to the artwork page from the Museum website.
Title of Portrait is Portrait of a Peasant
Artist: Vincent Van Gogh
Date: Aug. 1888
Medium: Oil on Canvas
Dimensions 25-1/4 x 21-1/2 in.
Museum: Norton Simon Museum of Art
This Portrait of a Peasant, whose first owner was the dealer Ambroise Vollard , belongs to a set of plein air portraits that Cézanne painted of the people of Aix-en-Provence during the latter years of his life. His gardener Vallier , who often sat for him, or some other local poses before the railing of the terrace that surrounded the facade of the building where his new studio was located, near the hill of Les Lauves north of Aix.
From this terrace Cézanne painted the distant Mount Saint-Victoire , the nearby scenery and the plants in his garden, and portrayed the country folk from the neighbouring area by the huge lime tree under whose shadow he used to work.
Despite the simple blue outfit characteristic of the country people of Provence, the sitter is depicted with monumental proportions and occupies much of the centre of the painting. He sits on a rustic chair with legs crossed, leaning on his stick, in a calm pose that affords him a dignity and serenity that recall the great Renaissance portraits.
This work is a good example of the style of the artist?s final years, when the still, formal arrangement of previous years began to disintegrate, the picture surface became more agitated and the colours more luminous. Endeavouring to represent the inner structure of things, Cézanne made form and colour inseparable and his compositions became more architectural.
Here the verticality of the figure contrasts with the marked horizontal formed by the ochre parapet and the horizontal patches of the hat. Furthermore, the geometric, transparent brushstrokes applied with greatly diluted oils gradually shape the surface of the picture and break down the image into a continuous series of small planes of colour.
The figure, which looks unfinished, is integrated into a blurred background of vegetation, perhaps a symbol of how he is perfectly in tune with the setting.
As stated in John Rewald?s catalogue raisonné , Cézanne ?did not follow any preconceived plan of work, so that the essential sections, such as the features of the model, could be left vague or, rather, could be attended to on a later occasion (which might never arise).?
In addition, as in other works from the artist?s final period, some areas of the canvas have deliberately been left bare, forming part of the composition.
Cézanne, rejecting the traditional idea of a finished work, embraced the notion of the unfinished, which went on to enjoy so much influence in all twentieth-century art.
Cézanne?s last portraits, including the Museo Thyssen-Bornemisza Peasant, were described by Lionello Venturi as ?genuine dialogues with death.? Excited by their dramatic intensity, the Italian historian wrote that ?
Cézanne observes the old gardener with such a burden of painful compassion that it is in fact he himself who is showing himself through it, producing a sort of self-portrait so to speak. On the threshold of death, he performs his daily task: without hope, but with faith in the duty fulfilled.?