HUM 200: Applied humanities due Saturday at 7pm

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Appli e d Hum an it ie s

W hat I s A rt?

W hat I s I t a P ic tu re O f?

B y J am es R om ain e

5 M od u le F iv e: I m pact o f t h e H um an it ie s / P ag e 5 .1 .5 W hat I s I t a P ic tu re O f?

O n t h is p ag e: 0 o f 3 a tte m pte d ( 0 % )

O bje ctiv e : U nders ta n d h ow m in or d if fe re n ce s c a n h ave m ajo r e ffe cts o n t h e m ea n in g

of a n im ag e.

V an G ogh ’s Cop ie s an d C om posi tio n s

In t h e f a ll o f 1 8 89, V in ce n t v a n G ogh b eg an t o m ak e p ain te d c o p ie s o f w ork s b y a rtis ts

h e a d m ired , in clu din g R em bra n dt v a n R ijn , E ugèn e D ela cro ix , a n d J ea n -F ra n ço is

M ille t. T here a re m an y r e a so n s V an G ogh m ay h ave d ecid ed t o d o t h is . F or o n e, in a n

ag e b efo re c o lo r p h oto gra p h y, c o lo r r e p ro d u ctio ns h ad t o b e m ad e b y h an d; t h ro u gh ou t

art h is to ry , a rtis ts h ave m ad e c o p ie s o f e a ch o th er’s w ork s a s a f o rm o f h om ag e o r in a n

atte m pt t o id en tif y w ith t h e t r a d it io n e sta b lis hed b y t h e o rig in al a rtis t. F urth erm ore ,

a rtis ts h ave l o n g m ad e c o p ie s o f “ m aste rp ie ce s” in m use u m s a s a w ay o f l e a rn in g

(a lt h ou gh b y t h e f a ll o f 1 8 89, V an G ogh w as a m atu re p ain te r w ho h ad d ev elo p ed h is

ow n u n iq ue a rtis tic v o ic e).

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Swirls of blue and yellow make up the night sky in this oil painting. A yellow crescent

moon is in the upper right corner. Venus, the morning star, is to the left of center

surrounded by rings of yellow and white. Other stars are scattered among the swirls of

blue, each surrounded by various sized rings of white and yellow. Under the sky is a village

with its church and steeple centered and prominent. Mountains undulate in the

background. The mountains are darker shades of blue. In the village, windows in various

locations have lights in their windows. There is a green cypress tree in the left foreground

reaching almost to the top of the painting.

The Starry Night by Vincent van Gogh. Oil on canvas, 1889. 2′ 5″ × 3′ 0.25″.

Click to enlarge

Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY

In w ork s s u ch a s T he S ta rry N ig ht , w e s e e a v is ual l a n gu ag e o f u n m ixed c o lo rs , o ft e n

a p plie d t o e sta b lis h v is ual c o n tr a st ( m ost p ro m in en tly y ello w s n ex t t o b lu es, c o lo rs t h at

are n ea rly o p posit e o n t h e c o lo r w heel) . H is b ru sh m ark s a re v ig oro u s a n d e x p re ssiv e. I n

fa ct, t h e p re v io us 1 8 m on th s ( b etw een F eb ru ary o f 1 8 88, w hen V an G ogh l e ft P aris f o r

th e s o u th o f F ra n ce , a n d t h e f a ll o f 1 8 89) h ad b een t h e m ost a rtis tic ally s u cce ssfu l

perio d o f h is c a re er. T here fo re , o n e p oss ib le m otiv atio n f o r V an G ogh ’s p ro je ct o f

m ak in g c re a tiv e c o p ie s m ay h ave b een t o t e st o r m ea su re h is n ow -m atu re a rtis tic

m eth od a g ain st t h at o f s o m e o f t h e a rtis ts f r o m w hom h e h ad b orro w ed a lo n g t h e w ay.

W hat w ou ld it l o ok l ik e t o r e p ain t a w ork b y M ille t in t h e v is ual l a n gu ag e o f V in ce n t v a n

G ogh ? C ou ld h e m ak e t h ese im ag es h is o w n b y g iv in g n ew in te rp re ta tio ns t o in herit ed

su bje cts ?

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In a d dit io n t o t h e v is ual d elig ht a n d h is to ric al in tr ig ue t h at t h ese c o p ie s p ro vid e, t h ey

a ls o a llo w u s t o c o m pare t w o w ork s t h at d ep ic t t h e e x act s a m e s u bje ct b u t e m plo y

d is tin ctly d if fe re n t v is ual m eth od s. I n e v ery w ork o f a rt, t h ere is a r e la tio nsh ip b etw een

th e s u bje ct d ep ic te d a n d t h e v is ual l a n gu ag e t h at t h e a rtis t e m plo ys. T his v is ual

la n gu ag e is c o m pose d o f e le m en ts s u ch a s c o lo r a n d c o m posit io n, t h e c o n tr a st o f l ig ht

an d s h ad ow , b ala n ce a n d r h yth m . I n in te rp re tin g t h e w ork o f a rt, w e s h ou ld n ot o n ly

c o n sid er t h e s u bje ct d ep ic te d b u t a ls o p ay a tte n tio n t o h ow t h e s u bje ct is d ep ic te d . T he

ad va n ta g e o f V an G ogh ’s c o p ie s o f w ork s b y M ille t a n d D ela cro ix is t h at t h e s u bje cts

r e m ain t h e s a m e b u t t h e v is ual l a n gu ag e, a n d t h ere fo re t h e c o n te n t v is ualiz ed , is

c h an ged . L ookin g a t t h ese w ork s, w e c a n a sk , “ H ow is o u r r e a d in g o f t h e w ork s h ap ed b y

th e w ay in w hic h t h e s u bje ct is d ep ic te d ?”

C om parin g V an G ogh ’s p ain tin gs w ith t h ose b y M ille t a n d D ela cro ix , w e c a n s e e t h at

V an G ogh m ad e d if fe re n t t y p es o f m od if ic atio ns t o h is m od els . W here a s t h e c o p y o f

M ille t’s w ork is b asic ally u n ch an ged c o m posit io nally , o n ly r e p ain te d in t h e c o lo rs a n d

te ch n iq ue o f V an G ogh ’s m eth od , t h e t w o c o p ie s a ft e r D ela cro ix r e v ers e t h e

co m posit io n, c re a tin g a m irro r im ag e o f t h e o rig in al.

Fi rst S te p s

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In this painting, a farmer crouches with his arms outstretched toward his baby daughter,

who is attempting to walk. The daughter is being supported by the farmer’s wife, who is a

few steps away and holding the baby’s arms. All three figures are out in a garden. There is

a wheelbarrow behind the farmer and a shovel lying on the ground in front of him. Behind

the garden there is a fence, two trees, and a cottage

First Steps by Jean-François Millet. Black chalk and pastel, ca. 1858–1866. 11.5″ × 1′ 6″.

The Cleveland Museum of Art, Gift of Mrs. Thomas H. Jones, Sr. 1962.407

Click to enlarge

The Cleveland Museum of Art, Gift of Mrs. Thomas H. Jones, Sr.

Lik e m uch o f h is a rt, J ea n -F ra n ço is M ille t’s F ir st S te p s v a lo riz es t h e d ail y l if e o f

ag ra ria n l a b or. I n m id-1 9 th -c e n tu ry F ra n ce , w hen a rt w as e x p ecte d t o d ep ic t s u bje cts o f

h is to ric al o r r e lig io us im porta n ce , M ille t t r e a te d e v ery d ay e v en ts a s if t h ey w ere j u st a s

sig nif ic an t.

M ille t’s s u bje ct is im med ia te ly r e co gn iz ab le . A f a rm er h as l a id a sid e a s h ovel w ith w hic h

he s e em s t o h ave b een f il lin g ( o r e m pty in g) t h e w heelb arro w b esid e h im . H is w ife a n d

ch ild h ave c o m e o u t o f t h e h ou se w ith t h e e x cit in g n ew s t h at t h e t o d dle r h as b eg u n t o

w alk . T he s im plic ity o f t h is s u bje ct s e em s a lm ost b an al, a n d in t h e h an ds o f a l e sse r

a rtis t t h an M ille t it m ay w ell h ave b een . T he c h arm o f M ille t’s w ork c a n d is gu is e t h e

ca re fu lly c o n str u cte d c o m posit io n t h at g u id es t h e v ie wer’s r e a d in g o f t h e m otif .

R eco gn iz in g t h at in W este rn a rt w e r e a d a n im ag e f r o m l e ft t o r ig ht, M ille t s it uate s t h e

fa rm er a t t h e l e ft . H e is a s u rro gate f ig ure — th at is , o n e w ith w hom t h e v ie wer m ight

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iden tif y. W e n atu ra lly r e a d t h e i m ag e m ovin g t o w ard t h e m oth er a n d c h ild. F ro m t h is

poin t, l ik e t h e c h ild, w e a re o n o u r o w n. I t is u p t o u s t o im ag in e, m ovin g f r o m r ig ht t o

le ft , t h e c h ild’s w alk t o w ard t h e f a th er’s o p en a rm s. W ill t h e c h ild m ak e t h is j o u rn ey

w ithou t f a llin g? W ill s h e s tu m ble a n d r e co ver? T he s u btle a n tic ip atio n b u il t in to t h is

im ag e is p alp ab le . T hro u gh c a re fu l c o m posit io n, M ille t h as s u cce ed ed in c re a tin g a

m on um en ta l e v en t o u t o f a m om en t t h at w ou ld o rd in aril y o n ly b e o f in te re st t o it s

partic ip an ts .

There are two paintings juxtaposed in this image. In the first painting, a farmer crouches

with his arms outstretched toward his baby daughter, who is attempting to walk. The

daughter is being supported by the farmer’s wife, who is a few steps away and holding the

baby’s arms. All three figures are out in a garden. There is a wheelbarrow behind the

farmer and a shovel lying on the ground in front of him. Behind the garden there is a

fence, two trees, and a cottage. The second painting is nearly identical to the first, but it

has been painted with different, brighter colors, and there is laundry hanging over the

fence in the background between the farmer and his wife.

First Steps by Jean-François Millet (left) juxtaposed with First Steps, after Millet by

Vincent van Gogh (right).

Cleveland Museum of Art/Art Resource, NY

In m ak in g M ille t’s w ork h is o w n, V an G ogh m ad e s e v era l c h an ges. M ost n ota b ly , h e

alt e re d t h e c o lo rs , w ith t h e f a th er a n d m oth er b oth a p pea rin g d re sse d in b lu e. T his w as

o n e o f V an G ogh ’s f a vo rit e c o lo rs , a n d it c a u se s t h e f ig ure s t o s ta n d o u t a g ain st t h e

back gro u n d o f b u sh es a n d t h e h ou se . T he t w o f ig ure s a re a ls o n ow v is ually c o n jo in ed ;

ev en t h eir p ose s ( th e f a th er l e a n s t o t h e r ig ht a n d t h e m oth er l e a n s t o t h e l e ft ) l in k t h em .

They a ct l ik e c o m posit io nal p are n th ese s f o r t h e s p ace t h at t h e c h ild m ust w alk . T he

fa th er a n d m oth er a re a ls o v is ually c o n necte d b y t h e l a u n dry t h at h an gs b eh in d t h em .

The r h yth m c re a te d b y t h e r e p ea te d v is ual u n it s o f e a ch p ie ce o f l a u n dry o n t h e l in e,

w ith it s b il lo w in g s h eets , a cts l ik e a v is ual s u rro gate f o r t h e c h ild’s s te p s.

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In this painting, a farmer crouches with his arms outstretched toward his baby daughter,

who is attempting to walk. The daughter is being supported by the farmer’s wife, who is a

few steps away and holding the baby’s arms. All three figures are out in a garden. There is

a wheelbarrow behind the farmer and a shovel lying on the ground in front of him. Behind

the garden there is a fence, two trees, and a cottage. Laundry hangs over the fence between

the farmer and his wife.

First Steps, after Millet by Vincent van Gogh. Oil on canvas, 1890. 2′ 4.5″ × 3′.

Click to enlarge

Art Resource, NY

Van G ogh ’s c o m posit io n is n ea rly id en tic al t o M ille t’s , a n d w e r e a d t h e t w o w ork s t h e

sa m e w ay: f ir st a cro ss t h e im ag e f r o m l e ft t o r ig ht, a n d t h en , in o u r im ag in atio n, f r o m

rig ht t o l e ft . A nd y et t h e t w o w ork s c o n vey o p posit e im pre ssio ns o f t h e s a m e m om en t.

I n M ille t’s w ork , t h e s p ace b etw een t h e f a th er a n d m oth er s e em s e x p an siv e, g iv in g a

s e n se o f h ero ic d ra m a t o t h e in it ia l s tu m blin gs o f a c h ild. B y c o n tr a st, V an G ogh m ak es

ev ery a tte m pt t o v is ually c lo se t h e s p ace b etw een t h e a d u lt s , e m ph asiz in g in tim acy a n d

th e b on d o f a f a m ily.

In h is l e tte rs t o h is b ro th er T heo , V in ce n t v a n G ogh o ft e n l a m en te d n ot h avin g a w ife

an d c h ild. I n r e in te rp re tin g M ille t’s im ag e, h e a ch ie ved in a rt w hat h ad e lu ded h im in

l if e.

P ie tà

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Both of these paintings depict the dead body of Jesus Christ leaning against the sloping

ground. A white cloth is draped over his body from the waist down. Behind him, the Virgin

Mary stands over him with her arms outstretched around and slightly over him. Her palms

are open and she stares downward, but not directly at him. Her expression is sad and

calm. Christ’s head leans in toward Mary. In the first image, Christ’s body is lightly colored

and Mary is dressed in blue. Christ’s body leans to the right and Mary stands slightly to the

left. In the second painting, Christ’s upper body is shrouded in shadow, while Mary’s is

more in the light. She is also wearing red cloth around her neck. In this version, Christ’s

body leans to the left and Mary stands slightly to the right.

Pietà (after Delacroix) by Vincent van Gogh (left) juxtaposed with Pietà by Eugène

Delacroix (right).

Art Resource, NY/Wikimedia

In r e in ven tin g E ugèn e D ela cro ix ’s P ie tà , V an G ogh w en t e v en f u rth er t h an h e d id w ith

th e M ille t p ain tin g, a ctu ally r e v ers in g t h e co m posit io n. 1 I n D ela cro ix ’s w ork , t h e d ea d

b od y o f C hris t is f r a m ed b y t h e o u ts tr e tc h ed a rm s o f h is m oth er, M ary . T he p u rp ose o f

th e w ork is t o e v o ke w ithin t h e v ie wer a s e n se o f s a cre d p it y f o r M ary ’s s u ffe rin g. T o

ach ie ve t h is e n d, D ela cro ix e m plo ys b oth c o lo r a n d c o m posit io n. L ik e M ille t’s w ork , t h is

pain tin g is m ea n t t o b e r e a d f r o m l e ft t o r ig ht. H ow ev er, b eca u se C hris t is in s h ad ow

an d M ary is in l ig ht, w e v is ually l e a p o ver h im t o l o ok a t h er. H er o u ts tr e tc h ed a rm s a re

w hat r e d ir ect o u r g aze t o w ard C hris t a n d m ight e v en b rin g t o m in d C hris t’s c ru cif ix io n,

su ggestin g h ow t h e s u ffe rin g o f t h e s o n h as b eco m e t h e a g o n y o f t h e m oth er.

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In this painting the dead body of Jesus Christ leans to the left against the sloping ground.

A white cloth is draped over his body from the waist down. Behind him, the Virgin Mary

stands over him with her arms outstretched around and slightly over him. Her palms are

open and she stares downward, but not directly at him. Her expression is sad and calm.

Christ’s head leans to the right toward Mary. His upper body is shrouded in shadow, while

Mary’s is more in the light.

Pietà by Eugène Delacroix. Oil on canvas, 1850. 1′ 1.75″ × 10.75″.

Click to enlarge

Wikimedia

Dela cro ix ’s u se o f t h e c o lo r r e d is s tr a te g ic . R ed is a v is ually a g gre ssiv e c o lo r, a n d t h e

re d b eh in d M ary v is ually p u sh es h er t o w ard t h e v ie wer. E very th in g a b ou t D ela cro ix ’s

v is ual t r e a tm en t o f t h e s u bje ct a im s t o c o n nect t h e v ie wer a n d M ary . I t is t h ro u gh h er

th at t h e v ie wer is t h en r e m in ded o f C hris t.

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In this painting the dead body of Jesus Christ leans to the right against the sloping ground.

A white cloth is draped over his body from the waist down. Behind him, the Virgin Mary

stands over him with her arms outstretched around and slightly over him. Her palms are

open and she stares downward, but not directly at him. Her expression is sad and calm.

Christ’s head leans to the left toward Mary.

Pietà (after Delacroix) by Vincent van Gogh. Oil on canvas, 1889. 2′ 4.75″ × 2′.

Click to enlarge

Art Resource, NY

In m irro rin g t h e c o m posit io n o f D ela cro ix ’s p ain tin g, V an G ogh a ls o r e v ers e d t h e r o le s

o f M ary a n d C hris t. M ary is n ow in b lu e, a c o lo r t h at V an G ogh a sso cia te d w ith

sp ir itualit y. B ut s h e is n ow d ark er, a n d C hris t is in l ig ht. A s w e r e a d V an G ogh ’s

p ain tin g, s ta rtin g f r o m t h e l o w er l e ft c o rn er, w e a re a lm ost im med ia te ly v is ually d ra w n

to C hris t’s b od y. M ary is a b ack gro u n d f ig ure . S h e is im porta n t a n d t r e a te d w ith r e sp ect,

b u t s h e is n ot c e n tr a l t o V an G ogh ’s c o m posit io n.

O ne o f V an G ogh ’s f a vo rit e b ooks w as T he I m it a tion of C hris t b y T hom as à K em pis .

That 1 5 th -c e n tu ry d ev o tio nal g u id e e n co u ra g ed t h e r e a d er t o id en tif y w ith t h e s u ffe rin g

of C hris t. T his is w hat V an G ogh ’s P ie tà a ch ie ves— not o n ly f o r t h e v ie wer, b u t f o r

h im se lf : C hris t’s f a ce in t h e p ain tin g is in f a ct V an G ogh ’s o w n.

A s a R om an C ath olic , D ela cro ix h ad a g re a t r e v ere n ce f o r t h e r o le o f t h e V ir gin M ary a s

sp ir itual in te rc e sso r. A s a P ro te sta n t, V an G ogh b elie ved t h at h e c o u ld h ave d ir ect a cce ss

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to C hris t. W hile t h e t w o p ain tin gs d ep ic t t h e s a m e m otif a n d a re v ery s im ilar, t h ey

v is ualiz e v ery d if fe re n t t h eo lo gic a l a p pro ach es t o t h eir s u bje ct.

T he G ood S a m arit a n

In this painting, the good Samaritan character from a parable told by Christ is helping a

hurt man down from a horse. The hurt man leans heavily on the Samaritan and has his

arm wrapped around the Samaritan’s neck. The horse stands patiently to the right of the

two men, looking slightly toward them. The Samaritan is leaning back under the weight of

the hurt man. Behind the men and to the left of them there is a road winding through a

field and out of sight over a low hill. Two other vague human figures walk along the road

away from the men, one near the men and the other in the distance. There is also an open

and empty chest on the ground to the left of the men. The lighting in this painting is very

light.

The Good Samaritan (after Delacroix) by Vincent van Gogh. Oil on canvas, 1890. 2′ 4.75″

× 1′ 11.5″.

Click to enlarge

Album/Art Resource, NY

In h is v ers io n o f T he G ood S a m arit a n , V an G ogh a g ain m irro re d t h e o rig in al

co m posit io n, r e v ers in g t h e d ir ectio n o f t h e a ctio n ( a n d t h ere b y t h e id en tit y o f t h e

prin cip al a cto r). I n h is p ain tin g, D ela cro ix e m plo ys c o m posit io n t o v is ualiz e w eig ht,

w hic h c a n b e d if fic ult t o m ea su re b y o b se rv a tio n a lo n e. T he w ork f o cu se s o n t h e

tr a n sfe re n ce o f o n e m an ’s w eig ht f r o m a h ors e t o a n oth er m an . A s w e r e a d t h e im ag e

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f r o m l e ft t o r ig ht, w e f o llo w t h e m ovem en t o f o n e m an ( w ho h as b een a tta ck ed b y

ro b bers a n d l e ft f o r d ea d ) f r o m a h ors e t o t h e a rm s o f a n oth er m an ( th e g o od S am arit an

w ho h as c o m e t o h is r e sc u e). N ote h ow t h e S am arit an ’s l e g s a re p osit io ned t o r e ce iv e t h e

w eig ht.

T hro u gh ou t h is oeu vre , D ela cro ix d ep ic te d f ig ure s in p ose s s u ggestin g p h ysic al s tr a in ,

inclu din g m an y t h at s h ow f ig ure s w re stlin g o r f ig htin g. I f w e d id n’t h ave a t it le o r k n ow

th e s to ry s h ow n in The G ood S a m arit a n , w e m ight w on der if t h e t w o m en w ere e n gag ed

in s o m e s o rt o f s tr u ggle .

In this painting, the good Samaritan character from a parable told by Christ is helping a

hurt man down from a horse. The hurt man leans heavily on the Samaritan and has his

arm wrapped around the Samaritan’s neck. The horse stands patiently to the left of the

two men, looking slightly toward them. The Samaritan is leaning back under the weight of

the hurt man. Behind the men and to the right of them there is a road winding through a

field and out of sight over a low hill. Two other vague human figures walk along the road

away from the men, one near the men and the other in the distance. There is also an open

and empty chest on the ground to the right of the men. The lighting in this version of the

scene is dark and shadowy.

The Good Samaritan by Eugène Delacroix. Oil on canvas, 1849. 1′ 2.5″ × 11.75″.

Click to enlarge

Wikimedia

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Van G ogh t r a n sfo rm ed D ela cro ix ’s m otif f r o m o n e o f u n ders ta te d s tr u ggle t o o n e o f

co m passio n. I n V an G ogh ’s c o m posit io n, t h e S am arit an is a s u rro gate f o r t h e a rtis t; a s

w ith t h e C hris t f ig ure in P ie tà , V an G ogh h as g iv en t h e m an h is o w n f a ce . T he S am arit an

is n ow a n a ctiv e r e sc u er, p u llin g t h e w ou n ded m an f r o m t h e h ors e r a th er t h an s im ply

r e ce iv in g h is w eig ht.

V an G ogh a ls o a d ded t w o m en w alk in g a w ay in t h e b ack gro u n d w ho a re n ot p re se n t in

D ela cro ix ’s p ain tin g. W e c a n id en tif y t h ese f ig ure s f r o m t h e p ara b le o f t h e g o od

S am arit an a s r e lig io us l e a d ers w ho w alk ed b y t h e w ou n ded m an w ithou t h elp in g h im .

The p oin t is c le a r: C om passio n m ust b e a ctiv e t o b e r e a l. T o V an G ogh , D ela cro ix ’s

f ig ure o f t h e S am arit an a s a r e ce iv er m ay n ot h ave b een s u ffic ie ntly p ro activ e.

V in ce n t v a n G ogh ’s r e in te rp re ta tio n o f w ork s b y E ugèn e D ela cro ix a n d J ea n -F ra n ço is

M ille t s e rv e a s u se fu l e x am ple s o f t h e w ays c o m posit io nal s tr u ctu re a n d c o lo r c a n

su ggest c e rta in r e a d in gs o f a m otif . I n a rt, r e co gn iz in g w ha t th e a rt d ep ic ts ( th e s u bje ct)

is o n ly h alf o f w hat w e n eed t o u n ders ta n d t h e w ork . W e m ust a ls o l o ok a t h ow t h e

su bje ct is d ep ic te d ( th e v is ual l a n gu ag e) t o r e a d t h e w ork ’s m ea n in g.

SH O RT-A N SW ER Q UES TIO N

G ive o ne e xa m ple o f h o w V an G ogh’s use o f c o lo r su ggest s a n ew r e ad in g o f P ie tà

S H O RT-A N SW ER Q UES TIO N

G ive o ne e xa m ple o f h o w V an G ogh’s re ve rsa l o f t h e im ag e in T he G ood S am arit a n c h an g es

h o w w e r e ad t h e p ain tin g .

N o r e sp onse sa ved ye t.

N o r e sp onse sa ved ye t.

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RES PO NSE B O AR D

L ist so me c h ara cte rist ic s of V an G og h’s st yle o r vi su al la n g uag e.

1 I t is l ik ely t h at V an G ogh m ad e h is p ain tin g u sin g a p rin t o f D ela cro ix ’s o rig in al f o r

re fe re n ce . B efo re t h e w id esp re a d u se o f p h oto gra p h y, p rin ts w ere o n e w ay t o r e p ro d u ce

a n im ag e, b u t t h e p rin tm ak in g p ro ce ss w ou ld r e su lt in a r e v ers a l o f t h e c o m posit io n.

K now in g t h is , V an G ogh c o u ld h ave u se d a m irro r t o c o rre ct t h is r e v ers a l; in ste a d , h e

em bra ce d t h is n ew o rie nta tio n a s h is o w n.

clo se

N o r e sp onse sa ved ye t.

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