starry night van gogh original
вЂњThis morning I saw the countryside from my window a long time before sunrise, with nothing but the morning star, which looked very big,вЂќ wrote van Gogh to his brother Theo, describing his inspiration for one of his best-known paintings, The Starry Night (1889). 3 The window to which he refers was in the Saint-Paul asylum in Saint-RГ©my, in southern France, where he sought respite from his emotional suffering while continuing to make art.
Largely self-taught, van Gogh produced more than 2,000 oil paintings, watercolors, drawings, and sketches, which became in demand only after his death. He also wrote scores of letters, especially to his brother Theo, in which he worked out his thoughts about art. вЂњAlways continue walking a lot and loving nature, for thatвЂ™s the real way to learn to understand art better and better,вЂќ he wrote in 1874. вЂњPainters understand nature and love it, and teach us to see.вЂќ 1
Although The Starry Night was painted during the day in Van Gogh’s ground-floor studio, it would be inaccurate to state that the picture was painted from memory. The view has been identified as the one from his bedroom window, facing east,     a view which Van Gogh painted variations of no fewer than twenty-one times, [ citation needed ] including The Starry Night. “Through the iron-barred window,” he wrote to his brother, Theo, around 23 May 1889, “I can see an enclosed square of wheat . . . above which, in the morning, I watch the sun rise in all its glory.”  [L 2]
The Starry Night is the only nocturne in the series of views from his bedroom window. In early June, Vincent wrote to Theo, “This morning I saw the countryside from my window a long time before sunrise with nothing but the morning star, which looked very big”. [L 5] Researchers have determined that Venus was indeed visible at dawn in Provence in the spring of 1889, and was at that time nearly as bright as possible. So the brightest “star” in the painting, just to the viewer’s right of the cypress tree, is actually Venus.  
There had been hills in Arles too, of course. But they entered his panoramic scenes as idyllic touches. His landscapes included the harvest, passing trains, isolated farmsteads and distant towns; and the hills were simply one more detail. In Arles, van Gogh’s dream had been of the harmony of things and of the spatial dimensions in which that harmony could be felt. None of that remained. The hills rose up steep and abruptly now, menacing, threatening to drag the lonesome soul down into vertiginous depths.
6) In his 2015 book, “Cosmographics,” Michael Benson contends that the inspiration behind the distinctive swirls in the sky of Van Gogh’s “Starry Night” is an 1845 drawing by astronomer William Parsons, Earl of Rosse, of the Whirlpool Galaxy.
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.
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.
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.