painting stary night
One of the first paintings of the view was F611 Mountainous Landscape Behind Saint-Rémy, now in Copenhagen. Van Gogh made a number of sketches for the painting, of which F1547 The Enclosed Wheatfield After a Storm is typical. It is unclear whether the painting was made in his studio or outside. In his June 9 letter describing it, he mentions he had been working outside for a few days.   [L 3]  Van Gogh described the second of the two landscapes he mentions he was working on, in a letter to his sister Wil on 16 June 1889.  [L 4] This is F719 Green Field, now in Prague, and the first painting at the asylum he definitely painted en plein air.  F1548 Wheatfield, Saint-Rémy de Provence, now in New York, is a study for it. Two days later, Vincent wrote Theo that he had painted “a starry sky”.  [L 1]
Art historian Sven Loevgren expands on Schapiro’s approach, again calling The Starry Night a “visionary painting” which “was conceived in a state of great agitation.”  He writes of the “hallucinatory character of the painting and its violently expressive form,” although he takes pains to note that the painting was not executed during one of Van Gogh’s incapacitating breakdowns.  Loevgren compares Van Gogh’s “religiously inclined longing for the beyond” to the poetry of Walt Whitman.  He calls The Starry Night “an infinitely expressive picture which symbolizes the final absorption of the artist by the cosmos” and which “gives a never-to-be-forgotten sensation of standing on the threshold of eternity.”  Loevgren praises Schapiro’s “eloquent interpretation” of the painting as an apocalyptic vision  and advances his own symbolist theory with reference to the eleven stars in one of Joseph’s dreams in the Old Testament book of Genesis.  Loevgren asserts that the pictorial elements of The Starry Night “are visualized in purely symbolic terms” and notes that “the cypress is the tree of death in the Mediterranean countries.” 
Starry Night has risen to the peak of artistic achievements. Although Van Gogh sold only one painting in his whole life, “Starry Night” is an icon of modern art, the Mona Lisa for our time. As Leonardo da Vinci evoked a Renaissance ideal of serenity and self-control, Van Gogh defined how we see our own age – wracked with solitude and uncertainty. Since 1941 Starry Night has been in the permanent collection of the Museum of Modern Art in New York City.
I don’t know anything with certainty, but seeing the stars makes me dream.”
Starry Night is one of the most recognized pieces of art in the world. It is absolutely everywhere, too. It can be seen on coffee, mugs, t-shirts, towels, magnets, etc. Honestly, it sometimes feels as if the painting’s fame has exceeded that of its creator. It is a magnificent piece of art. That Starry Night resonates with so many people is a testament to how its beauty is timeless and universal.
Vincent van Gogh painted Starry Night in 1889 during his stay at the asylum of Saint-Paul-de-Mausole near Saint-Rémy-de-Provence. Van Gogh lived well in the hospital; he was allowed more freedoms than any of the other patients. If attended, he could leave the hospital grounds; he was allowed to paint, read, and withdraw into his own room. He was even given a studio. While he suffered from the occasional relapse into paranoia and fits – officially he had been diagnosed with epileptic fits – it seemed his mental health was recovering.
Unfortunately, he relapsed. He began to suffer hallucination and have thoughts of suicide as he plunged into depression. Accordingly, there was a tonal shift in his work. He returned to incorporating the darker colors from the beginning of his career and Starry Night is a wonderful example of that shift. Blue dominates the painting, blending hills into the sky. The little village lays at the base in the painting in browns, greys, and blues. Even though each building is clearly outlined in black, the yellow and white of the stars and the moon stand out against the sky, drawing the eyes to the sky. They are the big attention grabber of the painting.
The Starry Night, a moderately abstract landscape painting (1889) of an expressive night sky over a small hillside village, one of Dutch artist Vincent van Gogh’s most celebrated works.
The oil-on-canvas painting is dominated by a night sky roiling with chromatic blue swirls, a glowing yellow crescent moon, and stars rendered as radiating orbs. One or two cypress trees, often described as flame-like, tower over the foreground to the left, their dark branches curling and swaying to the movement of the sky that they partly obscure. Amid all this animation, a structured village sits in the distance on the lower right of the canvas. Straight controlled lines make up the small cottages and the slender steeple of a church, which rises as a beacon against rolling blue hills. The glowing yellow squares of the houses suggest the welcoming lights of peaceful homes, creating a calm corner amid the painting’s turbulence.
Van Gogh assigned an emotional language to night and nature that took them far from their actual appearances. Dominated by vivid blues and yellows applied with gestural verve and immediacy, The Starry Night also demonstrates how inseparable van Gogh’s vision was from the new procedures of painting he had devised, in which color and paint describe a world outside the artwork even as they telegraph their own status as, merely, color and paint.
In creating this image of the night sky—dominated by the bright moon at right and Venus at center left—van Gogh heralded modern painting’s new embrace of mood, expression, symbol, and sentiment. Inspired by the view from his window at the Saint-Paul-de-Mausole asylum in Saint-Rémy, in southern France, where the artist spent twelve months in 1889–90 seeking reprieve from his mental illnesses, The Starry Night (made in mid-June) is both an exercise in observation and a clear departure from it. The vision took place at night, yet the painting, among hundreds of artworks van Gogh made that year, was created in several sessions during the day, under entirely different atmospheric conditions. The picturesque village nestled below the hills was based on other views—it could not be seen from his window—and the cypress at left appears much closer than it was. And although certain features of the sky have been reconstructed as observed, the artist altered celestial shapes and added a sense of glow.