All Courses
Explore Courses UPSC Exam UPSC Test Series Free Notes EduRev Infinity Get the App Login Join for Free
Sign in Open App
CAT Exam  >  CAT Questions  >  Van Gogh drew and painted with watercolors wh... Start Learning for Free
Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil & Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Gogh's work did not prove equal to his uncle's expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointed with the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in “Black and White”, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.
When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, “I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.”
The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which was bright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorov's statistical model of turbulence.
 
Q. In the context of the passage, which of the following statements is not true about Van Gogh?
  • a)
    Van Gogh relied on reality.
  • b)
    His work that was criticized during his life, is appreciated today.
  • c)
    His most ambitious effort was The Decoration for the Yellow House.
  • d)
    He cut off his own ear.
Correct answer is option 'D'. Can you explain this answer?
Clear all your CAT doubts with EduRev
Verified Answer
Van Gogh drew and painted with watercolors while at school; few of the...
Although it is a widely known fact that Van Gogh cut his own ear off, it hasn’t been mentioned in the passage. Therefore, it is not true based on the passage.
Option 1 can be eliminated as the passage states, “The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality”.
Option 2 can be eliminated as the passage states, “For more than a year he worked on single figures- highly elaborated studies in "Black and White", which at the time gained him only criticism. Today, they are recognized as his first masterpieces”.
Option 3 can be eliminated as the passage states, “he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook”. Hence, the correct answer is option 4.
View all questions of this test
Most Upvoted Answer
Van Gogh drew and painted with watercolors while at school; few of the...

Incorrect statement regarding Van Gogh:

Van Gogh did not cut off his own ear. This is a common misconception about the artist. In reality, Van Gogh is believed to have cut off a part of his left earlobe during a heated argument with fellow artist Paul Gauguin. This incident occurred in December 1888, and Van Gogh later wrapped the severed ear in newspaper and delivered it to a woman at a brothel. The exact circumstances and reasons for this act remain somewhat mysterious, but it is clear that self-mutilation was not a deliberate action on Van Gogh's part.
Explore Courses for CAT exam

Similar CAT Doubts

Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.Which of the following paintings was destroyed at the hands of Van Gogh?

Directions for Questions: Read the following passage and answer the questions that follow it.PASSAGESome artists go out in a blaze of glory. Pierre-Auguste Renoir went out in a blaze of kitsch. At least, thats the received opinion about the work of his final decades: all those pillowy nudes, sunning their abundant selves in dappled glades; all those peachy girls, strumming guitars and idling in bourgeois parlors; all that pink. In the long twilight of his career, the old man found his way to a kissable classicism that modern eyes can find awfully hard to take.All the same, the Renoir of this period-the three very productive decades before his death in 1919 at the age of 78 fascinated some of the chief figures of modernism. Picasso was on board; his thick-limbed neoclassical women from the 1920 are indebted to Renoir.So was Matisse, who had one eye on Renoirs Orientalist dress-up fantasies like the Concert, with its flattened space and overall patterning, when he produced his odalisques. Given that so much of late Renoir seems saccharine and semi comical to us, is it still possible to see what made it modern to them?Yes and no. To understand the Renoir in the 20th Century you have to remember that before he became a semi classicist, he was a consummate Impressionist. You need to picture him in 1874, 33 years old, painting side by side with Monet in Argenteuil, teasing out the new possibilities of sketchy brushwork to capture fleeting light as it fell across people and things in an indisputably modern world.But in the decade that followed, Renoir became one of the movements first apostates. Impressionism affected many people in the 19th century in much the way the internet does now. It both charmed and unnerved them. It brought to painting a novel immediacy, but it also gave back a world that felt weightless and unstable. What we now call post Impressionism was the inevitable by-product of that anxiety. Artists like Seurat and Gauguin searched for an art that owed nothing to the stale models of academicism but possessed the substance and authority that Impressionism had let fall away.For Renoir, a turning point came during his honeymoon to Rome and Naples in 1881. Face to face with the firm outlines of Raphael and the musculature of Michelangelo, he lost faith in his flickering sunbeams. He returned to France determined to find his way to lucid, distinct forms in an art that reached for the eternal, not the momentary. By the later years of that decade, Renoir had lost his taste for the modern world anyway. As for modern women, in 1888 he could write, "I consider that women who are authors, lawyers and politicians are monsters". ("The woman who is an artist," he added graciously, "is merely ridiculous.") Ah, but the woman who is a goddess-or at least harks back to one that is different matter. It would be Renoirs aim to reconfigure the female nude in a way that would convey the spirit of the classical world without classical trappings. Set in "timeless" outdoor settings, thesewomen by their weight and scale and serenity alone-along with their often recognizably classical poses would point back to antiquity.For a time, Renoir worked with figures so strongly outlined that they could have been put down by Ingres with a jackhammer. By 1892, he had drifted back toward a fluctuating impressionist brushstroke. Firmly contoured or flickering, his softly scalped women are as full-bodied as Doric columns. This was one of the qualities that caught Picassos eye, especially after his first trip to Italy, in 1917.He would assimilate Renoir along-side his own sources in Iberian sculpture and elsewhere to come up with a frankly more powerful, even haunting, amalgam of the antique and the modern in paintings like Woman in a White Hat.Renoir was most valuable as a stepping-stone for artists making more potent use of the ideas he was developing. The heart of the problem is the challenge. Renoir set for himself: to reconcile classical and Renaissance models with the 18th century French painters he loved. To synthesize the force and clarity of classicism with the intimacy and charm of the Rococo is a nearly impossible trick. How do you cross the power of Phidias with the delicacy of Fragonard? The answer: at your own risk-especially the risk of admitting into your work the weaknesses of the Rococo. Its fine line between charming and insipid, and 18th century French painters crossed it all the time. So did Renoir.(2016)Q.All of the following are true in light of the passage EXCEPT.

Directions: Analyse the following passage and provide appropriate answers "Whatever actions are done by an individual in different embodiments, [s]he reaps the fruit of those actions in those very bodies or embodiments (in future existences)".A belief in karma entails, among other things, a focus on long run consequences, i.e., a long term orientation. Such an orientation implies that people who believe in karma may be more honest with themselves in general and in setting expectations in particular-a hypothesis we examine here. This research is based on three simple premises. First, because lower expectations often lead to greater satisfaction, individuals in general, and especially those who are sensitive to the gap between performance and expectations, have the incentive to and actually do “strategically” lower their expectations. Second, individuals with a long term orientation are likely to be less inclined to lower expectations in the hope of temporarily feeling better. Third, long term orientation and the tendency to lower expectations are at least partially driven by cultural factors. In India, belief in karma, with its emphasis on a longer term orientation, will therefore to some extent counter-act the tendency to lower expectations. The empirical results support our logic; those who believe more strongly in karma are less influenced by disconfirmation sensitivity and therefore have higher expectations.Consumers make choices based on expectations of how alternative options will perform (i.e., expected utility). Expectations about the quality of a product also play a central role in subsequent satisfaction. These expectations may be based on a number of factors including the quality of a typical brand in a category, advertised quality, and disconfirmation sensitivity. Recent evidence suggests that consumers, who are more disconfirmation sensitive (i.e.,consumers who are more satisfied when products perform better than expected or more dissatisfied when products perform worse than expecte d) have lower expectations. However, there is little research concerning the role of culture-specific variables in expectation formation, particularly how they relate to the impact of disconfirmation Sensitivity on consumerRead the following statements carefully:1. Temporary feelings and law of karma are independent2. As per theory of karma, temporary feelings would not lower the expectation.3. Temporary feelings and law of karma are contradictory.Q. Which of the following combination of statements is consistent with the second premise?

Directions for Questions Analyse the following passage and provide appropriate answers "Whatever actions are done by an individual in different embodiments, [s]he reaps the fruit of those actions in those very bodies or embodiments (in future existences)". A belief in karma entails, among other things, a focus on long run consequences, i.e., a long term orientation. Such an orientation implies that people who believe in karma may be more honest with themselves in general and in setting expectations in particular-a hypothesis we examine here. This research is based on three simple premises. First, because lower expectations often lead to greater satisfaction, individuals in general, and especially those who are sensitive to the gap between performance and expectations, have the incentive to and actually do strategically lower their expectations. Second, individuals with a long term orientation are likely to be less inclined to lower expectations in the hope of temporarily feeling better. Third, long term orientation and the tendency to lower expectations are at least partially driven by cultural factors. In India, belief in karma, with its emphasis on a longer term orientation, will therefore to some extent counteract the tendency to lower expectations. The empirical results support our logic; those who believe more strongly in karma are less influenced by disconfirmation sensitivity and therefore have higher expectations. Consumers make choices based on expectations of how alternative options will perform (i.e., expected utility). Expectations about the quality of a product also play a central role in subsequent satisfaction. These expectations may be based on a number of factors including the quality of a typical brand in a category, advertised quality, and disconfirmation sensitivity. Recent evidence suggests that consumers, who are more disconfirmation sensitive (i.e.,consumers who are more satisfied when products perform better than expected or more dissatisfied when products perform worse than expecte d) have lower expectations. However, there is little research concerning the role of culture specific variables in expectation formation, particularly how they relate to the impact of disconfirmation Sensitivity on consumer Read the following statements carefully:1. Temporary feelings and law of karma are independent2. As per theory of karma, temporary feelings would not lower the expectation.3. Temporary feelings and law of karma are contradictory.Which of the following combinations of statements is consistent with the second premise?

Directions: Analyse the following passage and provide appropriate answers "Whatever actions are done by an individual in different embodiments, [s]he reaps the fruit of those actions in those very bodies or embodiments (in future existences)".A belief in karma entails, among other things, a focus on long run consequences, i.e., a long term orientation. Such an orientation implies that people who believe in karma may be more honest with themselves in general and in setting expectations in particular-a hypothesis we examine here. This research is based on three simple premises. First, because lower expectations often lead to greater satisfaction, individuals in general, and especially those who are sensitive to the gap between performance and expectations, have the incentive to and actually do “strategically” lower their expectations. Second, individuals with a long term orientation are likely to be less inclined to lower expectations in the hope of temporarily feeling better. Third, long term orientation and the tendency to lower expectations are at least partially driven by cultural factors. In India, belief in karma, with its emphasis on a longer term orientation, will therefore to some extent counter-act the tendency to lower expectations. The empirical results support our logic; those who believe more strongly in karma are less influenced by disconfirmation sensitivity and therefore have higher expectations.Consumers make choices based on expectations of how alternative options will perform (i.e., expected utility). Expectations about the quality of a product also play a central role in subsequent satisfaction. These expectations may be based on a number of factors including the quality of a typical brand in a category, advertised quality, and disconfirmation sensitivity. Recent evidence suggests that consumers, who are more disconfirmation sensitive (i.e.,consumers who are more satisfied when products perform better than expected or more dissatisfied when products perform worse than expecte d) have lower expectations. However, there is little research concerning the role of culture-specific variables in expectation formation, particularly how they relate to the impact of disconfirmation Sensitivity on consumerQ. Which of the following statements, if true, would contradict the first of the three premises mentioned in the first paragraph?

Top Courses for CATView all

Top Courses for CAT

Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.In the context of the passage, which of the following statements is not true about Van Gogh?a)Van Gogh relied on reality.b)His work that was criticized during his life, is appreciated today.c)His most ambitious effort was The Decoration for the Yellow House.d)He cut off his own ear.Correct answer is option 'D'. Can you explain this answer?
Question Description
Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.In the context of the passage, which of the following statements is not true about Van Gogh?a)Van Gogh relied on reality.b)His work that was criticized during his life, is appreciated today.c)His most ambitious effort was The Decoration for the Yellow House.d)He cut off his own ear.Correct answer is option 'D'. Can you explain this answer? for CAT 2025 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.In the context of the passage, which of the following statements is not true about Van Gogh?a)Van Gogh relied on reality.b)His work that was criticized during his life, is appreciated today.c)His most ambitious effort was The Decoration for the Yellow House.d)He cut off his own ear.Correct answer is option 'D'. Can you explain this answer? covers all topics & solutions for CAT 2025 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.In the context of the passage, which of the following statements is not true about Van Gogh?a)Van Gogh relied on reality.b)His work that was criticized during his life, is appreciated today.c)His most ambitious effort was The Decoration for the Yellow House.d)He cut off his own ear.Correct answer is option 'D'. Can you explain this answer?.
Solutions for Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.In the context of the passage, which of the following statements is not true about Van Gogh?a)Van Gogh relied on reality.b)His work that was criticized during his life, is appreciated today.c)His most ambitious effort was The Decoration for the Yellow House.d)He cut off his own ear.Correct answer is option 'D'. Can you explain this answer? in English & in Hindi are available as part of our courses for CAT. Download more important topics, notes, lectures and mock test series for CAT Exam by signing up for free.
Here you can find the meaning of Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.In the context of the passage, which of the following statements is not true about Van Gogh?a)Van Gogh relied on reality.b)His work that was criticized during his life, is appreciated today.c)His most ambitious effort was The Decoration for the Yellow House.d)He cut off his own ear.Correct answer is option 'D'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.In the context of the passage, which of the following statements is not true about Van Gogh?a)Van Gogh relied on reality.b)His work that was criticized during his life, is appreciated today.c)His most ambitious effort was The Decoration for the Yellow House.d)He cut off his own ear.Correct answer is option 'D'. Can you explain this answer?, a detailed solution for Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.In the context of the passage, which of the following statements is not true about Van Gogh?a)Van Gogh relied on reality.b)His work that was criticized during his life, is appreciated today.c)His most ambitious effort was The Decoration for the Yellow House.d)He cut off his own ear.Correct answer is option 'D'. Can you explain this answer? has been provided alongside types of Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.In the context of the passage, which of the following statements is not true about Van Gogh?a)Van Gogh relied on reality.b)His work that was criticized during his life, is appreciated today.c)His most ambitious effort was The Decoration for the Yellow House.d)He cut off his own ear.Correct answer is option 'D'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do. When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil Cie. Within his first two years he had began to seek commissions. In spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him for drawings of the Hague. Van Goghs work did not prove equal to his uncles expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointedwith the result. Nevertheless, Van Gogh persevered. He improved the lighting of his atelier by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures- highly elaborated studies in Black and White, which at the time gained him only criticism. Today, they are recognized as his first masterpieces. Early in 1883, he undertook work on multi-figure compositions, which he based on the drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, Van Gogh destroyed them and turned to oil painting. By autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.When he moved to Nuenen after the intermezzo in Drenthe, he began a number of large size paintings, but destroyed most. The Potato Eaters and its companion pieces- The Old Tower on the Nuenen cemetery and The Cottage- are the only to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience. So he traveled to Antwerp and later to Paris to learn and develop his skill. More or less acquainted with Impressionist and Neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on the The Decoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings. In the spring of 1889, he painted another smaller group of orchards. In an April letter to Theo, he said, I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.The art historian Albert Boime was the first to show that Van Gogh- even in seemingly phantastical compositions like Starry Night- relied on reality. The White House at Night, shows a house at twilight with a prominent star with a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which wasbright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture. The paintings from the Saint-Remy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorovs statistical model of turbulence.Q.In the context of the passage, which of the following statements is not true about Van Gogh?a)Van Gogh relied on reality.b)His work that was criticized during his life, is appreciated today.c)His most ambitious effort was The Decoration for the Yellow House.d)He cut off his own ear.Correct answer is option 'D'. Can you explain this answer? tests, examples and also practice CAT tests.
Explore Courses for CAT exam

Top Courses for CAT

Explore Courses
SaveJoin the Discussion on the App for FREE
Signup for Free!
Signup to see your scores go up within 7 days! Learn & Practice with 1000+ FREE Notes, Videos & Tests.
10M+ students study on EduRev
Get App
© EduRev
Education Revolution
Signup to see your scores go up within 7 days!
Access 1000+ FREE Docs, Videos and Tests
Takes less than 10 seconds to signup