Vincent van Gogh's Sunflowers,
... "1888 Sunflowers"
Theirs
Theirs
Mine
Who actually do you think created this painting & coin? A copier of Vincent's sunflowers who thought he or she knew how to paint, and three or four Dutchman getting together to place all of the letters into this coin in the proper places to show a perfect face of Vincent? Or,.... do you possibly think a computer had something to do with some being able to see what is unveiled in these techniques and images already in his works of art? In the future this will be the finger print of Vincent van Gogh in all of his true works of art. Naturally there will be fact similes of these techniques in copies of his works, but nothing like the print the computer will read of Vincent's own hand,.... believe me. This coin impression would have come from what the computer already reads in Vincent's works of art as some will be able to see as we move along.
More the exact colors in mine
the exact colors in mine
Above is truer in color to what your eyes will see while in front of this painting. Only a true artist can tell for sure how this work was truly created. In standing in front of these sunflowers and in looking at how the paint was applied one does not need to imagine the length of time that it took the artist to create and complete this painting. It totally blows ones mind in seeing the paint application, the use of color, the total control of the artist's hand as the brush is applying the heavy imposto and moving quickly to all areas of the painting as to finish this painting in a 4 to 5 hour sitting. You see with your own eyes absolutely no overlaying of paint, only in certain prescribe areas known only to the artist to achieve the artist's right effects. It is not hard to imagine a expert of Vincent van Gogh's "Sunflowers" making this statement. MFA expert: "It is stupid. He is one of the most copied artists. But it is not easy at all. Your copy of the Sunflowers is apparently the first good copy that I have ever seen. I want to see a good enlargement for confirmation". Our short time collaboration suddenly stop dead in its tracks when I slipped and told his that all communications with me were to be open to the art public eventually later on down the road, like inVicent van Gogh's letters.
Now, this is a signature that most would consider to be a forged signature if not done by the artist in question,.. wouldn't you agree? Maybe some would think that possibly this signature was the makers name of the "pot" holding the sunflowers? Well,.. of course it is, and the maker of the whole painting.
Who actually do you think created this painting & coin? A copier of Vincent's sunflowers who thought he or she knew how to paint, and three or four Dutchman getting together to place all of the letters into this coin in the proper places to show a perfect face of Vincent? Or,.... do you possibly think a computer had something to do with some being able to see what is unveiled in these techniques and images already in his works of art? In the future this will be the finger print of Vincent van Gogh in all of his true works of art. Naturally there will be fact similes of these techniques in copies of his works, but nothing like the print the computer will read of Vincent's own hand,.... believe me. This coin impression would have come from what the computer already reads in Vincent's works of art as some will be able to see as we move along.
Rembrandt yelling into what is left of Vincent's ear,.... "You stupid idiot! What did you do that for!?"
Arles, 30 April 1889
My dear Theo,
-------------------------------------------":Today I am busy packing a case
of pictures and studies. One of them is flaking off and I have stuck some
newspaper on it; it is one of the best, and I think that when you look at it
you will see better what my now shipwrecked studio might have been. This
painting, like some others, has got spoiled by moisture during my illness.
the flood water came to within a few feet of the house, and on top of that,
the house itself had no fires in it during my absence, so when I came back,
the walls were oozing water and
saltpeter."------------------------------------
My dear Bernard,
' I want to do figures, figures and more figures. I cannot resist that series of bipeds from the baby to Socrates, and from the woman with black hair and white skin to the woman with yellow hair and a sunburned brick-red face,... the meantime I am mostly doing other things. I wanted to send you a very large and very careful drawing. Very well! It turned out quite different, though it is correct. For this time again the color suggest a blazing air of harvest time in the South, in the middle of the dog days, and without that it's another picture.
I dare believe that Gauguin and you would understand it; but how ugly people will think it! You know what a peasant is, how strongly he reminds one of a wild beast, when you have found one of the true race. Oh! that beautiful midsummer sun here. It beats down on one's head, and I haven't the slightest doubt that it makes one crazy. But as I was so to begin with, I only enjoy it.
I am thinking of decorating my studio with half a dozen pictures of “Sunflowers,” a decoration in which the raw or broken chrome yellows will blaze forth on various backgrounds - blue, from the palest malachite green to royal blue, framed in thin strips of wood painted with orange lead. Effects like those of stained-glass windows in a Gothic church.
Ah! my dear comrades, let us crazy ones take delight in our eyesight in spite of everything, yes, let's! Alas, nature takes it out of the animal, and our bodies are despicable and sometimes a heavy burden. But it has been like that ever since Giotto, that man with his poor health. Ah! and what a feast for the eyes all the same, and what a smile of the old lion Rembrandt, with a piece of white cloth around his head, his palette in his hand!
How much I would like to spend these days in Pont-Aven; however, I find comfort in contemplating the sunflowers. A hearty handshake, till soon again.
Sincerely yours, Vincent
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526 [about 21 August 88]
My dear Theo,
' I write in great haste to tell you that I have had a note from Gauguin, saying that he has not written much, but that he is quite ready to come South as soon as the opportunity arises. They are enjoying themselves very much painting, arguing and fighting with the worthy Englishmen; he speaks well of Bernard's work, and B. speaks well of Gauguin's. I am hard at it, painting with the enthusiasm of a Marseillais eating bouillabaisse, which won't surprise you when you know that what I'm at is the painting of some big sunflowers.'
I have three canvases going - 1st, three huge flowers in a green vase, with a light background, a size 15 canvas; [F453] 2nd, three flowers, one gone to seed, having lost its petals, and one bud against a royal-blue background, size 25 canvas; [F 459] 3rd, twelve flowers in a yellow vase (size 30 canvas). The last one is therefore light on light, and I hope it will be the best. Probably I shall not stop at that.
Now that I hope to live with Gauguin in a studio of our own, I want to make decorations for the studio. Nothing but big flowers. Next door to your shop, in the restaurant, you know there is a lovely decoration of flowers; I always remember the big sunflowers in the window there. If I carry out this idea there will be a dozen panels. So the whole thing will be a symphony in blue and yellow. I am working at it every morning from sunrise on, for the flowers fade so soon, and the thing is to do the whole in one rush...'
'I have heaps of ideas for new canvases...'
' Only I am beginning more and more to try a simple technique which is perhaps not impressionistic. I would like to paint in such a way that everybody, at least if they have eyes, would see it...'
In evaluating these Sunflower as Vincent had eluded to himself, let's just imagine that most will be able to finally see what exactly he was saying. I might suggest before we get started that the true men remain seated and the women don't matter, but may need to arrange for a panty guard, just in case. This premise should help us all get started with the true definition of this painting. First let's start at the bottom of this painting, and as we see in the yellow pot separated by the white paint possibly two sets or should I say pairs of legs. Are you all with me? As we might be able to surmise they could be facing each other. Please don't leave,..stay with me if you would like to know the truth about this painting that he was referring to. Now that we all understand what was now said, let's continue.
In looking at the left whole side of this painting let us imagine like Einstein,... letting our imagination run away with itself and imagine the top left sunflower being a young ladies head while the green Sunflower below it is a woolly sweater. Are you getting the picture? Wow! the two middle Sunflower at the top combined together could be a head leaning backwards while the mouth is open like a birds beak wanting a worm. Wow!....Somebody I believe is getting the big worm.
I'm sure what I see and what a computer sees is considerably different than what 99 % of what U C.
This painting I believe was locked up in the yellow house in Arles France after Vincent had cut off his ear on December 23rd until he got out of the hospital in March of 1889. This painting, according to my studies is one of the same that Vincent wrote about in these letters that he wrote on March 24th, and April 30th, 1889 to his brother Theo:
My Dear Theo, " I am writing to tell you that I have seen Signac, and It has done me quite a lot of good. he was so good and straightforward and simply when the difficulty of opening the door by force or not presented itself---the police had closed up the house and destroyed the lock. They began by refusing to let us do it, but all the same we finally got in.---------------------------------------Doubtless you had a Hand in his coming to stiffen my morale a bit, and thank you for it.---------------Altogether there are several canvases to be sent to you, as Signac could see, he was not frightened by my painting as far as I saw. Signac thought,and it is perfectly true, that I looked healthy.---------- In my opinion we must firmly oppose the loss of furniture, etc... Then-----my Lord-------I must have liberty to carry on my handicraft.
M. Rey says that instead of eating enough and at regular times, I kept myself going on coffee and alcohol. I admit all that, but all the same it is true that to attain the high yellow note that I attained last summer, I really had to be pretty well keyed up.--------------------------------Oh if nothing had happened to mess up my life!"
Arles,30 April 1889
My dear Theo, -------------------------------------------":Today I am busy packing a case of pictures and studies. One of them is flaking off and I have stuck some newspaper on it; it is one of the best, and I think that when you look at it you will see better what my now shipwrecked studio might have been. This painting, like some others, has got spoiled by moisture during my illness. the flood water came to within a few feet of the house, and on top of that, the house itself had no fires in it during my absence, so when I came back, the walls were oozing water and saltpeter."------------------------------------
"A Study of Sunflowers"
writings and studies by; Bob Miller---vanrijngo---art-zee
All the writings in this article are of my own views and studies of Vincent van Gogh's documented writing from his letters and van Gogh book contexts.
I have always been under the impression that tiles and accomplished achievement are something well earned and not just handed you on a piece of paper. Well,... I say that it is time to bring out the truths instead of making every effort in covering up truths and using power instead of knowledge keeping things as they are, by suppressing truths by so-called family member so-called MFA experts at artists Foundations.
With new scientific research and new technologies in this world and how quickly they are advancing and how exact they are, I say it is now time to get science involved along with the computers to tell the truths as to who artists actually were, copyist or the actual artists in question.. These technical advancement of science could be done by many responsible people and students learning new computer and scanning technologies in colleges and universities from around this world.
Asked yourself, why is it so important for some to keep things as they are? Do new art buyers and investors really want to take all these provenance's and hands on expertise determinations as the gospel, as the Japanese and other buyers have in the past? Or would you rather have scientific proof? As far as provenance's go, they prove nothing other than the possibilities of forgery, fooling the supposed MFA experts in charge of artists Foundations.
I say let the ones in the scientific field work along with the art field, make the determinations together instead of only the ones not being able to find out anything for sure and saying and making outrageous determinations to protect their own well being. Does this sound reasonable to you?
I cannot understand how the governments of the worlds can remain silent themselves, leaving the general public and art investors believing everything is in the responsible one's hands. What would you believe Picasso meant when he said; "Museums are full of lies and people who make art their business are mostly Impostor's"? Well ,... It is not hard for me to figure out, and shouldn't be for you either.
As I see, the same as Rembrandt and Vincent van Gogh did, Vincent's trees should become understandable when Vincent himself alluded to his sunflower pictures as to symbolizing "gratitude". Referring to the intensity with which he painted, and precisely in connection with the masterfully constructed paintings of the sunflowers, he says that, face to face with nature, he is seized with such excitement as to fall into fainting spells. ( I contend he also meant the excitement that most women feel in looking at the sunflowers and are reluctant to talk about). This excitement, he explains, is of the same kind as that experienced by people when they are overcome with gratitude. What exactly did he mean by this? I would say myself it is kinda like that feeling one gets in that one or two times in most life times when that long and drawn out feeling of getting ready to explode into a climax seems to last forever. Indeed, when one really thinks about his Sunflowers and studies them, one can grasp what he really meant.
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One must also wonder what a recognized MFA expert of fake van Gogh's, which I won't mention his name, meant when he told me in an email, "There is no expert at the VvG Foundation. Just two art historians in the Museum that became without any particular knowledge on Vincent (may be they knew his family name) became the best specialists in the world from one day to the other. The other scholars and the students are not better than them."
Don't most of you know as the same MFA had told me in another email, "A painting is not a piece produced by a genius. Vincent was no genius, he was at work every day and had some ideas. He succeeded. Would another taste be on fashion today we would have another genius at the top of the Pantheon. But you are right and Vincent said that people were not buying paintings with artistic goals."
Bob:"Yes, here we are again with no work of his to really show for the way he was known to paint."
MFA expert: "I know some, that surfaced in 1938, but they were rejected."
Bob: "And more than likely these were his true works of art if they happened to be examined scientifically, using photo enhancements for comparison of known techniques of Vincent's true works of art using five or six other ways and means that is rejected right now as art experts techniques and verifications."
MFA expert: "Experts are more and more using new techniques."
Bob: "It seem to me as though their main way of making their own decisions is by this soon to be out dated way which they rely so much on."
MFA expert: " I don't think so, because their expertise are not depending on the works but on the market organization. If the market stays what it is, the automatic "no" will remain "the" rule."
Bob: Most auction house employees, art experts or what ever you want to call them do not impress me what-so-ever with their knowledge. Their interest are only in a few things as far as I am concerned. (1) First of all if painting or art work is signed. (2)Who is the owner. (3) Wanting a stack of provenance telling them all about it. (4) How much did you pay for it. (5) Where did you get it. (6) What was said about it from its Foundation of the artist and do they except it from being from that artist. (7) What would you be willing to take for it. (
If we happen to take this on our action we might have to sell it in the circle of the artist and it more than likely won't bring its reserve we put on it, so are you prepared to pay the auction charges and the buy back fees? ( As you are walking out, ........ That is a fine painting, ......... What would you take for it or what do you want for that work?
MFA expert: "Indeed! You seem to be used to dealing with these people."
I believe that the use of computer DNA, which I call it, scanned styles of the artist brush strokes which are their real finger prints, and even if true finger prints could and are know to be found on the edges and the backs of art work, in the paint itself caused by paint from finger tips and palm prints of the artists while holding the art work will really make a great improvement in determining who painted what. Just as in the controversy of a Picasso with a fingerprint the Picasso Foundations refuses to acknowledge. Artist's styles and techniques known to be his or her style in different time periods of their lives could be determined by use of scanners. Paint and material still could be analyzed, while discounting the traces of resins which weren't supposedly around then which could seep into the paint from varnishes over the years would also be a good start.
Bob: a lot of things that has been said by so-called MFA experts does not add up. One of these day do you suppose there might be a computer that you could feed into it all of the massive information on these artists and others and be able to ask it some questions.
Right now it would probably tell you that everything is too confusing from most being said. Later on it might by itself start to weed out all of the myths and come up with some straight answers that will make a lot of experts run and hide.
MFA expert: "The computer is under the control of the experts".
Bob: I will never understand why the experts say Vincent van Gogh is the most easily copied of all other artists.
MFA expert: "It is stupid. He is one of the most copied artists. But it is not easy at all. Your copy of the Sunflowers is apparently the first good copy that I have ever seen. I want to see a good enlargement for confirmation".
Bob: Yes, I would say many exceptions to their rules. Most everything they say does not add up. One of these day do you suppose there might be a computer that you could feed into it all of the massive information on this artist and be able to ask it some questions. As far as I am concerned, most evidence that you speak of was manufactured by the experts before you, and is now excepted as the gospel truths which could not be further from the truths in most cases.
MFA expert: "I'm not a believer and do not rely on previous experts. I read what they said but do not remember the gospels. Some teams are working on the subject. On Vincent they put all the forgeries and their bases and the best of this research is that they used a fake pallet to get pigments. Anyhow, the computer will hardly be able to understand more than the man. The problem is not to calculate but to understand".
http://s95.photobucket.com/albums/l136/vanrijngo/?action=view¤t=Image1.gif
Above I made a cartoon drawing of Vincent van Gogh painting for a friend of mine just to make him laugh. We were having coffee at the kitchen table on 11/11/99 before the work day began and I drew this drawing in about 3 or 4 minutes on a pink telephone call slip for his enjoyment, while the night before I was studying Rembrandt's drawing of "Satire Against Art Criticism." The drawing I made of this cartoon of Vincent, remarkably surprised myself when studying it later, to see and find what was in it, inspirations of that drawing by Rembrandt, which advanced itself into my own work of art by some supernatural means. A little freaky I would say, but yet it is all there.
" A Dilemma "
As I sit here watching my monitor screen,
some things are considered to be to obscene.
At looking at items on eBay's auction sight,
is tomorrow the day for an international flight?
Do the buyers believe what some.... try to sell,
descriptions seem to come straight from hell.
You say what, who painted that in the past?
No wonder why some are being harassed.
Rembrandt & Vincent go back in time,
not understood what's on their minds.
People in this world remain the same,
everyone seem to be on that same old train.
Art market, love boat, stock market, Whatever,
knowing the consequences, no matter how clever.
Should I go to Amsterdam and get lost in the masses?
Or stay here, do what I do, only to be insulted by asses.
Is that 36-26-38 ? Sometimes,
Does not excellence begin by simply not quitting?
Poem by
Bob Miller-vanrijngo copyrighted
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