Van Gogh and the sunflower that never fades

Jeffery 2022-04-10 09:01:09

Van Gogh is such a man, he believes in God, but God seems to be unable to give him everything he wants, because he only wants to paint, but God is not a painter. His life was poor, and his life was unlovable. No matter whether he was a priest or a painter, the world did not deserve his purity. The film begins with the pastor. He witnessed the mine disaster and began to doubt God. When he came into contact with these people at the bottom, he fell in love with them deeply because of their authenticity. Van Gogh is a man who paints with heart. His pure emotion is only because he desires pure life. He interprets and records life in his own way. However, life does not pity him at all. Throughout the entire film, Van Gogh never tainted his paintings with a touch of kitsch because of his survival. He was not saving art, he was just loyal to his own soul.

Van Gogh's "Sunflowers" is full of enthusiasm and tension of life. This painting was made for Gauguin. He captured the color of light and the flow of wind in the field, which made Van Gogh's sunflowers full of indestructible beauty. The accumulation of pigments gives this painting a unique visual effect, which is a desire for life and a thirst for destiny. Van Gogh painted a "Starry Night" when he was being treated in a mental hospital in the village of Saint-Rémy, 25 kilometers away from Arles. The continuous beauty, the strangeness and tranquility of the night sky, sometimes silent, sometimes budding, the color of the whole painting is not bright, the whole sky is full of evil, but the world is peaceful, perhaps, this is Van Gogh doubting God.

Some people say that Van Gogh is lucky, and his luck lies in the fact that he only had thirty-seven years of life. During these thirty-seven years, he expanded the breadth of his life infinitely. However, who knows that at the end of his life The loneliness with nowhere to vent is his cancer. The English name of the movie is "Lust for Life", "The Desire of Life", no one is not greedy for prosperity and beauty, so no one is willing to repeat Van Gogh's life, the love that was rejected, the body wrapped in hunger, the The frustration of not being able to sell a painting, the sadness of relying on others to survive, the behavior of being maliciously criticized and ridiculed, the madness that is close to collapse...just because he is Van Gogh.

After the age of twenty-eight, his life can be said to be ups and downs. In the last ten years, he created a large number of dazzling and vibrant paintings. Ten years of loneliness has resulted in madness to death. Those reflections that radiate a little hope in the bleak sky, those irises blooming in lush gardens, those crows under the stormy sky, those endless golden wheat fields have all appeared in his paintings. What flows out of his brush is the desire for life, and then this desire has become his fatal wound.

It is not so much that he betrayed his family, it is better that his family betrayed him. Maybe there is no so-called betrayal. It was Van Gogh's own choice. It takes courage to break away from ease, and Van Gogh's courage is the paintbrush in his hand. Like many artists, they lived in poverty all their lives, but left a brilliant artistic frame for future generations. The person Van Gogh kept in touch with throughout his life was his brother Theo, an art dealer who provided Van Gogh with emotional, inspirational and financial help. In the film, Vincent Minnay uses his own lens to tell Theo's love and troubles for his poor and strict brother, and how Van Gogh was afraid of losing his brother's love. Van Gogh is lucky in the end, he has a brother who loves him all his life, but that love, he can't bear and repay in this life, when he is about to die, he still thinks about how to repay his brother, it's just that anger Ruoyousi's powerlessness can only make people melancholy alone.

Van Gogh's repression, eccentricity, paranoia, and madness are the black scars in his life that can only be erased by death. When looking for his own career direction, he wrote "I know very well, I want to paint", just as he wrote "I can talk to enthusiasm because I have found my voice."

Many scenes in the film are gorgeous , Just like the paintings in the hands of Van Gogh, those gorgeous scenes are fascinating. When you see Van Gogh's easel and brushes, this beauty gradually turns into sadness, because everyone knows that Van Gogh will die in this splendid landscape. middle.

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Extended Reading
  • Linwood 2022-04-14 09:01:07

    The male lead plays Van Gogh's vigor, nervousness, pain, loneliness, unlucky, paranoid and eccentric, but compassionate, loving life, and kind-hearted

  • Morton 2022-04-12 09:01:10

    Dear Theo, savage Gauguin. When living together, Gauguin always refused to show Van Gogh his new works in the previous period because... the crew did not get the copyright of those paintings!

Lust for Life quotes

  • Vincent Van Gogh: What is it that came between father and me? Why couldn't I have shown him a little more consideration, given him some pleasure while he was alive? It wouldn't have hurt me to come to his church once in awhile.

    Theo Van Gogh: We always assume there's time, and that we can give love on our own terms. Then one day we wake up and find that it's too late to give it on any terms.

  • Vincent Van Gogh: [In letter] Dear Theo, Thank you for the money, and the paints and canvas. With your help I go forward. I feel the force to work growing daily within me. Do you realize Theo that what I'm doing is new. In the paintings of the old masters, did you ever see a single man or woman at work? Did they ever try to paint a laborer or a man digging? They didn't, and for good reason: because work is so hard to draw... To paint these people means to be with them in the fields day after day, and by their firesides at night. Since the rains came I've become absorbed in the weavers. They make such good subjects; the old oak wood darkened by the sweat of hands, and the shadow of the looms on the gray mud walls. All these months I've been trying to find a pattern; trying not so much to draw hands as gestures, not so much faces as the expressions of people - men and women who know the meaning of toil. I want to make clear that these people - sitting round a meal of potatoes in the evening - have turned the soil with the very hands they put in the dish, that they have honestly earned their food. I want to paint something that smells of bacon, smoke, and steam; something that's the good dark color of our Dutch earth.