Art Institute of Chicago, Картина
В спальне
Vincent van Gogh, 1889
Данные: Art Institute of Chicago (открытые данные музея)
Музейные сведения
Источник: Art Institute of Chicago
- Автор
- Винсент ван Гог (голландец, 1853-1890)
- Дата создания
- 1889
- Место создания
- Сен-Реми-де-Прованс
- Материалы и техника
- Холст, масло
- Размеры
- 73.6 × 92.3 cm (29 × 36 5/8 in.); Framed: 88.9 × 108 × 8.9 cm (35 × 42 1/2 × 3 1/2 in.)
- Стиль
- Постимпрессионизм
- Тип произведения
- Картина
- Классификация
- холст, масло
- Отдел
- Живопись и скульптура Европы
- Место в музее
- Галерея 241
- Инвентарный номер
- 1926.417
- Credit line
- Мемориальная коллекция Хелен Берч Бартлетт
- Статус прав
- Общественное достояние. Изображение действительно по лицензии CC0.
- Страница в музее
- Art Institute of Chicago (откроется в новой вкладке)
О произведении
Перевод подробных сведений загружается…Краткое описание музея
В 1888 году Ван Гог переехал в свой собственный дом в Арле, Франция. Он назвал его “Южной студией”, надеясь, что коллеги-художники присоединятся к нему для работы. Это одна из трех версий его любимой спальни в Арле, которую он нарисовал. В то время как ее яркая палитра и драматическая перспектива, кажется, излучают нервную энергию, Ван Гог хотел, чтобы картина "выражала полный покой".
Музейное описание
Perhaps the most famous depiction of a bedroom in Western art history, this vibrant painting documents Vincent van Gogh’s sleeping quarters in his beloved “Yellow House” in Arles, France. The composition exists in three versions, the first of which Van Gogh conceived in October 1888, a month after he moved into the home. In a letter to his brother Theo, he described having painted “the walls pale lilac, the floor in a broken and faded red, the chairs and the bed chrome yellow, the pillows and the sheet very pale lemon green, the bedspread blood-red, the dressing table orange, the washbasin blue, the window green.” With its bold colors, thick and broken brushwork, and sharply receding lines, the picture might suggest a nervous energy. But the artist understood it as a calming and restful image.
The painting in the Art Institute’s collection is Van Gogh’s second version of the scene, made nearly a year after the first, in September 1889. He produced a third, smaller version at the same time as a gift for his mother and sister.
Текст описания © Art Institute of Chicago, лицензия CC BY 4.0.
Провенанс (история владения)
The artist; sent to his brother, Theo van Gogh (died 1891), Paris, Dec. 18, 1889 [Letter 829 from Vincent van Gogh to Theo van Gogh, Dec. 19, 1889, notes that The Bedroom was sent the day before]; by descent to Johanna van Gogh-Bonger (died 1925), the Netherlands, 1891; sold to Jos Hessel, Paris, by 1901 [Paris 1901]. Carl Reininghaus, Vienna, by 1909, to at least 1914 [Vienna 1909; Berlin 1914]. Paul Rosenberg, Paris and New York, by 1926; sold to Frederic Clay Bartlett, Chicago, Dec. 1926 [receipt and correspondence in curatorial object file]; given to the Art Institute of Chicago, 1926.
Источник: Art Institute of Chicago
История выставок
Paris, Galerie Vollard, 1895, no cat.
Paris, Galerie Bernheim-Jeune, Vincent van Gogh, Mar. 15–31, 1901, cat. 19, as La Chambre de Vincent à Arles.
Vienna Secession, Internationalen Kunstschau, May–Oct. 1909, room 14, cat. 1, as Das Schlafzimmer.
Berlin, Paul Cassirer, Zehnte Ausstellung: Vincent van Gogh: 30 März 1853–29 Juli 1890, May–June 1914, cat. 53, as Das Schlafzimmer.
New York, Museum of Modern Art, First Loan Exhibition: Cézanne, Gauguin, Seurat, Van Gogh, Nov. 7–Dec. 7, 1929, cat. 79, as Van Gogh's Room at Arles (La Chambre à Arles).
Art Institute of Chicago, A Century of Progress, June 1–Nov. 1, 1933, cat. 376.
Art Institute of Chicago, A Century of Progress, June 1–Nov. 1, 1934, cat. 310.
Toledo Museum of Art, French Impressionists and Post Impressionists, Nov. 1934, cat. 24.
Art Institute of Chicago, Paintings and Drawings by Vincent van Gogh, lent through the Museum of Modern Art, N.Y., Aug. 26–Sep. 23, 1936, no cat.
Amsterdam, Van Gogh Museum, Vincent van Gogh Paintings, Mar. 30–July 29, 1990, cat. 7.
Essen, Museum Folkwang, Vincent van Gogh und die Moderne 1890–1914, Aug. 11–Nov. 4, 1990, cat. 40, as Das Schlafzimmer; Amsterdam, Van Gogh Museum, Nov. 16, 1990–Feb. 18, 1991.
Art Institute of Chicago, Van Gogh and Gauguin: The Studio of the South, Sep. 22, 2001–Jan. 13, 2002, cat. 120.
Amsterdam, Van Gogh Museum, Van Gogh and Expressionism, Nov. 24, 2006-Mar. 2, 2007; New York, Neue Gallery, Mar. 23-July 2, 2007 [New York only].
Fort Worth, TX, Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 58.
Amsterdam, Van Gogh Museum, Van Gogh at Work, Sep. 1, 2013 - Jan. 13, 2014, cat. 266.
Art Institute of Chicago, Van Gogh’s Bedrooms, Feb. 14–May 10, 2016, no cat. no., plate 26.
Detroit Institute of Art, Van Gogh and America, Oct. 2, 2022 - Jan. 22, 2023, cat. 53.
London, National Gallery, Vincent van Gogh: Poets and Lovers, Sep. 14, 2024–Jan. 19, 2025, fig. 95.
Boston, Museum of Fine Arts, Van Gogh and the Roulin Family, Mar. 30–Aug. 3, 2025 no cat. no., fig. 74; Amsterdam, Van Gogh Museum, Sep. 3, 2025–Jan 11, 2026 (Boston only).
Источник: Art Institute of Chicago
Публикации
Minneapolis Institute of Arts, "Exhibition of French Paintings from a Well-Known Collection," Bulletin of the Minneapolis Institute of Arts, 14, 4 (April 1925), 31–32.
Forbes Watson, "A Note on the Birch Bartlett Collection," The Arts 9, no. 6 (June 1926): 303–06 (ill.), 307–13.
R.M.F., “Van Gogh in Arles,” Bulletin of the Art Institute of Chicago 20, no. 7, (October 1926): 92–94.
Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection (Chicago: Art Institute, 1926), 14, pl. 15.
Art Institute of Chicago Annual Report (Chicago: Art Institute of Chicago, 1926), 54 (ill.).
J[acob]-B[aart] de la Faille, L'Oeuvre de Vincent van Gogh: catalogue raisonné (Berlin: G. van Ouest, 1928), vol. 1, 138, no. 484; vol. 2, pl. 134.
Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection (Chicago: Art Institute of Chicago, 1929), 22–23.
Vincent van Gogh, Further Letters to His Brother, 1886–1889 (London: Constable and Co., 1929), 234–35, 280, 371–72.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), 27 (ill.).
Art Institute of Chicago, A Brief Guide to the Collections (Chicago: Art Institute of Chicago, 1935), 30 (ill.), 31.
W. Scherjon and Jos. de Gruyter, Vincent van Gogh's Great Period: Arles, St. Rémy and Auvers sur Oise (Complete Catalog) (Amsterdam: De Spieghel, 1937), 140 (ill.), no. 12.
J[acob]-B[aart] de la Faille, Vincent van Gogh, trans. Prudence Montagu-Pollock (New York: French and European Publications; Paris: Hyperion, 1938), 362 (ill.), no. 510.
Art Institute of Chicago, Masterpiece of the Month, Notes and Bibliography (Chicago: Art Institute of Chicago, 1938), 18–19 (ill.).
Art Institute of Chicago, A Brief Guide to the Collections (Chicago: Art Institute of Chicago, 1941), 36 (ill.), 37.
Art Institute of Chicago, A Brief Guide to the Collections (Chicago: Art Institute of Chicago, 1945), 40 (ill.).
Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection (Chicago: Art Institute of Chicago, 1946), 18–19 (ill.).
Louis Hautecoeur, Van Gogh (Monaco: Les Documents d'Art, 1946), 78, 144.
Egbert Jacobson, Basic Color (Paul Theobald, 1948),174–76 (ill.).
Art Institute of Chicago, A Brief Guide to the Collections (Chicago: Art Institute of Chicago, 1948), p. 37 (ill.).
Meyer Schapiro, Vincent van Gogh, The Library of Great Painters (New York: Harry N. Abrams, 1950), 78–79 (ill.).
Charles Fabens Kelley, “Chicago: record years,” Art News 51, no. 4 (June–August 1952): 52–65, 106–08, 109 (ill.), 110–11.
Lawrence and Elisabeth Hanson, Passionate Pilgrim: The Life of Vincent Van Gogh (New York: Random House, 1955), 209–10.
Art Institute of Chicago, A Brief Guide to the Collections (Chicago: Art Institute of Chicago, 1956), 36 (ill.).
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), 198, 328 (ill.).
Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (September 1966): 194, fig. 16, 197.
Jacob-Baart de la Faille, The Works of Vincent van Gogh, His Paintings and Drawings (New York: Reynal, 1970), 284 (ill), 285, no. F484.
John Maxon, The Art Institute of Chicago (New York: Harry N. Abrams, 1970), 93 (ill.), 94 [repr. 1977, 1987].
Paolo Lecaldano, Tout l'oeuvre peint de Van Gogh, vol. 2: 1888–1890, trans. Simone Darses, vol. 2 (Paris: Flammarion, 1971), 220 (ill.), 221, no. 690.
Katharine Kuh, “These Are A Few of My Favorite Things,” Chicago Tribune Magazine, April 23, 1972, 32.
Mike Samuels, M.D. and Nancy Samuels, Seeing with the Mind’s Eye: The History, Techniques and Uses of Visualization (New York: Random House, 1975), 76, pl. 2.
John L. Word, “A Reexamination of Van Gogh’s Pictorial Space,” The Art Bulletin 58, no. 4 (December 1976): 593–604.
Guy Hubbard and Mary J. Rouse, ART: Discovering and Creating (Westchester, IL: Benefic Press, 1977), 102 (ill.).
Paolo Lecaldano, L’opera pittorica completa di Van Gogh, vol. 2 (Milan: Rizzoli Editore, 1977), 220 (ill.), 221, no. 690.
Janice Feldstein and Maureen Smith, The Art Institute of Chicago: 100 Masterpieces (Chicago: Art Institute of Chicago; distributed by Rand McNally, 1978), 116–17 (color ill.), no. 69.
Robert H. Pelfrey and Mary Hall-Pelfrey, Art and Mass Media (New York: Harper & Row, 1985), 126 pl. 18, 182–83 fig. 7.23), 184.
Peter C. Sutton, A Guide to Dutch Art in America (Washington, D.C.: Netherlands-American Amity Trust; Grand Rapids: Eerdmans, 1986), 54 fig. 77.
Richard R. Brettell, “The Bartletts and the ‘Grande Jatte’: Collecting Modern Painting in the 1920s,” Art Institute of Chicago Museum Studies 12, no. 2 (1986): 105, 111.
Richard R. Brettell, “Van Gogh’s Bedroom at Arles: the Problem of Priority,” Art Institute of Chicago Museum Studies 12, 2 (1986): pp. 136–37 (ill.), 138–51.
James N. Wood and Katharine C. Lee, eds., Master Paintings in The Art Institute of Chicago (Chicago Art Institute of Chicago, 1988), 65 (ill.).
Walter Feilchendeldt, Vincent van Gogh and Paul Cassirer, Berlin: the reception of Van Gogh in Germany from 1901 to 1914 (Zwolle: Van Gogh Museum, 1988), 98 (ill.).
Jan Hulsker, “Bedroom Problems,” Simiolus, 18, 4 (1988): 257–59 (ill.), 260–61.
Ingo F. Walther and Rainer Metzger, Vincent Van Gogh Sämtliche Gemälde (Cologne: Benedikt Taschen Verlag, 1989), 441, 442, 548, 549 (color ill.).
Gene A. Mittler, Art in Focus (New York: Glencoe Publishing Company, 1989), p. 319, fig. 17.6.
Richard Thomson, “State of the Art Van Gogh,” Apollo 132, no. 341(July 1990): 41 fig. 14, 42.
“Vincent van Gogh Retrospective Exhibition,” Van Gogh Bulletin 5, no. 1 (1990): 5 (color ill.), 6.
Jan Hulsker, The New Complete Van Gogh, Enlarged Edition of the Catalogue Raisonné of the Works of Vincent van Gogh (Aldershot, England; Burlington, VT: J.M. Meulenhoff; Philadelphia: John Benjamins Pub. Co., 1996), 404-09 no. 1771, 496n1771.
Mark Rosenthal, The Robert and Jane Meyerhoff Collection, 1945 to 1995, exh. cat. (Washington, D.C., National Gallery of Art, 1996), 123–29 fig. 11.
Sculpture Foundation, Solid Impressions: J. Seward Johnson, Jr. (Hamilton, NJ: The Sculpture Foundation, 2002), 26 (color ill.), 27–29.
Petra ten-Doesschate Chu, "The Reality of Illusion, The Illusion of Reality," in Beyond the Frame: Impressionism Revisited: The Sculptures of J. Seward Johnson, Jr., exh. cat. (Boston: Bulfinch Press; Washington, D.C.: In association with the Corcoran Gallery of Art, 2003), 11 (color ill.), 12, 15–18.
Richard R. Brettell, "A View from Portland: 110 Years of Modern French Art in Portland," in Paris to Portland: Impressionist and Post Impressionist Masters in Portland Collections, exh. cat. (Portland: Portland Art Museum, 2003), p. 33, fig. 3.
Kimberly A. Smith, Between Ruin and Renewal: Egon Schiele's Landscapes (New Haven: Yale University Press, 2004), 30 fig. 15, 31.
Katharine Kuh, My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator (New York: Arcade Publishing, 2006), 52–53 (ill.), 91–94.
Jill Lloyd, Vincent van Gogh and Expressionism, exh. cat. (Ostfildern: Hatje Cantz Verlag; Amsterdam: Van Gogh Museum, 2006), 115–16, 122 (color ill.), 123–24.
Tsukasa Kodera, Vincent Willem van Gogh (Tokyo: Shogakukan, 2006), 16 (color ill.).
Leo Jansen, Hans Luijten, and Nienke Bakker, eds., Vincent van Gogh, The Letters: The Complete Illustrated and Annotated Edition, vol 5: Saint-Rémy-de-Provence - Auvers-sur-Oise, 1889–1890 (Amsterdam: Van Gogh Museum; The Hague: Huygens Institute; Brussels: Mercatorfonds, 2009), 79 fig. 2, 80–88.
Marika Spring, Helen Howard, Jo Kirby, Joseph Padfield, David Peggie, Ashok Roy, and Anne Stephenson-Wright, Studying Old Master Paintings: Technology and Practice (London: Archetype Publications: In association with the National Gallery, 2011), 237–38 fig. 2, 239–43.
Walter Feilchenfeldt, Vincent van Gogh: Die Gemälde 1886–1890 Händler, Sammler, Ausstellungen Die Frühen Provenienzen (Wädenswil, Switzerland: Nimbus, Kunst und Bücher, 2009), 118 (color ill.).
Walter Feilchendeldt, Vincent van Gogh: The years in France, Complete paintings 1886-1890. Dealers, collectors, exhibitions, provenance (London: Philip Wilson, 2013), 120 (color ill.).
William Rathbone, Marcia Steele, H. Travers Newton, and Galina K. Olmsted, "The Bedroom," Van Gogh Repetitions, exh. cat. (The Phillips Collection/The Cleveland Museum of Art, 2013), pp. 82 (color ill.), 83–89, fig. 38.
Gloria Groom, ed., Van Gogh's Bedrooms, exh. cat. (New Haven and London: Art Institute of Chicago, Yale University Press, 2016), 8, 24, 26, 34, 51, 53–54, 61–65, 69, 71–73, 76–88, 90–97, 99n5, 100n19, 101n27, 101n37, 102n70, 103n85, 103n88, 103n91, 137, pl. 21.
Museo del Palacio de Bellas Artes, Rojo mexicano: la grana cochinilla en el arte, exh. cat. (Ciudad de Mexico: Instituto Nacional de Bellas Artes, 2017), 270, 387 fig. 61.
Jill Shaw, ed., Van Gogh in America, exh. cat. (Detroit: Detroit Institute of Arts; New Haven: Yale University Press, 2022), 82, 128, 130, 131 pl. 45, 148, 163, 165n3, 209-10, 218, 222, 228n80, 228 n139, 228n141, 238 cat. 53.
Michael Lobel, Van Gogh and the End of Nature (New Haven and London: Yale University Press, 2024), 110 fig. 61, 111, 136-37 (detail ill.),148-149 fig. 73.
Cornelia Homburg, Van Gogh: Poets & Loverbs, exh. cat. (London: National Gallery, 2024), 39, 131 fig. 95, 226.
Nienke Bakker and Katie Hanson, Van Gogh: The Roulin Family Portraits, exh. cat. (Boston: Museum of Fine Arts; Amsterdam: Van Gogh Museum, 2025), 121–22, 124 fig. 74, 220.
James Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 92 (ill.).
James Rondeau, ed., Highlights of the Art Institute of Chicago (New Haven and London: Yale University Press, 2026), 132, 261, no. 95, (ill.).
Источник: Art Institute of Chicago
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