It’s disappointing that the Corcoran exhibition, From Turner to Cezanne, had to be taken down early as a precaution over environmental concerns……I was counting on going Friday, April 9, three days after it abruptly closed. What am I missing? A spectacular collection from the National Gallery of Wales, little-known paintings of well-known artists that are seldom seen in the US………………… Torrents of Rain and Gusts of Wind…..
Vincent Van Gogh’s suns, stars and flowers from sunny Provence express the intensity he experienced while living there. But in May, 1890, he moved north of Paris to Auvers-sur-Oise and painted Rain, Auvers in July. Van Gogh used such a heavy impasto of paint that this painting conveys a heavy impact of rain. Van Gogh had an uncommon ability to combine actual texture of the paint itself with the tangible, tactile sense of objects painted. I really wanted to see Rain, Auvers to experience the downpour. Exaggerated or not, Van Gogh has the power to create a reality that makes us feel its presence more keenly. But the rain in this painting, deliberate gashes to the canvas surface, warns of a downpour more powerful than rain, the artist’s impending doom–he shot himself July 29th.
Even more than the Van Gogh, I was also looking forward to seeing paintings by Daumier and Millet, two mid-19th century French painters who are often overlooked, particularly in their gifts of great draftsmanship. Van Gogh seems to have admired them. One of Millet’s paintings from this Davies Collection at the National Museum of Wales is The Gust of Wind, 1871-73. Millet conveys the full fury of a storm in the countryside. He captures the birds, leaves and branches with jagged, undulating brushstrokes. Along with the wind, his tree is uprooted and the birds, man (a shepherd whose sheep can barely be seen) and flock scatter in a fury, as the luminous colors of daylight poke through the background.
It is commonly understood that Van Gogh’s paintings of The Sower were inspired by Millet’s The Sower. No doubt Van Gogh knew many paintings by Millet and shared his appreciation for man’s connection to the land. He adopted Millet’s expressive lines, but thickened the contours and turned up the volume on color. Brandon, one of my students, was amazed to discover the wind that Van Gogh captured in The Olive Orchard, now on view in the Chester Dale Collection at the National Gallery of Art. Certainly Millet was one of Van Gogh’s most inspiring teachers, along with the Japanese artist Hiroshige, whose woodcuts gave Van Gogh the motif of diagonal cuts for rain.
Ando Hiroshige, Rain Shower on Ohashi Bridge, 1857