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The Game of Art by Rosângela Vig
The most beautiful paintings are those we dream of, while smoking a pipe on the bed, though we never paint them. Even so, we must attack them for more incompetent that we may feel against the indescribable perfection, the glorious splendor of nature. (VINCENT VAN GOGH, 2007, p.21)
Creator of an unmistakable trace in Art and one of the most important representatives of the world painting, Van Gogh dared to write accuratelly, about the artist’s feelings during the creation and the doing of his work. His paintings though, showed his troubled life, featured by disappointments and depression, but also his artworks, considered the best exponents of the tendencies which culminated in the Modern Art. The artist’s definition clearly shows, his ecstasy, while breaking an idea and extracting an essence from it, although it still looked intangible for him. And, even if for the others it looked perfect, to him is still some uncertainty regarding to the perfection of his fruit, or in front the merits of his own original thought or the idea of perfection of the world around him.
To an artist, it is necessary the freedom to allow him to elevate his thoughts beyond his own ideas and to dare the intangible. Schiller considered that the artist outdares his limits when he surpasses his reason and expresses his inner feelings. For the author, decoding these impressions leads beyond the limits of his spirit, the free thought leads to a more reflexive process which drives the person to frame the meanings and a whole understanding of the game in Art. As he says,
What does it mean, A.D., a mere game in Art, while we know that from all the states of men, the game is the only one that completes him and unfold at once his dual nature? According to what you say as limitation and as a problem, according to mine, it is proved, to be enlargement. I would even say, since, the opposite: since the pleasant, the good, and the perfection, cause the man to be serious; the beauty, however, causes him to play. […] The real beauty that is worth the ludic real impulse; through the ideals of beauty, which, is the reason established, is also given as a task of the game that must be presented for men in all his games. (SCHILLER, 2002, p. 79 -80).
The dual nature which the author refers to, is a reunion of both his physical and moral states. The physical refers to a wild side, that sufers the action of his nature, and it is limited. The other is connected to ethics and awareness. The artistic expression allows the artist to be free, to act without the reason limitations, and to stimulate his awareness. Thus, the ethic state acts freely, on the free mind, field and conducts the person to the reflexive process of the meaning of the artwork. In other words, in the game of Art, the meaning of the codes allow the person to act with the free mind, unlimited, to work with his ludic state. To the artist, he should decode his mind. To the viewer, should strive to understand the artist’s work.
This demonstration of the dual human nature, provokes balance and unification; it softens the nature and the spirit; it drives the person, to a sense of harmony and completeness. Schiller was right when he affirmed that the limitation is nothing but the enlargement, since the Art allows to elevate, and to widen the field of ideas, surpassing the intangible.
Although Van Gogh, left a unique legacy, in Art, he showed all his anxiety for reaching an ideal of aesthetic perfection which could read, his inner the best. His frustrations and afflictions were registered on the letters he sent to his brother Theo, in which he wrote about his eagerness for painting more and better, and he really did it over the last years of his troubled life. His creative and rich spirit contrasted with his life, full of, professional and affective frustrations.
Even feeling failed as an artist, Van Gogh didn’t give up being a painter and, in all his life, he produced more than eight hundred paintings and seven hundred drawings. Even though he continued painting a unique and unmistakable style. Without the constraints of reason, Van Gogh dared an aesthetic, which lines were more connected to the feelings than to the reality, what contradicted the patterns of the period, but served as an inspiration for the expressionists though some consider his works expressionists or some consider them post-impressionists. But all this was not enough to give him the due reconnaissance which came only some years after his death.
Artist, his artwork and institution carrier collection, exalted in article:
- Vincent Van Gogh
- Artwork: Self-Portrait with Felt Hat – 1888 – Oil on Canvas – Dimensions: 44 x 37,5 cm
- Van Gogh Museum, Amsterdam
A special thanks to the Van Gogh Museum, in Amsterdam – the Netherlands. “A visit to the Van Gogh Museum is a unique experience. The museum contains the largest collection of paintings by Vincent van Gogh in the world. It provides the opportunity to keep track of the artist's developments, or compare his paintings to works by other artists from the 19 th century in the collection. The museum also holds an extensive offer of exhibitions on various subjects from 19th-century art history”. – All About the Museum.
- VINCENT VAN GOGH, Grandes Mestres da Pintura, Folha de São Paulo, S.Paulo, 2007.
- SCHILLER, Friedrich Von. A Educação Estética do homem. 4a. edição. S.Paulo: Ed. Illuminated Manuscripts, 2002.
- Van Gogh Museum, Amsterdam.
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