{"id":12740,"date":"2020-08-22T23:49:55","date_gmt":"2020-08-22T21:49:55","guid":{"rendered":"https:\/\/francevisiting.com\/?p=12740"},"modified":"2024-01-29T01:12:46","modified_gmt":"2024-01-29T00:12:46","slug":"van-gogh-impressionists-auvers-sur-oise","status":"publish","type":"post","link":"https:\/\/francevisiting.com\/index.php\/2020\/08\/22\/van-gogh-impressionists-auvers-sur-oise\/","title":{"rendered":"Following the roots of Van Gogh and the impressionists in Auvers-sur-Oise"},"content":{"rendered":"

\"\"Following our prior article about the childhood of Vincent Van Gogh in the Netherlands (to read here<\/a>) and our article<\/a> about his favorite Absinthe<\/a> drink (to read here<\/a>), this time we focus on his last days spent in the French village of Auvers-sur-Oise and especially through his most notable places. Apart them, we would tell you about the last discovery about this legendary artist… A few quirky stumps, visible roots, situated at the edge of a small road close to the city hall of Auvers-sur-Oise, which, in the space of a few weeks, became the object of all the attentions of a bunch of art historians.<\/strong><\/p>\n

Thus, these relics are not just any other strains. Indeed, according to the Van Gogh Institute, an association working to preserve the memory of Vincent van Gogh, these roots would have served as a model for the last painting painted by the artist, on July 27, 1890, an unfinished canvas entitled Racines<\/em>. The 37-year-old painter who was staying in Auvers-sur-Oise, unfortunately killed himself that same evening with a bullet in the chest. He eventually succumbed, two days later, after excruciating suffering, in his room at the Auberge Ravoux. <\/strong>By AP<\/em><\/p>\n

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…like the city hall!<\/figcaption><\/figure>\n
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One century after, still there…<\/figcaption><\/figure>\n

Indeed, on the 28th July 2020<\/strong>, took place the inauguration ceremony of the site of the realization, 130 years ago, of Van Gogh<\/strong>‘s last masterpiece, simply called Racines d’Arbres<\/strong><\/em> (Tree Roots<\/em>), just painted before his regretted death. The event took place in the presence of Emilie Gordenker<\/strong>, Director General of the Van Gogh Museum<\/strong> in Amsterdam<\/strong>, and Willem van Gogh<\/strong>, great-grandson of Theo<\/strong>, Vincent<\/strong>‘s brother (photo credits: AP).<\/p>\n

The discovery of the exact place where Van Gogh<\/strong> painted this last painting was supposedly made by Wouter van der Veen<\/strong>, the scientific director of the Van Gogh Institute<\/strong>, also located in Auvers-sur-Oise<\/strong>. Indeed, Wouter Van der Veen<\/strong> had luckily found a postcard dating from 1900-1910<\/strong> on which, among other things, there was pointing a hill covered with trunks<\/strong> and roots<\/strong>.<\/p>\n

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A family portrait at the Mairie<\/figcaption><\/figure>\n

Starting from this statement, he substantiated and documented this finding in a book<\/strong>, especially written for the occasion, Attaqu\u00e9 \u00e0 la Racine<\/strong><\/a><\/em> (Attacked at the Root<\/em>), following his report to the researchers Louis van Tilborgh<\/strong> and Teio Meedendorp<\/strong> of the Van Gogh Museum<\/strong>. The data were then transferred to Bert Maes<\/strong>, dendrologist and historic forest specialist who agreed with other experts, based on Van Gogh<\/strong>‘s artistic practice and the comparison between the painting<\/strong>, that this postcard and the current position of the hillside was \u201cvery likely\u201d the right place.<\/p>\n

At the inauguration ceremony, two distinguished guests: Vincent Willem van Gogh<\/strong>, the great-grand-nephew of the painter Vincent van Gogh<\/strong> and Emilie Gordenker<\/strong>, director of the Van Gogh Museum<\/strong> in Amsterdam<\/strong>.<\/p>\n

In this sense, Wouter van der Veen<\/strong> (the Scientific Director<\/strong> of the Van Gogh Institute<\/strong>) admits: \u201cEverything we see in this enigmatic painting can be explained by what is on the postcard and in the place itself: the shape of the hill, the roots, their configuration, the composition of the terrain and the presence of a steep outcrop of limestone rock. The place is also consistent with Van Gogh<\/strong>‘s habit of immortalizing the grounds located in its immediate surroundings. The sunlight painted by Van Gogh<\/strong> shows that he applied his final brushstrokes towards the end of the afternoon, which tells us about his schedule during this dramatic day, which ended with the suicidal gesture which was fatal to him.”<\/p><\/blockquote>\n

ngg_shortcode_0_placeholderResulting from this analysis, and quickly after the end of the confinement in France<\/strong> linked to the Covid-19<\/strong> crisis, in May 2020, Wouter van der Veen<\/strong> was able to go there to verify his hypothesis formulated a few months before. The site is situated 150 meters away from the legendary Auberge Ravoux<\/strong>, the establishment where Van Gogh<\/strong> spent the last 70 days of his life and also close to the pictural \u00c9glise Notre-Dame-de-l’Assomption <\/strong>and the village cemetery, where Vincent Van Gogh <\/strong>is buried close to his brother Theo.<\/strong><\/p>\n

In the same way, Teio Meedendorp<\/strong> (researcher at the Van Gogh Museum<\/strong>) added that: \u201cThe proposed location has a very good chance of being the right one in our eyes. It’s a great discovery. The vegetation on the postcard shows, after examination, quite remarkable similarities with the shapes of the roots in Van Gogh<\/strong>‘s painting. What is all the more exceptional, dramatic in a way, is that this is his last work. Made in an environment that he had already documented before with other paintings. He often had to miss the location by going to the fields that stretched behind the Ch\u00e2teau d’Auvers<\/strong>, where he was painting during his last week and where he ended up killing himself. “<\/p><\/blockquote>\n

In consultation with the local authorities, the Van Gogh Institute<\/strong> has set up a temporary wooden structure intended to protect these precious remains, so that the public could eventually observe the original roots<\/strong> in the best conditions. On top of that, a spectacular feature is the fact that the tallest tree trunk from the painter’s last motif is still present and recognizable. That’s why, all the visitors, going to Auvers<\/strong>, are invited to admire, at the exact spot where Van Gogh<\/strong>‘s brushes inspired his last canvas.<\/p>\n

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You could also pray there for artists!<\/figcaption><\/figure>\n
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Do you recognize the artwork?<\/figcaption><\/figure>\n

Not far from these roots, you’re invited to visit the church<\/strong> and the nearby cemetery<\/strong> where are buried Vincent Van Gogh<\/strong> and his brother Theo Van Gogh<\/strong>, dead one year after him. This is the occasion of a good walk, following footsteps of the artist, every year will thus be able to add a moving experience to their journey.<\/p>\n

For your information, this Notre-Dame-de-l’Assomption<\/strong> Church was painted by Van Gogh<\/strong> when the artist had left the asylum of Saint-R\u00e9my-de-Provence<\/strong> on May 16th, 1890 to join first his brother Th\u00e9odore<\/strong> in Paris<\/strong>, before moving to Auvers-sur-Oise<\/strong> to be treated by Dr Paul Gachet<\/strong>. This church survived the centuries without suffering significant damages, and the only transformation undertaken was the addition of the chapel of the Virgin<\/strong> (dating back of the 16th century).<\/p>\n

In this case, this perfect condition is a key point, since it is where Van Gogh<\/strong> spent the last ten weeks of his life and composed many canvases reflecting this edifice, in addition to the hundreds of paintings realized there.<\/p>\n

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…visible from outer space!<\/figcaption><\/figure>\n
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A real massive facade…<\/figcaption><\/figure>\n

This parish Catholic<\/strong> church grounded towards the end of the eleventh century by the King Philippe Ist<\/strong>, then rebuilt at the instigation of Adelaide of Savoy<\/strong> who often resided in the royal mansion, located a little bit northern, just after the death of her husband Louis VI<\/strong>, in 1137. Then, occurred its reconstruction, starting with the eastern parts and ending with the nave, composed with an elevation of three levels, around the triforium<\/em>.<\/p>\n

This was done in the late Roman<\/strong> style, still evident in the capitals, quickly switching to the nascent Gothic<\/strong> style, notably visible in the pointed arch windows and ribbed vaults. As far as we know, the apse situated at the north is still purely Roman<\/strong>, but it is undoubtedly not prior to 1137. Moreover, two windows of the bedside were redesigned in the thirteenth century, this time in a radiant Gothic<\/strong> style, accentuating the stylistic difference between these two more contemporary parts, in reality. <\/p>\n

\u00c9glise Notre-Dame-de-l’Assomption<\/strong> \/ Place de l’Eglise, 95430 Auvers-sur-Oise (France) \/ Phone : 00 33 (0)1 30 36 71 19<\/p>\n

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…painted landscapes also!<\/figcaption><\/figure>\n
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Stained glasses for a good view…<\/figcaption><\/figure>\n

Still in the same village, and recently revived thanks to a 5.3 million euros investment after 8 months of works, the Auvers-Sur-Oise Castle<\/strong> welcomes you in its modern exhibition space. Where you could explore many interactive contents about local and more global art<\/strong>, including workshops of floral art<\/strong> and other ones dedicated to a young audience. You would know every thing about the History<\/strong> of the Impressionism<\/strong> movement, starring period material (photo credits: Alex Plato).<\/p>\n

Between river, undergrowth and meadows, the village of Auvers-sur-Oise<\/strong> became the home of many painters who decide to settle there, in order to find a new inspiration and interaction. Therefore, no less than three generations of artists succeed from one to another. In 1860, the painter Daubigny<\/strong>, who knew the region since his childhood, has been the first to settle there. A good caution for his friends Corot<\/strong> and Daumier<\/strong> to help him to decorate the walls of his house, which also became the first home hosting Auvers<\/strong>‘ artists.<\/p>\n

Furthermore, this artistic community became enriched, in 1866, Pissarro<\/strong> moved to Pontoise<\/strong>, to study the science of natural landscapes<\/strong>. He proposed his friend C\u00e9zanne<\/strong> to join him. This one accepted and moved to Auvers<\/strong> in 1872, the same year as Dr. Gachet<\/strong>, doctor of the Pissarro<\/strong> family. This homeopathic doctor, also an artist and collector, set up an engraving workshop, attended by Daubigny<\/strong>, Guillaumin<\/strong>, Corot<\/strong>, then C\u00e9zanne<\/strong>, Pissarro<\/strong> and later by Van Gogh<\/strong>.<\/p>\n

ngg_shortcode_1_placeholder\"\"\"\"Otherwise, you should learn more about the work made by OMEO Architecture<\/a><\/em>,<\/strong> developed for the Ch\u00e2teau d’Auvers<\/strong>. Born from the desire to propose a global concept for this site with multiple activities (cultural, touristic and commercial), while respecting its identity, its architectural and landscaped heritage and the technological audacity, this edifice has always proved, since its first opening to the public in 1994.<\/p>\n

Lately, this OMEO<\/strong><\/a>‘s mission, in perfect consultation with the architect Daniel Passon<\/strong>. for the Ch\u00e2teau d’Auvers<\/strong> focused more on the immersive visit, untitled Impressionist Vision, Birth and Descendancy<\/strong>, a solid value!<\/p>\n

On the other hand, you could notice that the museum<\/strong>‘s design has been modernized, along the surrounding gardens<\/strong>, the restaurant<\/strong>, the shop<\/strong>, the event center<\/strong> and seminars<\/strong>. A new structure able to host and offer accessibility to people with reduced mobility.<\/p>\n

Therefore, this new cultural route<\/em> in the castle<\/strong> doesn’t only offer to its visitors the opportunity to immerse themselves in the universe of the greatest painters<\/strong>, from the past 150 years, but it also shows some of the most beautiful artworks from the departmental collection of the Val d’Oise<\/strong>. A brief overview of these often overlooked masterpieces<\/strong>, constituting the pictorial heritage of this department, is available in this video below.<\/p>\n