where is the starry night by vincent van gogh
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]
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.
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.
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.
5) Analysts of “Starry Night” emphasize the symbolism of the stylized cypress tree in the foreground, linking it to death and Van Gogh’s eventual suicide. However, the cypress also represents immortality. In the painting, the tree reaches into the sky, serving as a direct connection between the earth and the heavens. The artist may have been making more of a hopeful statement than many credit him with. This positive interpretation of the cypress symbolism hearkens back to a letter to his brother in which the artist likened death to a train that travels to the stars.
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.
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.