where is the starry night painting located
7) Research has confirmed that the dominant morning star in the painting is actually Venus, which was in a similar position at the time Van Gogh was working on “Starry Night,” and it would have shone brightly, just as Van Gogh painted it.
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.
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. 
The Starry Night is an oil on canvas by Dutch post-impressionist painter Vincent van Gogh. Painted in June 1889, it describes the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an ideal 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. Regarded as among Van Gogh’s finest works,  The Starry Night is one of the most recognized paintings in the history of Western culture.  
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.
Although van Gogh’s subjects were restricted, his style was not. He experimented with the depiction of various weather conditions and changing light, often painting the wheat fields nearby under a bright summer sun or dark storm clouds. Van Gogh was also particularly preoccupied by the challenges of painting a night landscape and wrote about it not only to his brother, Theo, but to a fellow painter, Émile Bernard, and to his sister, Willemien. In a letter addressed to the latter, he alleged that night was more colourful than day and that stars were more than simple white dots on black, instead appearing yellow, pink, or green. By the time van Gogh arrived at Saint-Rémy, he had already painted a few night scenes, including Starry Night (Rhône) (1888). In that work, stars appear in bursts of yellow against a blue-black sky and compete with both the glowing gas lamps below and their reflection in the Rhône River.
Stock Photos from Bumble Dee /Shutterstock
Van Gogh passed away a year after completing this portrait.