what is the medium of starry night
A mysterious entity is then shown in the left of the portrait. It can be interpreted in different ways depending on who is viewing it. It creates a visual similarity from its pattern with the night sky. This similarity creates a sensation of depth in the artwork.
The Starry Night was just one of Van Gogh’s many works. He grew up loving to draw and later matured as an artist. He had 2,100 artworks, including 860 oil paintings and more than 1,300 watercolor paintings, drawings, prints, and sketches. He mostly focused on drawing portraits, including himself and delicately beautiful things like flowers and scenic wheat fields.
Van Gogh argued with Bernard and especially, Paul Gauguin as to whether one should paint from nature, as Van Gogh preferred,  or paint what Gauguin called “abstractions”:  paintings conceived in the imagination, or de tête.  In the letter to Bernard, Van Gogh recounted his experiences when Gauguin lived with him for nine weeks in the fall and winter of 1888: “When Gauguin was in Arles, I once or twice allowed myself to be led astray into abstraction, as you know. . . . But that was delusion, dear friend, and one soon comes up against a brick wall. . . And yet, once again I allowed myself to be led astray into reaching for stars that are too big—another failure—and I have had my fill of that.”  Van Gogh here is referring to the expressionistic swirls which dominate the upper center portion of The Starry Night. 
After having initially held it back, Van Gogh sent The Starry Night to Theo in Paris on 28 September 1889, along with nine or ten other paintings.   Theo died less than six months after Vincent, in January 1891. Theo’s widow, Jo, then became the caretaker of Van Gogh’s legacy. She sold the painting to poet Julien Leclercq in Paris in 1900, who turned around and sold it to Émile Schuffenecker, Gauguin’s old friend, in 1901. Jo then bought the painting back from Schuffenecker before selling it to the Oldenzeel Gallery in Rotterdam in 1906. From 1906 to 1938 it was owned by Georgette P. van Stolk, of Rotterdam, who sold it to Paul Rosenberg, of Paris and New York. It was through Rosenberg that the Museum of Modern Art acquired the painting in 1941. 
It was nature, and the people living closely to it, that first stirred van GoghвЂ™s artistic inclinations. In this he was not alone. Landscapes remained a popular subject in late-nineteenth-century art. Driven in part by their dissatisfaction with the modern city, many artists sought out places resembling earthly paradises, where they could observe nature firsthand, feeding its psychological and spiritual resonances into their work. Van Gogh was particularly taken with the peasants he saw working the countryside; his early compositions featured portraits of Dutch peasants and rural landscapes, rendered in dark, moody tones.
In 1886, van Gogh moved to Paris, where he encountered the works of the Impressionists and Neo-Impressionists, and the Pointillist compositions of Georges Seurat. Inspired by these artistsвЂ™ harmonious matching of colors, shorter brushstrokes, and liberal use of paint, he brightened his own palette and loosened his brushwork, emphasizing the physical application of paint on the canvas. The style he developed in Paris and carried through to the end of his life became known as Post-Impressionism, a term encompassing works made by artists unified by their interest in expressing their emotional and psychological responses to the world through bold colors and expressive, often symbolic images. In a letter to his sister Willemien, touching upon the mind and temperament of artists, van Gogh once wrote that he was вЂњvery sensitive to color and its particular language, its effects of complementaries, contrasts, harmony.вЂќ 2
At the asylum, van Gogh observed the night sky from his barred bedroom window and wrote a letter to Theo describing a magnificent view of the morning star very early one morning in the summer of 1889. Because he was not allowed to paint in his bedroom, he painted the scene from memory or possibly drawings and used his imagination for the small village that did not actually exist. Employing the expressive style he had developed during his stay in Paris in 1886–88, he applied the paint directly from the tube onto the canvas, creating thick impasto and intense hues. Ambivalent about working from his imagination, van Gogh eventually regarded the finished Starry Night as a failure, and Theo frankly indicated that the painting favoured style over substance.
Van Gogh painted The Starry Night during his 12-month stay at the Saint-Paul-de-Mausole asylum near Saint-Rémy-de-Provence, France, several months after suffering a breakdown in which he severed a part of his own ear with a razor. While at the asylum, he painted during bursts of productivity that alternated with moods of despair. As an artist who preferred working from observation, van Gogh was limited to the subjects that surrounded him—his own likeness, views outside his studio window, and the surrounding countryside that he could visit with a chaperone.
This work is on view on Floor 5, in a Collection Gallery
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.