Vincent Van Gogh Analysis

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Vincent Van Gogh is one of the most renown artists of the late nineteenth century. Decades after his death, his portraits, landscapes, and scenes of everyday life are marveled at in museums across the globe. Most recently, from Winter ’16 – Spring ’16 The Art Institute of Chicago curated an exhibition titled Van Gogh’s Bedrooms, revolving around the artist’s series of paintings of his bedroom in Arles. The fame however came after the Van Gogh’s death, and he experienced a drought in buyers for his paintings during his life time. Pieces of work such as The Starry Night, Bedroom in Arles, or Van Gogh Seld-Portrait are some of the most universalized and popularized paintings from Vincent Van Gogh himself as well as the Post-Impressionist period. However, many of his other pieces exemplify his unique approach towards art as well as Post-Impressionist and Neo-Impressionism.
Chicago’s Art Institute has many of Van Gogh’s works and one of the lesser known works of his currently on display is Madame Roulin Rocking the Cradle. The portraits he composed were often times people he personally and even friends. When looking through Vincent’s paintings in chronological order, a narrative of
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“La Berceuse” is a French world with multiple meanings: lullaby, rocking chair, a woman who rocks an infant, and cradle that rocks. Madame Roulin was a mother of three so the title reflects her actual role as a mother. Between the hands of Madame Roulin’s hands is a rope that is connected to a cradle hidden outside of the picture frame. As you follow the figures gaze, she is deemed to be looking at the cradle in which her infant is in, slowly rocking it into a calm slumber. The term also symbolizes a strong sense of nurture and familial support; a universal theme any viewer can relate to conspired by Vincent Van Gogh’s intention of providing consolation for the

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