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Van Gogh's Gardens

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Vincent van Gogh is one of the most popularly admired and critically acclaimed artists of all time — exhibitions of his work draw record crowds and his paintings fetch astronomical prices. Of his hundreds of canvases, landscapes and paintings of gardens and flowers remain the most beloved. From the sweeping wheat fields and gnarled olive branches of Provence to extravagant bouquets and fantastic details of irises and sunflowers, van Gogh captured the breathtaking beauty, expansive color spectrum, and complexity ...

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Riverside, New Jersey, U.S.A. 2001 Hardcover New 0743202333. FLAWLESS COPY, BRAND NEW, PRISTINE, NEVER OPENED 191 pp--clean and crisp, tight and bright pages, with no writing or ... markings to the text.; 4to-over 9?"-12" tall. Read more Show Less

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Overview

Vincent van Gogh is one of the most popularly admired and critically acclaimed artists of all time — exhibitions of his work draw record crowds and his paintings fetch astronomical prices. Of his hundreds of canvases, landscapes and paintings of gardens and flowers remain the most beloved. From the sweeping wheat fields and gnarled olive branches of Provence to extravagant bouquets and fantastic details of irises and sunflowers, van Gogh captured the breathtaking beauty, expansive color spectrum, and complexity of nature at its most compelling.

Using van Gogh's eloquent personal letters and dazzling paintings as his foundation, writer and master photographer Derek Fell brings van Gogh's theories and visions of the garden to life in this lavishly illustrated volume. Fell's own expert photography not only captures the countryside, farmland, cottage gardens, and village parks that van Gogh so passionately loved but also brings to life the horticultural world that the artist dreamed of creating. Complemented by a superb selection of his greatest paintings, Van Gogh's Gardens is a marvelous celebration of nature's brilliance and one man's genius.

Searching out fragments of van Gogh's world still in existence — the sunflower fields he tramped through, the courtyard garden of the hospital where he sought treatment — Fell shows us that the colors and textures of the Impressionists' Provence remain with us today. He also delves deeply into the letters van Gogh wrote and gives us a wonderful discussion of the artist's color theories: Mix geraniums and poppies to create a stunning combination of red, pink, and green, he advised his sister in Holland, or interplant sweet heliotrope and roses to generate a dramatic color harmony between orange and violet.

Fell extrapolates on van Gogh's vision of gardens and plants by going one step further — and the result is a revelation. Rigorously following the advice offered in van Gogh's letters and duplicating the garden motifs he depicted in his paintings, this exceptional gardener has brought the great artist's ideas to vibrant life on his Pennsylvania farm. Van Gogh died in abject poverty, too poor to plant a garden of his own — but Fell's plantings and photographs show us in dazzling glory how brilliant van Gogh's reflections on color and nature really were.

In addition to offering special sections on van Gogh's favorite structures, his bouquets, and the theme gardens he painted, Van Gogh's Gardens includes a fully illustrated, alphabetical listing of the painter's favorite plants — from arum to yucca. Both exquisitely beautiful and eminently useful, this marvelous book offers readers the opportunity to create van Gogh's artistic beauty in their own backyards. With a brilliant mix of paintings, photographs, and text, Van Gogh's Gardens allows us to see this master artist's paintings and theories as inspiration for the most beautiful gardens.

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Editorial Reviews

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A garden enthusiast re-creates the brilliant concepts, vivid colors, and pastoral French landscapes of van Gogh's paintings with this unique book. Author Derek Fell presents photographs of his own gardens -- based on garden designs that appear in van Gogh's work -- alongside the masterpieces that inspired them. Also included are photographs of the French countryside where van Gogh lived and worked, a treat for fans of the artist and gardeners alike. The text that accompanies the gorgeous illustrations is wonderfully informative and engaging, a perfect blend of art and horticulture.
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Product Details

  • ISBN-13: 9780743202336
  • Publisher: Simon & Schuster
  • Publication date: 4/12/2001
  • Pages: 192
  • Product dimensions: 10.34 (w) x 10.33 (h) x 0.74 (d)

Meet the Author

Derek Fell, a photographer and writer, is the author of more than 50 books, with more than 2.5 million copies in print, including The Impressionist Garden, Renoir's Garden, Secrets of Monet's Garden, and Impressionist Bouquets. He is the winner of more awards from the Garden Writers Association of America than any other writer, and for six years he hosted the QVC garden show Step-by-Step Gardening. He was born and educated in England and now lives in Pennsylvania.

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Preface

"I am very busy gardening and have sown a little garden full of poppies, sweet peas, and mignonette. Now we must wait and see what becomes of it."

Letter to Theo, from his London lodgings

(April 1874)

Of all the paintings made by Vincent van Gogh over a career that spanned only ten years, his images of flowers and gardens project his extraordinary energy and unique interpretations of nature. The sunflower series, the irises, the cutting gardens of Provence, his series of floral bouquets while living in Paris, all are images that remain indelible in our minds among his tremendous outpouring of work.

As I researched van Gogh's garden philosophy through his letters and paintings, one passage stood out as an example of the childlike delight he took in exploring gardens. To his brother Theo, he condided his joy: "I have come back from a day at Montmajour....We explored the old garden together and stole some excellent figs. If it had been bigger it would have made me think of Zola's Paradou — green reeds, vines, ivy, fig trees, olives, pomegranates with lusty flowers of the brightest orange, hundred-year-old cypresses, ash trees and willows, rock oaks, halfbroken flights of steps, ogive windows in ruins, blocks of white rocks covered in lichen, and scattered fragments of crumbling walls here and there among the green."

When van Gogh closed the final chapter of his life, he left not only a legacy of incredible paintings but also hundreds of pages of letters that offer insights into his art, as no other artist has done before or since. His observations of nature, his theories about color harmonies, and his choice of garden motifs allow us to understand clearly what impressed and inspired him about cultivated spaces. On a more practical note, these letters — often written deliberately to teach and instruct — can help us become better gardeners. Indeed, knowing what this great artist liked about plants and gardens has helped me create a series of twenty unusual theme gardens at my own home, Cedaridge Farm, in rural Pennsylvania. I am happy to share some of the lessons learned from Vincent van Gogh, and to show how my wife and I have made our property infinitely more beautiful from the experience.

Presented throughout this book are specific planting ideas and garden designs inspired by van Gogh's art — not only designs based on his favorite color harmonies, many accomplished in small areas, but also complete garden spaces, such as vegetable gardens, cutting gardens, shade gardens, and skyline effects using the trees and shrubs he painted. I've included tips concerning specific plants that van Gogh admired — for example, how to delay the wilting of sunflowers, which he found frustrating; how to grow lavender to perfection; and how to time the seeding of poppies so they provide a succession of color from early spring through autumn.

I hope that, after seeing the evocative paintings, evaluating the hundred or so specific gardening ideas he expressed a special fondness for, and seeing these ideas interpreted in a modern context, other home gardeners will be inspired to create beautiful, uplifting, spiritual spaces.

Copyright © 2001 by Derek Fell

From Color Harmonies

It is now more than one hundred years since Vincent van Gogh ended his life, and considering the circumstances of his death, his art could easily have died with him. That it did not is all the more remarkable because Theo soon followed his brother to the grave, tormented by a delirium symptomatic of his brother's mental condition. Sadly, Vincent's younger sister Wil also fell victim to mental illness, ending her days in a mental institution. The widowed Johanna, with no means of support in Paris, returned to her native Holland with her child, Vincent, and struggled to establish an income running a boardinghouse.

There has been much speculation about why van Gogh killed himself No doubt the suicide was in large part the act of a man in the grip of mental Illness one disillusioned and disappointed by his failure as an artist. But his motive undoubtedly includes other elements. We know from his letters that he considered himself a financial burden on his brother. Theo's limited resources were stretched further with the birth of his son, whose fragile health demanded significant medical attention. Van Gogh's concern for the child-and his suspicion that Theo's support for his painting career deprived the boy of needed care — may have preyed on his deeply depressed mind and contributed to his decision to end his life. In any event, his death from a self-inflicted gunshot wound was devastating to Theo and his family.

Following the death of Theo, his widow, Johanna, inherited her brother-in-law's vast quantity of sketches, letters, and paintings. In her spare time over the years, she promoted, cataloged, and exhibited his work, and through her tenacity and diligence, they began to earn recognition as great works of art. When she passed away in 1927, her son, Vincent (van Gogh's godson), took up the cause of promoting international acclaim for his uncle's art. Now, long after van Gogh's technique has ceased to be ridiculed, exhibitions of his work — and payment for his paintings at auction — continue to set world records.

Amazingly, a large number of the gardens and landscapes that van Gogh depicted survive to the present day, and it is possible to visit the sites: the colorful courtyard garden he painted in the Arles hospital; the Garden of the Poets in Arles; the sinister asylum garden at Saint-Rémy; Dr. Gachet's garden, where he painted the doctor's daughter; Daubigny's garden, with its colorful island beds; the sparkling wildflower meadows, lavender fields, and olive orchards of Provence-, the vast wheat fields of Auvers;; the writhing black Jumpers against the rocky limestone slopes of the Alpilles Mountains; the quaint thatched cottages and gardens of Saintes Maries-de-la-Mer; the sparkling apple, plum, and peach orchards of Montmajour. To see them in real life is crucial in order to understand van Gogh's appreciation of particular landscapes and gardens.

When we analyze van Gogh's art, the dominant appeal is his application of color, particularly its vibrancy and vitality. When we view his work, we can sense the physical world with intensity — the warmth of the sun, the cold of a snowscape, the chill of a wind-whipped sea, the blustery blasts of the mistral wind, the perfumed gaiety of a sun-drenched cutting garden, the quiet eeriness of a woodland garden, the soft wonder of a night sky. Commenting on a canvas of his olive trees, van Gogh wrote that it would "give the sense of the country and smell of the soil."

The vibrancy of his art comes not only from the tonal values he chose but, more important, from the color combinations he created. Often these arc pairs like orange and violet, even black and white, but often they are triad harmonics like blue, pink, and white or yellow, black, and orange. In a letter to Theo in the summer of 1888, he explained the intensity of his studies of color: "I am always in hope of making a discovery there, to express the love of two lovers by a wedding of two complementary colors, their mingling and their opposition, the mysterious vibrations of kindred tones."

Discussing his reasons for moving to the South of France, he wrote emphatically to an artist friend: "From Arles onwards you arc bound to find beautiful contrasts of red and green, of blue and orange, of sulphur and lilac." These arc the same color combinations he told Wilhelmien to try in her garden, using flowers to paint the landscape.

Whenever he saw a particularly beautiful color combination in the Provençal landscape, he dashed off a detailed description to Theo. As he explored Arles, he reported: "Everywhere and all over the vault of heaven is a marvelous blue, and the sun sheds a radiance of pure sulphur, and it is soft and as lovely as the combination of heavenly blue and yellows as a van der Meer of Delft. I cannot paint it as beautiful as that, but it absorbs me so much that I let myself go, never thinking of a single rule."

The Color Wheel

Though van Gogh ignored rules, seeking his best color combinations in nature, and especially in the gardens he visited, he was well aware of the scientific basis of color relationships. The first color wheel had been published in 1839, showing the scientific relationship between colors. Before then, the British physicist Sir Isaac Newton had identified the colors of sunlight by shining light through a glass prism. The prism split the sun's rays into the six main colors evident whenever we see a rainbow — red, yellow, orange, green, blue, and violet.

However, it was not until Michel-Eugène Chevreul, a chemist working for the Gobelins dye works in Paris, published the first chromatic wheel that van Gogh could clearly understand the laws of colors and see how all colors arc linked and derived from the three primaries — red, yellow, and blue. The other colors of the rainbow — green, orange, and violet — are produced by an overlapping or mixing of the primaries — yellow and red to produce orange; blue and yellow to produce green; and blue and red to produce violet. Chevreul divided his wheel into "hot colors" (those that arc assertive, like orange, red, and yellow) and "cool colors" (those that tend to recede, like blue, green, and purple). He explained that colors opposite each other on the wheel (for example, yellow and violet) make the best contrasts, and that placing two separate colors close to each other or entwined (as in the threads of a fabric) produces the same effect as mixing the colors. Van Gogh was so captivated with Chevreul's concept of entwining that he kept balls of complementary colored wool in a lacquered box.

In his writings Chevreul even suggested ways of applying his laws of colors to the garden, and subsequently two French garden writers — J. Decaisne and C. Naudin — elaborated on Chevreul's thesis in their book Manuel de l'amateur de jardin. In particular, they explained the important role of white in a landscape, especially its ability to enliven any color it is placed next to. White has the added benefit, they remarked, of improving poor combinations of colors, such as red and blue or purple and violet.

Van Gogh endorsed this concept in a letter to an artist friend from Arles. "Take The Sower," he wrote. "The picture is divided in half; one half, the upper part, is yellow; the lower part is violet. Well, the white trousers allow the eye to rest and distract it at the moment when the excessive simultaneous contrast of yellow and violet would irritate it."

It was not only familiarity with Chevreul's laws of colors that sharpened van Gogh's response to color but also his own astute observations of the natural or cultivated landscape — especially from viewing gardens and through painting still life arrangements using both cultivated and wayside plants. These revealed to him the best color harmonies and color contrasts. Sometimes the color combinations he discovered on his walks had a dramatic impact . t on his sensitivity. The red and green combinationtion, for example, reminded him of "the terrible passions of humanity."

Van Gogh identified pairs of colors with particular seasons of the year: yellow and green represented spring, orange and violet were summery, red and orange meant autumn, and black and white emulated the starkness of winter. Black and white was perhaps the most intriguing color harmony of all. In his mind black could be maroonlike the flowers of "black" scabiosa — or it could be dark brown, bottle green, or deep purple; moreover, white, could be silvery white, like the dried seed cases of the money plant, or a greenish white, like the hooded spathes of arums. Whenever van Gogh found an interesting new color grouping during his walks, he would write about it enthusiastically.

His quest to find stimulating color groupings was never expressed more dramatically than in a letter to Wilhelmlen: "The more ugly, old, vicious, ill, poor I get, the more I want to take my revenge by producing a brilliant color, well arranged, resplendent. Jewelers, too, get old and ugly before they learn how to arrange precious stones well. And arranging the colors in a picture in order to make them vibrate and to enhance their value by contrasts is something like arranging jewels properly-or designing costumes."

Or planting a garden, he might have added, for in another letter he declared: "Sometimes by erring one finds the right road. Go make up for it by painting your garden just as it is."

Significantly, it was the great British plantswoman Gertrude Jekyll who took the fundamentals of van Gogh's color theories (and those of other painters of the Impressionist era) and used them for even more elaborate effects. A painter herself before failing eyesight caused her to stop, she experimented at her home, Munstead Wood, with color harmonics she discovered in Impressionist paintings. She recognized that separate color theme areas could also be connected for subtle sensuous effects. such as a cool color garden adjacent to a predominantly yellow and orange garden. "To pass from the cool quiet colourings of lavender and pink into the golden garden is like stepping into sunshine," she wrote.

Following are the most familiar color combinations seen in van Gogh's paintings and referred to in his letters, beginning with the most popular.

Yellow and Blue

Although orange and blue are opposites on the color wheel and make the most powerful contrast when placed together, yellow and blue offer a similarly pleasing contrast, and in van Gogh's letters it is the contrast of blue and yellow that he referred to repeatedly when describing paintings and gardens. Writing to a young artist friend, Emile Bernard, shortly after his move to Arles, he observed: "The town is surrounded by immense meadows all in bloom with countless buttercups — a sea of yellowin the foreground these meadows arc divided by a ditch full of blue irises."

In a letter to Theo written in the summer of 1888, he eagerly anticipated autumn because "when the leaves start to fall...when all the foliage is yellow, it will be amazing against the blue."

Van Gogh's most famous yellow and blue partnership is found in his painting of violet blue irises against a citron yellow background, Vase with Irises Against a Yellow Background (1889). But yellow and blue is a, repetitive theme in many other landscape paintings, notably View of Arles with Irises in the Foreground (1889), Daubigny's Garden (1890), and Undergrowth with Two Figures (1890).

Whenever I plant yellow flowers, I try to partner them with blue, and vice versa. Some particularly striking plant partnerships include yellow daffodils surrounded by blue forget-me-nots; blue salvias against a background of yellow perennial foxgloves; and blue veronicas in company with yellow rudbeckia daisies. My personal favorite blue and yellow partnership is fragrant yellow azalea 'Mollis' underplanted with Spanish or English bluebells.

YELLOW, BLUE, AND ORANGE. Van Gogh extended the coupling of yellow and blue to include orange as a triadic color combination. Indeed, in a dogmatic letter to Theo shortly after arriving in Arles, he stated: "There is no blue without yellow and without orange, and if you put in blue, then you must also put in yellow, and orange, too, mustn't you?"

Within a year of his arrival in Arles, van Gogh's mental state deteriorated and he admitted himself to a nearby institution for the treatment of mental disease the Asylum of Saint-Paul, at Saint-Rémy. There, within the walls of the asylum, was a beautiful garden with towering mature umbrella pines and groves of redbuds girdled with ivy. The predominantly green garden had a calming effect and he quickly painted several impressions, telling Theo:

Here is a new size 30 canvas, once again as commonplace as a chromo in the little shops, which represents the eternal nests of greenery for lovers,

Some thick tree trunks covered in ivy, the ground also covered in ivy and periwinkle, a stone bench and a bush of pale roses in the cold shadow. In the foreground some plants with white calyxes, it is green, violet, and pink.

Since I have been here, the deserted garden planted with large pines beneath which the grass grows tall and unkempt, and mixed with various weeds, has sufficed for my work....However, the countryside around Saint-Rémy is very beautiful, and I will probably widen my field of endeavor.

During his stay in Saint-Rémy, on a walk around the walls of the asylum, he found the garden of a farmer's wife, mostly blue irises and yellow and orange calendulas planted in reddish, flinty soil. They are the principal components of his famous blue, yellow, and orange painting, Irises (1889).

Copyright © 2001 by Derek Fell

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Interviews & Essays

Exclusive Author Essay

Among great early Impressionist painters, Monet, Renoir, and Cézanne all tended gardens that still survive and are thronged with tourists -- Monet's at Giverny, north of Paris; Renoir's at Cagnes-sur-Mer, west of Nice; and Cézanne's at Aix-en-Provence, north of Marseille. I have authored books entitled Renoir's Garden and Secrets of Monet's Garden, explaining the gardening philosophy of these great French painters, and both have been published in several languages.

The idea of producing a book about the gardening philosophy of Vincent van Gogh was more challenging because he committed suicide at age 37 and did not settle down to have a home and garden of his own -- though he did grow a garden of cottage annuals on a rental property when he worked as an art dealer in London. He admired people who worked the soil and he was passionate about gardening, writing to his younger brother, Theo: "Do not worry about being eccentric.... There is nothing wrong with a love of gardens, flowers, ivy-girdled trees and pines."

Indeed, van Gogh not only painted a large number of gardens during his productive ten-year period as a struggling artist, he wrote reams about the gardens he painted, explaining the design elements that appealed to him and also identifying color harmonies he liked -- even identifying the plants to use in order to achieve the best color contrasts.

Van Gogh was a keen observer of nature, and many of his garden ideas are annual. For example, he described in great detail his liking for a "tapestry garden," planted in all shades of green and using foliage, texture, and form for its appeal, rather than vibrant color. When he did discover colorful gardens -- such as a cutting garden of annuals attached to a farm in Provence -- he identified specific color combinations that he admired, for example blue and yellow (using blue nigella and yellow marigolds); red and green (using red poppies and red geraniums among vigorous green leaves); even orange and black (using orange nasturtiums and "black" scabiosa).

When painting bouquets of flowers, van Gogh also painted in color harmonies -- using just two or three dominant colors to achieve a startling effect. His series of sunflower arrangements, for example, produces the same orange-and-black color contrasts as his cutting garden scheme (the orange from the sunflower's petals and black from the seed disks). Similarly, in his paintings of irises, he contrasts both blue iris with orange calendulas in a garden setting and a yellow background in a bouquet arrangement, noting the beautiful partnership that blue makes with either yellow or orange.

Van Gogh loved trees and saw in them near-human characteristics -- likening a majestic pine tree with a large broken limb to a once-proud man stricken by a heart attack. He loved woodland gardens, noting how pine needles make an attractive mulch along paths and comparing ivy-girdled trees to his mental affliction -- a burden the tree could bear but was better off without.

Van Gogh’s Gardens not only features garden themes, color harmonies, and garden structures the great artist identified in his letters and art, but also uses his favorite plants -- such as ornamental grasses, orange crown imperials, oxeye daisies, even thistles and spiky yuccas -- to create plantings as bold and energetic as his paintings. (Derek Fell)

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  • Anonymous

    Posted November 19, 2006

    For the Artist in the Gardener and the Gardener in the Artist

    Derek Fell is a fine photographer and a fine writer about things horticultural. In VAN GOGH'S GARDENS he marries these talents and in doing so has produced a unique book that is bound to fascinate lovers of gardens, Van Gogh devotees, art collectors and museum visitors, and just about everyone who delights in understanding the motivations of artists when viewing their subjects. Fell selects particular paintings by Van Gogh then shows the point of inspiration by photographing the areas visited by van Gogh in his lifetime. Yes, there are the ubiquitous sunflowers, comparing the flowers to the canvas versions of them. But there are also the trees that are part of van Gogh's legacy rarely mentioned. His twisted trunks and branches of olive trees side by side with Fell's gorgeous photographs of the particular types of olive trees that inspired the painter create an art course for the astute observer. His lilac bushes/trees that mesmerized the artist are shared as are the many plants the artist interpreted. Balancing fine photography with excellent reproductions of canvases is an art in itself and Derek Fell has created not only a visual splendor but writes with the depth of a horticulturalist's knowledge that makes this beautiful volume all the more seductive. A very fine addition to the literature on van Gogh. Grady Harp

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