There may not be many, but being a journalist does have its occasional advantages … as I found last week when I was invited to a private viewing of the Van Gogh exhibition at the Royal Academy of Arts in London.
The exhibition, The Real Van Gogh: The Artist and His Letters, which finished yesterday, has been hugely popular. Unfortunately, it meant the queues to get in during normal opening hours were over three hours long at times. And the crowds inside made it difficult to view the paintings, drawings and letters that were on display, according to a friend who went last month.
So the invitation to a press party and private viewing – organised by the exhibition’s sponsor The Bank of New York Mellon – was too good an opportunity to miss. Having the space and time to amble around uninterrupted, reading the inscriptions and admiring the paintings in close detail, was a real delight (not to mention the free cava and canapés).
Of particular interest was the insight the exhibition gave into Van Gogh the expatriate. His formative years as an artist in the Netherlands produced a series of dark and dour paintings drawn from the people and landscapes around him. However, once Van Gogh moved to Paris colour began to infuse his palette. At last he was at the centre of the artistic world, and the influence of the Impressionists, and pointillists such as Georges Seurat, is visibly evident in his development as a painter.
But it was Van Gogh’s relocation south, and the inspiration he found in sun-blessed Provence, that marks the real turning point in his career. It is from this period that his most famous paintings date: Bedroom in Arles, Irises, Cypresses, The Starry Night, Cafe Terrace and the Sunflowers series.
Unfortunately, this time in Provence also saw a pronounced deterioration in Van Gogh’s mental health, an illness that led to his eventual suicide.
On second thoughts, perhaps a life in the sun isn’t such a great idea after all!
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