Van Gogh's Ghost Paintings: Art and Spirit in Gethsemane, by Cliff Edwards
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Van Gogh's Ghost Paintings: Art and Spirit in Gethsemane, by Cliff Edwards
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One of the most significant and revealing paintings by the world famous artist Vincent van Gogh was never seen by anyone but the artist himself. The painting was so important to the artist that he painted it twice. He was so conflicted about the painting that he destroyed it twice. Cliff Edwards argues these two unique paintings Vincent created and destroyed are at least as important to understanding the artist and his work as are the two thousand or more paintings and drawings that do exist. In Van Gogh's Ghost Paintings, Edwards invites his readers on a journey that begins in a Zen master's room in Japan and ends at a favorite site of the artist, a ruined monastery and its garden in the south of France. Recovering the intent of van Gogh and the nature of his "ghost paintings" becomes a "zen koan" waiting to be solved. The solution offers access to the deepest levels of the artist's life as painter and spiritual pilgrim. The journey leads to the artist's choice of the biblical theme of the Garden of Gethsemane. The answer to the mystery of the lost paintings illuminates the relationship of joy and suffering, discovery and creation, religion and the arts in van Gogh's life and work. In this fascinating book Edwards solves a long-ignored mystery that provides a critical key to the relation of van Gogh's religion and art.
Van Gogh's Ghost Paintings: Art and Spirit in Gethsemane, by Cliff Edwards- Amazon Sales Rank: #1512327 in Books
- Published on: 2015-06-03
- Released on: 2015-06-03
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .34" w x 6.00" l, .0 pounds
- Binding: Paperback
- 136 pages
Review ''This is a superb work. The author's fearless journey into the life of van Gogh and the interiority of the writing take the reader herself into solitude, loneliness, labor, triumph, and sorrow. It is a complex work . . . [W]e tread with this book the very path van Gogh himself hesitated on and wrestled with himself on: the seeming contradiction between the intellect and the spirit in art, a contradiction that survives to the present.''--Elizabeth C. King, sculptor, university professor, 2002 Guggenheim Fellow, 2006 recipient of the Academy Award of the American Academy of Arts and Letters, and author of Attention's Loop ''Cliff Edwards' Van Gogh's Ghost Paintings is at once a riveting mystery and a beautiful meditation on sacrifice and art. The book extends a compelling invitation to sit at the feet of a master teacher as he takes readers on a fascinating, heartbreaking, and heart-healing journey to discover what has never been. This is a richly rewarding investigation that illuminates the darkest intersection of van Gogh's spirituality and art with uplifting tenderness and compassion. Gorgeous, inspiring, and wise.''--Kristin M. Swenson, author of Bible Babel, and coauthor of What Is Religious Studies? A Journey of Inquiry''After all these decades of van Gogh studies, finally someone opens up for us Vincent's deepest quest and convincingly shows that the art of the 'sorrowful, yet always rejoicing' Dutch painter is of deep theological and spiritual significance. Edwards' astute understanding of Zen Buddhism, as well as of Christianity, has allowed him to portray Vincent as one of the most significant spiritual figures of the nineteenth century--an artist who fully deserves the attention of modern theologians interested in interreligious dialogue.''--A 1989 assessment of Edwards' contributions to van Gogh studies by Dutch theologian Henri Nouwen --Wipf and Stock Publishers
About the Author Cliff Edwards is Professor of Religion in the School of World Studies at Virginia Commonwealth University. His education spans East and West. With a PhD in biblical studies and world religions from Northwestern University, he has studied in France, Switzerland, Israel, and a Zen monastery in Japan, and has been a Coolidge Fellow in New York and a Visiting Fellow at Oxford University. Among his books are Van Gogh and God, The Shoes of Van Gogh, and Mystery of the Night Café, as well as a biblical commentary and two books on haiku.
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2 of 2 people found the following review helpful. "Art is the becoming and happening of truth." By Esther R. Nelson Cliff Edwards, in his new book, Van Gogh’s Ghost Paintings Art and Spirit in Gethsemane, wrestles with the question: Why did Vincent Van Gogh paint and then scrape off, not one, but two paintings portraying Christ in the Garden of Gethsemane? Edwards carefully examines Vincent’s letters, piecing together compelling evidence, demonstrating that Vincent lived, worked, and died in that “…tension between apparent opposites, the Garden of Eden and The Garden of Gethsemane, innocent happiness and deep suffering…[and] “for Vincent the way of deep sorrow is to be preferred, for it encloses within itself a movement towards repentance, a transformation that embraces rather than excludes joy.”Vincent struggled throughout his brief life. What vocation should he pursue? (His ministerial work ended when he was fired from missionary service for being “too zealous.”) How could he reconcile his strict Dutch Reformed upbringing with his own experience? And what direction would his art, something he “took up” only ten years before he died, take? Just how was a modern-day artist to “do art?” Even though Vincent was moved by religious art in his own life, he wondered about the place of religious (Biblical) imagery in art that embraced and looked towards the future.Vincent found no “creative engagement” in Emile Bernard’s painting of Christ carrying his Cross. (Bernard was Vincent’s contemporary--the two men corresponded.) Vincent wrote, “In life and in painting too, I can easily do without the dear Lord, but I can’t, suffering as I do, do without something greater than myself, which is my life, the power to create….” Does Vincent not find “creative engagement” in Bernard’s art because Bernard, in his work, merely reproduces images from religious art? Perhaps Vincent felt compelled to destroy his own Gethsemane paintings because they did not create anything new--were, in fact, “regressive,” not “progressive.” The “power to create” was essential to Vincent’s vision of life and art.After a lifetime of struggle, Vincent eventually came to a place where he even had to rid himself of his struggle as an artist. Perhaps Vincent can serve as a role model for us today. What need we give up--even destroy--in order to create (seemingly from nothing) those “symbols for a level of reality that cannot be reached in any other way?” Could it be our attachment to convention, tradition, and the “way things have always been?” If so, Vincent can be our guide, having given up his work and eventually his own life in order to create. “Art,” as Heidegger states, “is the becoming and happening of truth.”Edwards’ newest work on Vincent Van Gogh is creative, riveting, and at the same time, comforting.
2 of 2 people found the following review helpful. Liberating Jesus from Gethsemane By Mark S. Ferrara Cliff Edward’s fourth book on Vincent Van Gogh explores the creation and destruction of two paintings depicting Jesus in the garden at Gethsemane. Van Gogh’s decision to scrape away his Gethsemane paintings, argues Edwards, illuminates the artist’s spiritual search for meaning and his desire to innovate a new symbolism in art.While these works are lost to the world, and Van Gogh would never attempt to paint Christ at Gethsemane again, Vincent describes the canvases in several of his letters: the blue and orange Christ figure accompanied by a yellow angel and set against green-blue hills and a lemon sky. Vincent’s literary renderings of these ghost paintings, never seen by anyone but the artist himself, give them an abstract existence of their own worthy of study.For Edwards, this interplay of presence and absence, creation and destruction, in the ghost paintings illuminates hidden dimensions in Van Gogh’s symbolic expression. Consequently, the agony of Jesus at Gethsemane, particularly his vulnerable uncertainty and aching doubt before suffering arrest, trial, and crucifixion, emerge as central themes in Vincent’s view of art—and of life.The narrative of the suffering Christ at Gethsemane also provided solace to Vincent as he endured a life of self-imposed hardship and poverty as a painter of humble and ordinary subjects, such as a pair of work shoes, a wheatfield, or a broken tree.By following in the footsteps of Vincent Van Gogh, and imaginatively recreating Vincent’s final years, Cliff Edwards explains that the artist destroyed the Gethsemane canvases in order to suggest a relationship between religion and art in which sorrow, suffering, and negation paradoxically lead to an affirmation of the “here and now” and provide a solution to “the gospel parable” of the suffering servant.
0 of 0 people found the following review helpful. Excellent, grounded, insightful text. By Ann C. Chapin Excellent text. Cliff Edwards does thorough research into Van Gogh's letters, so what he is writes is well grounded. Deeply insightful - I feel like Cliff knew Vincent as a close friend and so can write about him like no one else can.
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