the starry night van gogh original price
Soth uses Van Gogh’s statement to his brother, that The Starry Night is “an exaggeration from the point of view of arrangement” to further his argument that the painting is “an amalgam of images.”  However, it is by no means certain that Van Gogh was using “arrangement” as a synonym for “composition.” Van Gogh was, in fact, speaking of three paintings, one of which was The Starry Night, when he made this comment: “The olive trees with white cloud and background of mountains, as well as the Moonrise and the Night effect,” as he called it, “these are exaggerations from the point of view of the arrangement, their lines are contorted like those of the ancient woodcuts.” The first two pictures are universally acknowledged to be realistic, non-composite views of their subjects. What the three pictures do have in common is exaggerated color and brushwork of the type that Theo referred to when he criticized Van Gogh for his “search for style [that] takes away the real sentiment of things” in The Starry Night.
Cypress trees have long been associated with death in European culture, though the question of whether Van Gogh intended for them to have such a symbolic meaning in The Starry Night is the subject of an open debate. In an April 1888, letter to Bernard, Van Gogh referred to “funereal cypresses,”  though this is possibly similar to saying “stately oaks” or “weeping willows.” One week after painting The Starry Night, he wrote to his brother Theo, “The cypresses are always occupying my thoughts. I should like to make something of them like the canvases of the sunflowers, because it astonishes me that they have not yet been done as I see them.”  In the same letter he mentioned “two studies of cypresses of that difficult shade of bottle green.”  These statements suggest that Van Gogh was interested in the trees more for their formal qualities than for their symbolic connotation.
Bliss was the daughter of a textile merchant who used her grand wealth to become one of the foremost collectors of modern art in the early 20th century. Alongside Mary Quinn Sullivan and Abby Aldrich Rockefeller, she helped found Manhattan’s Museum of Modern Art. Following her death in 1931, The Lillie P. Bliss Bequest turned much of her collection over to MoMA, creating the nucleus of the museum’s collection in the midst of the Great Depression. In 1941, three pieces from Bliss’s impressive collection were sold so that MoMA could acquire Starry Night.
From his window, van Gogh wouldn’t have been able to see Saint-Rémy. However, art historians differ on whether the village presented in The Starry Night is pulled from one of van Gogh’s charcoal sketches of the French town or if it is actually inspired by his homeland, the Netherlands.
The Starry Night is an oil on canvas by the Dutch post-impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an idealized village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. It is regarded as among Van Gogh’s finest works, and is one of the most recognized paintings in the history of Western culture.
This work is on view on Floor 5, in a Collection Gallery
Although his paintings were deemed by art dealers to be (at first) too dark and (later) too garish, his wide impact across the arts – and the art market – is apparent today. On 30 March 1987 Van Gogh’s iconic Vase with Fifteen Sunflowers sold at Christie’s in London for £24.75 million ($39.7), the highest ever sale of a painting at that time. Today Van Gogh’s works account fo r seven of the most expensive paintings in the world. Alongside his friend Gauguin’s Nafea Faa Ipoipo (When Will You Marry?) , which sold for $303 million in 2015 are Van Gogh’s Portrait of Dr. Gachet (sold in 1990 for $82.5 million) and Portrait of Joseph Roulin (sold in 1989 for $58 million plus an exchange of works for the Museum of Modern Art New York). These prices are a far cry from the 400 Belgian francs his Red Vineyard earned back in 1890.
Van Gogh was a commercial failure as an artist and had to rely on the charity of Theo to survive. According to the Metropolitan Museum of Art, in 1890 Van Gogh ‘ironically and modestly assessed his artistic legacy as of “very secondary” importance.’ However, by 1890 he was beginning to be recognised for his talent and vision. Gauguin wrote to say Van G ogh’s paintings were being called the ‘most remarkable’ on display at the the Indépendants salon in Paris. Since his death later that year Van Gogh’s staggering influence has manifested itself throughout art history, from the vibrant colours of the Fauvists immediately following him to the A bstract Expressionists’ emotion filled brushstrokes of the mid-twentieth century.
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.