where is starry night painting
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. 
During the year Van Gogh stayed at the asylum, the prolific output of paintings he had begun in Arles continued.  During this period, he produced some of the best-known works of his career, including the Irises from May 1889, now in the J. Paul Getty Museum, and the blue self-portrait from September, 1889, in the Musée d’Orsay. The Starry Night was painted mid-June by around 18 June, the date he wrote to his brother Theo to say he had a new study of a starry sky.    [L 1]
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.
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.
Discover groundbreaking techniques in early modern landscape paintings.
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.
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.
9) Pathologist Paul Wolf postulated in 2001 that the artist’s fondness for yellow in paintings like “Starry Night” resulted from taking too much digitalis, a treatment in his day for epilepsy.
Interpretations of this painting are legion. Some claim it is a perfectly realistic account of the position of the stars in June 1889. This, needless to say, is perfectly possible. But the twisting, spiralling lines have nothing to do with the Northern Lights or the Milky Way or some spiral nebula or other. Others say that van Gogh was expressing a personal Gethsemane; they back this up by referring to the discussion of Christ on the Mount of Olives that he was currently engaged in, in his correspondence with Gauguin and Bernard. This too may be so; it is possible that premonitions of sufferings to come are articulated in the picture. But Biblical allegory is present throughout van Gogh’s oeuvre, and he had no need of a special motif, least of all a starry sky, with all its associations of Arles and Utopian visions. Rather, van Gogh was trying to summarize; and his resume juxtaposed natural, scientific, philosophical and personal elements. Starry Night is an attempt to express a state of shock, and the cypresses, olive trees and mountains had acted as van Gogh’s catalyst. More intensely, perhaps, than ever before, van Gogh was interested in the material actuality of his motifs as much as in their symbolic dimensions.