One of the latest and most beautiful works of Van Gogh, Wheatfield with Crows, July 1890, shortly before the suicide and considered by critics to his "spiritual testament."
He wrote to his brother Theo, also about this masterpiece: "Here my brush flows between my fingers like a violin bow strokes ... brush should be like a machine, and are linked one another. "In fact able to achieve slightly more than seventy paintings in two months.
is often argued that the wheat field has dramatically somber tones, accentuated by the funeral vault of the flock crows of blacks and furious brushstrokes and broken.
Cupo is actually only the sky, a blue hues always reassuring to go darker, not the wheat field. Cupa, if you will, is the atmosphere. L 'artist in fact not see the future for his immediate existence, even though his soul continues to burn with a consuming fire.
The wheat field is so rough that looks like a forest fire, where the empty streets, which lead to the unknown, trying to take off and hover over which sad omens: the crows just blacks, who seem to come like vultures on a corpse.
The canvas is a cry of pain, exacerbated by the jerky rhythm, swirling, the brush strokes.
The road is no way out because the fields that express the values \u200b\u200bof the rural past, nothing can be against the new bourgeois values, represented by a sky that looks like a stormy ocean, where it mixes with the clear dark confusing everything.
In the midst of this dark skies white markings indistinct, mystical, seem to indicate the stars or threatening clouds, but in fact represent the loneliness artist, turned in on itself.
in the effort to find something that connects the cornfield to the sky (and the link is precisely given by the way), the artist is nothing but himself, emptied, and the crows blacks seem to be the inevitable consequence of the devastation: are coming as a threat looming, a storm of nature. With such clarity, dynamics and power of a short man can be so its fine!
There being no light in the sky, it seems clear that the fields are yellow because they receive only a light from within. Striking is the difference between inside and outside: there is no real communication between subject and object, but only anxious to have her and despair at their inability to have them.
The road is not mediation, but just an anxiety, a dark desire, nervous, which in this attempt, in vain, to transform reality, you realize you do not have sufficient forces. The edges of the two green paths may indicate the basic honesty of a personal quest.
The wheat field is short, the elegy of a loser.
The road does not lead anywhere and is virtually covered by a person, the artist, who does not know where to go or what to look for.
be noted, en passant, that before making the painting, van Gogh had gone to visit his brother Theo, who lived in Paris and had been shaken professional difficulties for him and for the poor health of his grandson Vincent.
few days after finishing the work, van Gogh's last letter he wrote to Theo, in which explicitly say that his death would end the suffering of the brother's family: his works would be increased in value and Theo - together his wife and son Vincent - could lead a better life (unfortunately, Theo kill six months later, distressed by the death of his brother).
short van Gogh - if we looked at the contingent aspect of his life - he would kill himself by taking this familiar note as an opportunity to make the last mission of his life: he had failed, in life, to achieve anything socially useful, she thought of him dead. In reality the chance is only a pretext, as is typical of the ethical reasons to be mad its act desperate. In philosophy the most classic examples are Kierkegaard and Nietzsche.
The blue-black sky, the stars (if they are) are too imprecise and obscure because they can think of a real goal. Some critics have even glimpsed those white shapes in the clouds nor stars nor bombs, but even hidden pictures, subliminal, like eg the left ear (the one that he cut himself after furious quarrel with Gauguin), a giant bird that fills the sky, a "presence looming "like a trumpet and the Archangel Gabriel by the clouds, reflecting the mystical and irrational side of the Dutch.
Perhaps it is better to go beyond what is written in the letters to Theo:" I'm wide fields of wheat under troubled skies, and did not need to get out of my condition to express sadness and extreme loneliness. "
fact, those who walk through the streets of the framework has no clear destination where to go, has no future, and this very strong representation of existential well typical in northern, middle class and Protestant, will give the picture an incredible future. The many interpretations of this particular were the most varied and complex than those who have given any of his other work.
Moreover, the use of movement forms here anticipates the future, and the wise use of color is anticipating the abstract.
The least successful aspect of the painting style (relatively speaking, means: let's not forget that the work was made to project) is what should have indicated the method to an end: the road, which, on closer look, not one, but a kind of triple junction with a crossroads invisible, which symbolizes, in turn, the various walks of life and professional artist, often conducted in opposite directions and which did not lead anywhere, if excluding of course the artists, which served as an outlet of a pressure cooker.
The roads, especially the central one, seem to indicate a perspective, and also the expanse of fields, but in reality the picture is two dimensional, rather one-dimensional, as seen from the streets, fields and across the sky in the distance are all elements of a single dominant feature: the clash, seamlessly, between the fury of yellow (the inner passion for the absolute) and the oppression of the blue-black, whose dark tones (or the hypocrisy of the ambiguities social life) hopelessly pale light that should come naturally from the sky (the need for true).
It is obviously not a realistic picture, but is realistically a very emotional situation at the edge of collapse.
Here we are witnessing a sort of icon of despair, where the large eyes that speak sadly, with wisdom and comfort, in classic icons, here are represented by the same fields of wheat, agitated by a restless spirit, equal in the eyes of fire and the stubble and rebellious in his famous portraits. It 'been said that the universe of van Gogh is a continuous field of energy, like Einstein, but, one might add, to secure invivibilità.
The road is not so much greater then the limit of the picture, but the very existence of van Gogh, torn routes from troubled, wandering, diametrically opposed, that have enriched so many experiences, but also led to debauchery and finally the madness and untimely death.
criticism, in this sense, was perhaps too enthusiastic about these masterpieces. The fact that van Gogh tends to project itself into reality, transforming it according to his feelings and the fact that he used the line as an expressive function, capable of transforming the actual color in a suggestion to the emotion of the viewer - all , you should always make clear, can have a great aesthetic, but may have some ethical value only within the limits of human experience: reality can not subjectivized be to the point that in the end only the artist himself will be found there, or a madman like him.
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