As Jon Wyand presents a series of captivating images influenced by Vincent Van Gogh, he reflects on the significance of vineyard paintings, both real and imagined.
It’s intriguing to note that while 19th-century French artists commonly depicted cornfields and gardens, vineyards were rarely included. Van Gogh stood out with his focus on these landscapes. His work, The Red Vineyard (1888), painted near Arles, became the only one sold during his lifetime. He painted two other vineyard scenes: The Green Vineyard (also 1888) and Vineyard with a View of Auvers (1890). He was clearly inspired by the vibrant autumn foliage and the atmosphere of harvest, creating The Red Vineyard in his studio at the Yellow House, where he once shared space with Paul Gauguin. The painting sold for 400 francs, though his brother and agent, Theo, likely received a fraction of that amount.
In the 20th century, Argentinian artist Alfred Gaspart also captured vineyards, spending a year in Burgundy in 1935-36. He cycled through the Côte de Beaune with sketchbook and camera, documenting the laborers rather than the landscapes. His works offer a glimpse into vineyard life, though they do not reach the artistic heights of Millet’s depictions of peasants. Gaspart’s correspondence with his sister, where he shared his photo developments and artistic progress, culminated in a published collection of his observations.
Millet focused primarily on the human element in his works, portraying the struggles of rural life rather than the beauty of the vineyard. Van Gogh admired Millet, yet interpreted his subjects more colorfully and vibrantly, often painting under the sunny skies of Arles instead of the dreariness Millet depicted.
In early 1890, with a recommendation from Theo, Van Gogh moved to Auvers-sur-Oise, seeking care from Dr. Paul Gachet, who respected his art and appreciated his mental health struggles. Although Van Gogh struggled with depression and sold only one painting during his life, he produced over 900 works in ten years, a prolific output that included interpretations of other artists’ works.
Wyand speculates playfully about the possibility of Van Gogh creating undiscovered vineyard paintings during a hypothetical journey through Burgundy. He imagines Van Gogh contemplating the rolling hills and the rich landscapes, where nature would perhaps offer a fresh perspective and refuge from his tumultuous life. The allure of Burgundy, rich in history and artistry, might have inspired a fruitful period of creativity, far from the hardships of his earlier environments.
He envisions Van Gogh painting in a countryside cottage, embraced by the serene environment of vine-covered hills, while creating works that might have astonished local patrons. Perhaps some of these imagined works still remain hidden, collecting dust in obscurity.
Ultimately, Wyand reflects on how Van Gogh might have thrived amidst the vines, capturing the magic and mystery of this renowned wine region, which could have transformed his outlook and creativity. In doing so, he questions how art and reality intertwine, considering the stories behind both paintings and the artists who create them.