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Tuesday, February 6th 2007

12:58 PM

Vincent van Gogh's painting of Adeline Ravoux, "1890".

Vincent van Gogh's painting of Adeline Ravoux,  "1890".
 
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Adeline Ravoux
Oil on canvas (1890)
from the collection of
Bob Miller (vanrijngo)
Size: 26 1/8" x 30 1/4"

Adelene3.jpg image by vanrijngo

Photo of Adeline, about 19 to 21 years of age.

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Painting was stretched in Glendale, N.Y. on size 30 stretcher bars, more than likely by I presume Harry Haranson, the American who purchased it from Adeline's father in France.

Adeline Ravoux

What the experts have to say:

Adeline Ravoux, daughter of the inn-keeper Arthur-Gustave Ravoux who gave Van Gogh lodgings in Auvers-sur-Oise, was 12 years old when Vincent arrived in 1890.

Adeline modeled for Vincent, along with her younger sister, Germaine. Adeline would comment: "You soon forgot his lack of charm when you watched him amusing the children."

Vincent gave the inn-keeper Ravoux two of his paintings, Auvers Town Hall on 14 July 1890 and the portrait of his daughter, Adeline, shown above at right. In the years following Vincent's death Ravoux felt quite fortunate when a passing American offered him 40 francs for both paintings.

Totally f-ing amazing to me what some MFA experts had to say and are saying, the exact ones who are and were supposed to be in charge of Vincent's Art Foundation, all the while being considered by most to be the responsible ones. They fail to mention that Vincent gave the one to his daughter and just how these two paintings left the hands of this American artist, Harry Haranson. My guess is they have no idea who the hell he was!

The Portrait of Adeline Ravoux sold in 1988 for $13,750,000.

Recollections of a model 

From the book Vincent van Gogh by author Marc Edo Tralbaut

* The author said: 

* At Auvers-sur-Oise,  Vincent went on tirelessly producing canvases and drawings. An Idea of his output can be gained from a brief chronological summary, based on the only information that he had given us. May 24: A study of old thatched roofs. May 25: A drawing of an old vine, of which Vincent proposed to paint a size 30 canvas; a study of pink chestnuts; a  study of white chestnuts. June 4: The portrait of Dr. Gachet, and a second version; a study of aloes, marigolds and cypresses; a study of white roses and vines. June 14: A study of a harvest; a village with a little coach; a field of poppies; a study of a vine. June 17: A study of a bunch of wild plants; a study of a white house; a study of the Jardin de Daubigny. Hune 16 - 23: A study of ears of wheat. June 24: The portrait of Adelene Ravoux, then a second and a third version, ( one of which is in Bob miller's collection) a field of wheat; a copse; the Chateau d'Auvers. June 29: The portrait of Mademoiselle Gachet at the piano. June 30: A figure of a peasant woman; a landscape with fields; an undergrowth. July 9: two fields of wheat under troubled skies; the Jardin de Daubigny. July 23: old thatch cottages. 
 
  Besides these two dozen paintings mentioned by Vincent in his letters, another three dozen canvases are known to exist which he painted at Auvers-sur-oise. In all of them there is the same vigorous simplicity and disciplined passion of his creative spirit. They are among his most admired works, and hold places of honor in world's galleries.
 

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I myself would say that this is a pretty violent painting of a thirteen year old girl in her first white grown-up dress made for her by her mother, and the painting given to her by Vincent... just as the model Adeline Ravoux had explained above.

"We were always having lodgers who had come to paint in the district. When Monsieur Vincent was staying at the inn, we also had another Dutch lodger, Tommy Hirschig. They were joined at meals at the table - the last room at the back on the left parallel to the staircase wall - by a Spaniard called Martinez de Valdivieldo... At the back on the right was a room which my parents allowed artists to use when they were staying with us. It was there that I sat for my Portraits. Monsieur Vincent also used to put his canvases in the back room to dry."

"Of all the artists that I used to know in those days, none has left such an indelible memory as Monsieur Vincent; he was so different from all the others. Perhaps I was too young - for I was only seventeen* - to realize that this difference was due to his state of health. Later I learned as we all did, that he had been in an asylum for mental cases. But if I had been told then that he was mad, I just would not have believed it."

* (Author's Note: I believe she meant to say thirteen)

  Soon after he died, my parents sold their business and moved to Miulan, where they ran another cafe. Opposite us was the Hotel Pinchon, where many foreign painters stayed. Most of these artists would come and drink an aperitif at our cafe.
 
One day  three of them, an American, a Dutchman and a German, found two of Vincent's pictures in a back room; they were THE MARIE AT AUVERS ON JULY 14 TH, that Monsieur Vincent's brother had given to my father after the funeral, and my portrait which Monsieur Vincent had painted and given me. One of these three painters, the American,.. Harry Haranson, offered my father forty francs for the two pictures. My father, who knew nothing about art, thought at first that he was joking, but when he realize that the American was serious he hurriedly cinch the deal. My father was so simple that he thought that it was the buyer who had got the bad bargain.

The Portrait of Adeline Ravoux sold in 1988 for $13,750,000."

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To myself and a computer, the corner of this painting and its content is as good as any explicit signature of Vincent van Gogh's and documented provenances.

When Vincent was accused of using his fingers in his paintings by his art professors, his answer was, "I will use my heel to get an effect if I have a mind to."

While most experts say that the results from scientific examination would never be able to prove or provide proof of whether a work was done by the artist or a pupil or in his immediate circle, this information on methods and techniques really leaves this field wide open to new technology. Inevitably it is a good thing that some people are not involved with law enforcement findings and scientific analysis to find the identify of criminals.

If the art belongs to you, a supposed insignificant person, this in itself gives some the license to "you know what." Don't you think that it is strange that great masterpieces only come to light once in a great while? I would guess mostly because of who is possession they are in, and how little is known about most masterpieces.

The books I am taking some of these writings from were written a little behind the times, and yet are still being written as if in the same manner as today. Well, what I contend is this: the master who paints his or her works of art are the only ones able to work in there own style using their own techniques, and having an artist's works studied scientifically for comparison in my opinion, and is the only real way to make the correct determinations of authenticity. A copier can only paint - or should I say "copy" - what they are able to see from the finished work of art itself and of what they themselves see, and only guess about the rest.

In a Rembrandt book it says some paintings belonging to them, when it were evident of his works on stylistic grounds and thought not to be one of his works, instead by a later imitator or admirer of his work and style, they found not only that the number of "demonstrably later" paintings was almost negligible, some of those that they had, because of the stylistic features again, regarded as being from the 18th or 19th century in origin, but they could be proved, or virtually proved, to date from the 17th century.

Isn't that amazing? I wonder who they might have belonged to before,.. if that is the case of belonging to them. You tell me how much do they really know when it comes to hands-on intuitive inspections, and especially when someone is looking at what belongs to you. "Yes, that is a very nice piece of art you have there, but not who you think. How much did you want for it?" Sounds real scary to me... how about you?

The eye of the storm


This above and below is just like florescent and neon lights going off in ones mind and subconscious all at one time.

There are so many of his finger prints in his paintings and drawings that will compare to any and all works that his hand had ever done or created, only comparable by the scanning methods of computers. In the using of my techniques of enhancing, by the use of Photoshop and Jasc Animation Shop, I am positive that this is what will be looked at and compared to by the use of scanners. I know that there are many more technical uses of these Shops that I as of yet haven't discovered as I play with their abilities. What you are looking at here, a scanner will look at and compare the different signatures with its own data bank, including all other works done in his brush strokes. The techniques and materials of this artist will give back the true results of the paint used, lead content, possibly even the manufacturers of the paint, the same way as the results from scanning the retinas of a person's eyes. I personally feel that by using scanners for analyzing art work of the masters, as they do for people's retinas - and claimed better than finger printing according to experts of new scanning technologies - the results will simply amaze you.

Again, good luck to you copiers, if you are trying to fool someone for a large profit. You just might fool your own self into a federal prison. That would be terrible, like a vacation, able to watch TV and keep up on the world news.

Haven't we seen this before somewhere? Maybe in Vincent's Sunflowers?

 

 

Recollections of a model 

From the book Vincent van Gogh by author Marc Edo Tralbaut

* The author said: 

* At Auvers-sur-Oise,  Vincent went on tirelessly producing canvases and drawings. An Idea of his output can be gained from a brief chronological summary, based on the only information that he had given us. May 24: A study of old thatched roofs. May 25: A drawing of an old vine, of which Vincent proposed to paint a size 30 canvas; a study of pink chestnuts; a  study of white chestnuts. June 4: The portrait of Dr. Gachet, and a second version; a study of aloes, marigolds and cypresses; a study of white roses and vines. June 14: A study of a harvest; a village with a little coach; a field of poppies; a study of a vine. June 17: A study of a bunch of wild plants; a study of a white house; a study of the Jardin de Daubigny. Hune 16 - 23: A study of ears of wheat. June 24: The portrait of Adelene Ravoux, then a second and a third version, ( one of which is in Bob miller's collection) a field of wheat; a copse; the Chateau d'Auvers. June 29: The portrait of Mademoiselle Gachet at the piano. June 30: A figure of a peasant woman; a landscape with fields; an undergrowth. July 9: two fields of wheat under troubled skies; the Jardin de Daubigny. July 23: old thatch cottages. 
 
  Besides these two dozen paintings mentioned by Vincent in his letters, another three dozen canvases are known to exist which he painted at Auvers-sur-oise. In all of them there is the same vigorous simplicity and disciplined passion of his creative spirit. They are among his most admired works, and hold places of honor in world's galleries.
 
  Let us return for a moment to the two girl who sat for their portraits, Adeline Ravoux and Mademoiselle Gachet. On June 24, Vincent told his brother: "last week I did a portrait of a girl of about sixteen, in blue against a blue background, the daughter of the people with whom I am staying. I have given her this portrait, but I made a variant of it for you, a size 15 canvases."
 
  The reason I have chosen to discuss these portraits rather than the ones of Dr. Gachet is simple. Dr. Gachet was certainly more interesting than either of these young woman, but alas, I never met him, and cannot compare the portraits with the original.
 
  But I often met Marguerite and Adeline. The first died on Nov. 8 th 1949, at the age of 78;; the second on May 3 rd., 1965, at the age of 88 at Martin Leglise, near Dieppe.
  When I was with Marguerite or Adeline, I had exactly the same sensation that Dr, Picard of Arles had when he saw the potrait of Dr. Rey, and I was invariably struck by the remarkable resemblance between the portraits and their originals. The likeness only increased with the years, as age exaggerated the features which the artist had caught so strongly.
 
Adeline once told Maximilien Gauthier: " his painting frightened me a little, it was so violent, and I did not find it a good likeness at all. It was only much later, when I was looking at reproductions, that I realized that he had been able to see in the young girl that I was then the woman I was to become.----- Adeline gave only five or six sittings for the one of her three portraits, that of her in her white dress, the first grown-up dress she ever had.
 
  Vincent smoked his pipe incessantly while he worked at his canvas. He was so absorbed in his task that he did not speak a word. Adeline did not think him attractive, but said that you soon forgot his lack of charm when you watched him amusing the children. Then you realized instinctively that he was a good man. She saw Vincent spoiling her baby brother Lrvert when he was painting the portrait of him that was to be known as The Child With The Orange.
 
  " After all,'  Adelinr told me, " I was only a child at the time. But he used to amuse me before I went to bed in the evenings by taking a piece of chalk and drawing a funny picture of a little old man. this would soon have become tedious if the old man had always been the same, but he wasn't. Every time he surprised me with a new version of the fellow.
 
  " He was rather withdrawn by nature, and consequently hardly talked at all, but he always had a slight smile on his lips, which sometimes---but very rarely---- broke into a frank and jovial laugh. -------------
 
  Soon after he died, my parents sold their business and moved to Miulan, where they ran another cafe. Opposite us was the Hotel Pinchon, where many foreign painters stayed. Most of these artists would come and drink an aperitif at our cafe.
 
One day  three of them, an American, a Dutchman and a German, found two of Vincent's pictures in a back room; they were THE MARIE AT AUVERS ON JULY 14 TH, that Monsieur Vincent's brother had given to my father after the funeral, and my portrait which Monsieur Vincent had painted and given me. One of these three painters, the American,.. Harry Haranson, offered my father forty francs for the two pictures. My father, who knew nothing about art, thought at first that he was joking, but when he realize that the American was serious he hurriedly cinch the deal. My father was so simple that he thought that it was the buyer who had got the bad bargain.
 
   In reference to this Woman In Blue, oil on canvas, (size 26 1/8" X 30 1/8 ), this portrait painting of Adeline Ravoux,...  one that her father had sold to the American,... and I do believe is now in the collection of my own,... Bob Miller's---vanrijngo's.
 
  Now let us analyze what was previously said by Adeline,... " his painting  frightened me a little."  The painting I have of her is more than likely how Vincent would have painted the one that he had given her,.. and not the ones that he would have sent to his brother.  You do notice,... that Vincent had told his art handling brother Theo, that he was sending variants of the one that he had given away for her sittings, and done on size 15 canvases.  Her painting had very quickly laid on heavy brush strokes,.. just like she had said, "it was so violent,... and I did not find it a good likeness at all".   'It was only much later, when I was looking at reproductions, that I realized that he had been able to see in the young girl that I was then,.. the woman I was to become"'.
 
  I'm almost positive in my own mind that she might have even added in her interview,.. that the ones that they have of her,... did not seem to her as to being the same size of canvas,... and remembered hers as to being more of  a frontal view on a larger canvas.   She had also said that she had sat five or six times,... while this fact tells me,... that there may be a couple more of her portraits available somewhere,... quite possibly stuck in someone else's collection, and not knowing who the true artist really happened to be.----- Like he had said; "Adeline gave around five or six sittings for the one of her three portraits,.... that of herself in her new dress, the first grown-up dress she ever had."   
 
  Again,... my guess would be the dress was made by her mother, being her first dress as a thirteen years old,... and if you look at the dress in the portrait I own,... some of you young women might possibly be able to reminisce on what your own mother might had made you.  They say that the original of Miss Ravoux is F 768 and F 769 is a replica of poor quality; it may therefore be assumed that F 786, though not exactly a size 15 canvas, was the variant done for Theo.  I believe she said in a couple of Vincent books that F 786 & F 769 were unknown to her, all the while had sat for them. 
 
  I guess we are supposed to think that she was not at all interested in what they happened to look like at that time of their creation.  F 768, the first version is also a side view and not all that much different than the other two,.. that are supposedly, as she said herself not known to her.  I'm wondering if she just didn't go along with them,... that when they said it had to be one of them,.... since he had only done three,.... that they know of.  It would be nice, if she were still living,... to show her the correct painted portrait of herself,... that her father so stupidly had gotten rid of.  It still remains the same as it was back then,... if they are not know of, or in a van Gogh book,... they are still pieces of you know whatee according to the supposed so-called MFA experts.
 
 You want to know what seems really strange to myself?  All three of these painting are in small black and white photos,... entered on three different pages to where there can be no real comparison, in one hell of a big book. "The Works of van Gogh", printed in 1970, HIS PAINTINGS & DRAWINGS by J. B. De La Faille.  This book was put together by all of his tribe and cohorts, including that almost blind, crippled, cane baring, art historian Mrs. Annet Tellegen-Hoogendoorn from the Netherlands Institute for Art History, The Hague.  She was the lady that the head art director's of the Vincent van Gogh Foundation, Sjraar van Heugten & Ella Hendriks had brought in to the picture, for her to give her opinion, and after seeing it for its first time, of the Vincent van Gogh Painting of the F 614 in this documentary film, and from what was said,.... would make a normal person wonder,... who exactly is running this fiasco.  http://www.vanrijngo.bravehost.com/page7a.html 
 
 This is the only book that they say contains all his reproductions, of all the known paintings and drawings of Vincent van Gogh [1853-1890].  It totally blows me away how they have been able to get away with something like this for so long.  Come to think of it,... is not really all that surprising,.. according to Rembrandt, Vincent, and Picasso,... along with many more masters of the past fine art field, their own points of views,... and what they personally though of so-called MFA expertise.  I say it is time to use computer science,... to put some of these MFA people in a category to where they are,... and then,... become to be known as disserving.
 
vanrijngo 
 
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