SOALAN4 Seni lukis telah wujud sejak zaman pra sejarah lagi. Lukisan Starry Night karya Vincent van Gogh. Terdapat beberapa faktor penting yang telah membawa kepada kejayaan lukisan ini. Antaranya ialah lukisan ini menggambarkan langit malam yang dilitupi awan berpusar, bintang dengan terang sinar cahayanya dan juga bulan mengambang adalah MenganalisisKonsep, Unsur, Prinsip, Bahan Dan Teknik Berkarya Seni Rupa Dua Dimensi . Pengertian analisis Konsep, Unsur, Prinsip, Bahan Dan Teknik Berkarya Seni Rupa Dua Diimensi dalam konteks apresiasi adalah pengkajian yang cermat terhadap karya seni rupa untuk mengetahui keberadaan karya yang sebenarnya. Penelaahan secara mendalam Deskripsilukisan the starry night. Malam Berbintang di atas Rhône September 1888 bahasa Prancis. Lukisan ini merupakan salah satu pemandangan pertama yang dilukis oleh Vincent Van Gogh selama berada di Arles. Lukisan Van Gogh bila kita lihat terus akan seperti berputar bungamatahari dan iris terlihat bergerak dan dinamis. HalPilu dan Menyedihkan di Balik Lukisan Starry Night Karya Vincent Van Gogh yang Terkenal - Portal Jember Dibalik Kanvas Pelukis Eropa – adventuress tira Panduan Seni Lukis Lengkap Untuk Anda Yang Ingin Jadi Seniman Pelukis yang Bernama Vincent Van Gogh Menganut Aliran - Seni Rupa dan Sejarah Menggambar Van Gogh Starry Night. Lukisantokoh manusia dari Kalimantan Timur. NB: Tokoh-tokoh manusia, awalnya berwarna merah tua, telah dilacak secara digital untuk memperbesar seni ini. Pindi Setiawan, Author provided 12 Kita selalu disibukkan dengan kehidupan yang tidak akan selesai, dan mati akan menjadi akhirnya yang pasti bagi setiap yang bernyawa. Menuju kematian, kita bertemu dengan banyak bentuk-bentuk kehidupan. Dan bagi St Sunardi, karya seni yang mampu menunjukkan seni adalah yang menunjukkan wajah kematian. . Samantha Klein, Patrick Hahne By reading "The Starry Night" by Robert Fagles, we were able to interpret a different perspective on Van Gough's original painting through altered detail and additional opinions. Fagles adds his personal description on how he interprets the windy skies and the "cloudrack coiling". He also places himself into the painting by adding his emotional attachment to each detail. He claims that the painting or painting himself is a therapeutic way for releasing his madness. Through viewing the painting and reading the poem, each student interpreted a feeling of relaxation and tranquility, imagining oneself staring up at the dark and electric skies. Both the poem and painting create the same emotional release. 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The Starry Night aesthetic is created by Van Gogh's use of color, light, and brushstrokes. For this oil on canvas painting, Van Gogh applied the paint directly to the canvas, resulting in very intense color and paint that stands up off the canvas' surface. The top two-thirds of the canvas is the night sky, with a small town nestled between the Alpilles mountains and an olive grove. The sky is full of energy created by short, circular brushstrokes of intense blue around glowing yellow and white circular stars and a crescent moon. The morning star, just to the left of center, glows brightest. The blue of the sky is blended into the black mountains. There is a large cypress tree on the left in the foreground that moves and sways with the same energy as the sky. It has been described as flame-like. The cypress reaches almost the entire height of the painting. The small village in the center is a juxtaposition, with straight brushstrokes in muted greys and blacks. The church spire reaches into the sky, mirroring the cypress tree. Yellow lights glow from the village windows. The church is notably dark, with no light shining from its windows. It is the sky that draws the eye, with its energy, swirling movement, and dream-like quality. To unlock this lesson you must be a Member. Create your account From The Starry Night analysis, it is evident that this painting is an excellent example of Post-Impressionism, which focuses on color, light, and the artist's feelings. Nature is often the subject of paintings from this period. Van Gogh was fascinated by the night sky and believed that there were more colors in the night than during the day. He also believed that death was a way to travel to the stars. The energy and movement of the dominating night sky in this painting are in contrast to the little town with its rigid, straight brushstrokes. The bright morning star, indicating the hours before dawn, was another obsession for Van Gogh. He made many sketches of the scene out his bedroom window at this time of night. The large cypress, also depicted with energetic brushstrokes, connects earth and sky like life and death. The Starry Night MeaningPost-Impressionist paintings are full of symbolism; and The Starry Night is no different. The Starry Night meaning is usually associated with Van Gogh's deteriorating mental health. The blues he used in this painting are a return to the colors he used previously during his struggles with mental illness. The swirling brushstrokes may also indicate his mental state. The dark church, painted from memory, has a steeple more like the Dutch churches of his youth, reminiscent of his deeply religious childhood. Surprisingly, the church does not have any light coming from the windows. The cypress tree was recognized as a symbol of graveyards and mourning. He wrote extensively in his letters to his brother Theo about stars, which dominate this painting, symbolizing for him dreaming, heaven, and death. It may be that The Starry Night foreshadowed Vincent Van Gogh's death by suicide one year after completing this painting. To unlock this lesson you must be a Member. Create your account The Starry Night was painted at The Saint Paul de Mausole asylum in France Van Gogh painted The Starry Night from memory in his studio The Starry Night is part of The Nocturne, a three painting set Van Gogh felt the painting was a failure Van Gogh died by suicide a year after completing The Starry Night The Starry Night was purchased in 1941 by The Museum of Modern Art in New York City The Starry Night is part of pop culture and is seen on everything, from mugs to T-shirts The Starry Night is included in The Immersive Van Gogh exhibit The Starry Night is worth over 100 million dollars today To unlock this lesson you must be a Member. Create your account Vincent Van Gogh painted The Starry Night while staying in The Saint Paul de Mausole asylum in France. He went to the asylum for mental illness treatment after cutting off part of his ear. The Starry Night aesthetic is an oil on canvas painting with swirling brush strokes, bright yellow and white circular stars, and a crescent moon. A small village is painted in the lower third of the painting with straight strokes of black and brown paint. A large cypress tree rises nearly the entire height of the painting on the left. It has similar energetic brushstrokes. A church spire reaches for the sky near the middle of the painting. To unlock this lesson you must be a Member. Create your account Analysis of the PaintingWhile van Gogh provided, via extensive letters to his brother, commentary on many of his works, he wrote shockingly little about The Starry Night. However, we do know that The Starry Night was not Vincent van Gogh's first attempt at painting the night sky, and by comparing the work to the earlier painting Starry Night Over the Rhone, one is able to make several inferences about how van Gogh felt by this point of his life. Starry Night Over the Rhone and The Starry Night Foremost, the humanity represented by Starry Night Over the Rhone is much brighter, as evidenced not only by the brightness of the windows, but the depths at which they are reflected on the river. Furthermore, the darkness of the sky is brighter than in The Starry Night, which, in the latter painting, is a symbol for depression. In the distance, the lighter blue is seen by some critics as the first signs of morning. It is important to note that here the optimism comes from the sky, not from the town. Description of the PaintingPainted by Vincent van Gogh just months before his tragic suicide, The Starry Night is perhaps his greatest masterpiece. In the work, van Gogh portrays a nameless European village amidst a dark wilderness, complete with dampened lights. Some buildings manage to emit just enough light to be noticed, but others, including, notably, the church, are dark and unwelcoming. However, the real action is what is going on above the town, where the moon and stars light up the sky. Light moves across the sky in great sweeps and strokes, defeating the dark sky wherever it is encountered. However, the stars are not enough to light up the whole sky, and between the viewer, the town, and the stars, there are vast fields of dark blue, a constant reminder of the depression and fear felt throughout the artist's life. Despite the best efforts of the stars above and the town below, the darkness still is not completely overcome. Analysis of the PaintingWhile van Gogh provided, via extensive letters to his brother, commentary on many of his works, he wrote shockingly little about The Starry Night. However, we do know that The Starry Night was not Vincent van Gogh's first attempt at painting the night sky, and by comparing the work to the earlier painting Starry Night Over the Rhone, one is able to make several inferences about how van Gogh felt by this point of his life. Starry Night Over the Rhone and The Starry Night Foremost, the humanity represented by Starry Night Over the Rhone is much brighter, as evidenced not only by the brightness of the windows, but the depths at which they are reflected on the river. Furthermore, the darkness of the sky is brighter than in The Starry Night, which, in the latter painting, is a symbol for depression. In the distance, the lighter blue is seen by some critics as the first signs of morning. It is important to note that here the optimism comes from the sky, not from the town. To unlock this lesson you must be a Member. Create your account I am evaluating a famous piece by Vincent van Gogh titled, The Starry Night. In this piece, I see the wind in the air, I see the stars in the sky as well as, the light that expels off of them. I see the beautiful little village below all the wonder in the sky that God created. The village is painted using dark colors but I find comfort in the light coming from the windows. Colors used to paint the village are brown, grey and blue. Each building in the small village is clearly outlined in black but my eyes are directed towards the stars and the moon in the sky. The air and sky have patterns that kind of flow like a spiral or whirlwind and the hills and the sky seem to blend together. It looks as if it might be cold or windy outside. There is a presence in the sky that goes beyond the elements and far beyond what you can see. The village seems to be quiet and still while the sky and the things above seem to have their own agenda. It looks like the painting was done in the early hours of the morning. The painting is calm yet exciting. The sky in this oil painting looks like it reaches into the heavens. The Starry Night is an oil painting created on a canvas. The original artwork was 29 x 36 ¼”. The colors in The Starry Night are largely different shades of blue as well as, yellow, white, black, green and brown. The oil painting seems to have its own unique flow and rhythm. It seems, as though, the air, hills and trees have a life of their own. The painting has lines and patterns made up of dots that give this oil painting uniqueness. Analysis The elements of design used in The Starry Night are composition, color, tone and brushstroke. The Starry Night is made of whirling clouds, shinning stars and an even brighter moon. These aspects gave this paining fluidity smooth elegance or grace. The use of white and yellow in this art piece direct attention towards the sky and bring the piece together in unity by the dominant color blue. The cypress tree and church tower are made up of vertical lines that break up the composition without taking away from the beautiful night sky. Value plays a key role in the color scheme as well because there are multiple shades of blue in this oil piece. The brushstrokes are thick, visible and not smeared together. This makes the lines in this piece distinct. Texture in The Starry Night is most certainly present. You can feel the art without necessarily touching the art. The primary shape used in The Starry Night are circles. Attention is drawn to the sky which have many circles that seem to be in motion. The principles of design used in the Starry Night are balance, proximity, repetition and contrast. The Starry Night is asymmetrical meaning the left and the right side are not identical to one another. Balance is achieved in this piece by contrast. Proximity is used in this piece by the spirals in the night sky surrounding the stars, moon and clouds. Repetition is used with the circular spiral shapes repeated in the night sky. I notice that shape, repetition and proximity are emphasized in this particular piece with the circles and spirals. Interpretation This morning when I woke up I didn’t particularly want to be alive. I wanted to choose a piece of artwork that was kind of dark in a comparable way to how I feel. I already feel like I am going through a dark season in my own life. Initially looking at this piece it felt dark to me. The dark mystical bush at the top of the hill gives me a sense of danger and makes me feel insecure. Somehow this piece and this art evaluation has lifted my spirits. The wind, stars and the moon seem to have God’s presence in the mist. The night sky which could have been even darker are quite bright for the night sky. This piece makes me feel secure with assurance that it might be nighttime but even during the night God is still there for me. I know during this time in Vincent van Gogh’s life he was said to have found religion. He was in an asylum, hallucinating and having mental problems in his own life. In a storm in his own life he created this masterpiece and it is very cool how it could speak to me during the storm I am going through right now in my own life. The Starry Night is said to be the view seen from Vincent van Gogh room in the asylum. Looking at this piece gives me a sense that more is going on then what I can see with my eyes. The moon and the stars are very big and although it is nighttime it is very bright. At first glance, the painting is kind of dreary or gloomy but once you look again the sky looks like its dancing and seems more hopeful. There is a feeling of something bigger and greater than the small village in this painting. I sense God’s presence in this painting; like I can have an overwhelming sense of security knowing that God is above protecting all that is underneath. Judgment I cannot imagine what life might have been like for Vincent van Gogh in this season of his life. The hallucinations and mental instability was not something happened but definitely not by choice. I feel like I can understand what the artist was trying to communicate. I feel like he found stability in the Lord during some frightening times of instability. I believe the message van Gogh might have been trying to send is important. I cannot trust myself and the choices I make at times but knowing God is in control is a relief. In creating this image of the night sky—dominated by the bright moon at right and Venus at center left—van Gogh heralded modern painting’s new embrace of mood, expression, symbol, and sentiment. Inspired by the view from his window at the Saint-Paul-de-Mausole asylum in Saint-Rémy, in southern France, where the artist spent twelve months in 1889–90 seeking reprieve from his mental illnesses, The Starry Night made in mid-June is both an exercise in observation and a clear departure from it. The vision took place at night, yet the painting, among hundreds of artworks van Gogh made that year, was created in several sessions during the day, under entirely different atmospheric conditions. The picturesque village nestled below the hills was based on other views—it could not be seen from his window—and the cypress at left appears much closer than it was. And although certain features of the sky have been reconstructed as observed, the artist altered celestial shapes and added a sense of glow. Van Gogh assigned an emotional language to night and nature that took them far from their actual appearances. Dominated by vivid blues and yellows applied with gestural verve and immediacy, The Starry Night also demonstrates how inseparable van Gogh’s vision was from the new procedures of painting he had devised, in which color and paint describe a world outside the artwork even as they telegraph their own status as, merely, color and paint. Publication excerpt from MoMA Highlights 375 Works from The Museum of Modern Art, New York New York The Museum of Modern Art, 2019 Additional text Vincent van Gogh produced emotional, visually arresting paintings over the course of a career that lasted only a decade. Nature, and the people living closely to it, first stirred his artistic inclinations and continued to inspire him throughout his short life. But rather than faithfully depicting his surroundings, he painted landscapes altered by his imagination. Van Gogh was seeking respite from plaguing depression at the Saint-Paul asylum in Saint-Rémy in southern France when he painted The Starry Night. It reflects his direct observations of his view of the countryside from his window as well as the memories and emotions this view evoked in him. The steeple of the church, for example, resembles those common in his native Netherlands, while the mountains in the background describe those in his surrounding landscape. Publication excerpt from Modern Art & Ideas on Coursera Examine a detailed 3-D model of The Starry Night that gives you a close-up view of the texture of the canvas and the artist’s brushstrokes from various angles. UNIQLO ArtSpeaks Sheldon A. Clarke on Vincent van Gogh’s The Starry Night Medium Oil on canvas Dimensions 29 x 36 1/4" x cm Credit Acquired through the Lillie P. Bliss Bequest by exchange. Conservation was made possible by the Bank of America Art Conservation Project Object number Department Painting and Sculpture We have identified these works in the following photos from our exhibition history. Painting, Sculpture, Prints May 24–Oct 15, 1944 The Museum Collection of Painting and Sculpture Jun 20, 1945–Feb 13, 1946 2 other works identified The Museum Collection of Painting and Sculpture Jun 20, 1945–Feb 13, 1946 2 other works identified Designed for Children Jun 11–Oct 6, 1946 2 other works identified XXVth Anniversary Exhibition Paintings from the Museum Collection Oct 19, 1954–Feb 6, 1955 2 other works identified Art in a Changing World 1884–1964 Painting and Sculpture from the Museum Collection May 27, 1964 1 other work identified Selections from the Permanent Collection Painting and Sculpture May 17, 1984–Aug 4, 1992 3 other works identified Selections from the Permanent Collection of Painting and Sculpture Jul 1, 1993 2 other works identified MoMA2000, ModernStarts, Places French Landscape, The Modernist Vision, 1880-1920 Oct 28, 1999–Mar 14, 2000 1 other work identified Collection Highlights May 8–10, 2002 To Be Looked At Painting and Sculpture from the Collection Jul 3, 2002–Sep 6, 2004 2 other works identified To Be Looked At Painting and Sculpture from the Collection Jul 3, 2002–Sep 6, 2004 6 other works identified Painting & Sculpture II Nov 20, 2004–Aug 5, 2015 3 other works identified Van Gogh and the Colors of the Night Sep 21, 2008–Jan 5, 2009 Van Gogh and the Colors of the Night Sep 21, 2008–Jan 5, 2009 501 19th-Century Innovators Fall 2019–Fall 2021 1 other work identified 501 19th-Century Innovators Fall 2019–Fall 2021 10 other works identified 517 Surrealist Objects Ongoing 6 other works identified 517 Surrealist Objects Ongoing 4 other works identified 501 19th-Century Innovators Fall 2019–Fall 2021 11 other works identified 502 Lillie P. Bliss Fall 2021 - Spring 2023 2 other works identified 502 Lillie P. Bliss Fall 2021 - Spring 2023 4 other works identified 502 Lillie P. Bliss Fall 2021 - Spring 2023 How we identified these works In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos. That project has concluded, and works are now being identified by MoMA staff. If you notice an error, please contact us at [email protected]. Provenance Research Project This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection. June - September 1889, Vincent van Gogh, 1889 - January 1891, Theo van Gogh 1857-1891, Paris, acquired from his brother Vincent van 1891 - December 1900, Johanna Jo van Gogh-Bonger, Amsterdam, in trust for her son, Vincent Willem van Gogh, Amsterdam, inherited from Theo van 1900 - February 1901, Julien Leclercq, Paris, purchased through Jo van 1901 - before July 1905, Claude-Emile Schuffenecker, Paris, acquired by exchange from Julien July 1905 - March 1906, Jo van Gogh-Bonger, Amsterdam, reacquired from Claude-Emile Schuffenecker.[Oldenzeel Gallery, Rotterdam]1906 - 1938, Georgette P. van Stolk 1867-1963, Rotterdam, purchased from/through Oldenzeel - 1941, Paul Rosenberg, Paris/New York, purchased from Georgette P. van Stolk through Jacob-Baart de la The Museum of Modern Art, New York, acquired by exchange from Paul Rosenberg Gallery. Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to Provenance Research Project The Museum of Modern Art 11 West 53 Street New York, NY 10019 Licensing If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material including installation views, checklists, and press releases, please contact Art Resource publication in North America or Scala Archives publication in all other geographic locations. MoMA licenses archival audio and select out of copyright film clips from our film collection. At this time, MoMA produced video cannot be licensed by MoMA/Scala. All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at [email protected]. Motion picture film stills cannot be licensed by MoMA/Scala. For access to motion picture film stills for research purposes, please contact the Film Study Center at [email protected]. For more information about film loans and our Circulating Film and Video Library, please visit If you would like to reproduce text from a MoMA publication, please email [email protected]. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected]. Feedback This record is a work in progress. If you have additional information or spotted an error, please send feedback to [email protected]. When one experiences the stars and infinity with great vividness, then despite the routine, life becomes almost enchanted. When I have a terrible need of—shall I say the word?—religion, then I go out at night to paint the stars.—Vincent van Gogh1 ON APRIL 24, 1889, Theo van Gogh2 made the following request to the director of the Hospital of Saint-Paul–de-Mausole in Saint-Rémy-de-Provence, France With the consent of the person concerned, who is my brother, I would like to ask you to admit to your establishment Vincent Willem van Gogh, artist, age 36, born at Groot-Sundert Netherlands, at present living in Arles. . . . As his confinement is required more to prevent a recurrence of previous attacks rather than because his mental condition is at present affected, I hope that you will find no inconvenience in granting him the liberty to paint outside the establishment when he wishes to do so. On May 8, 1889, Vincent was admitted to the hospital asylum and, on admission, was "perfectly calm and explained his case himself to the director as a man fully conscious of his condition."2 The following month, in mid June, asymptomatic, and supported by the structured life of the asylum, he painted The Starry Night. Vincent van Gogh 1853-1890, Dutch, The Starry Night, 1889. Oil on canvas. 29 × 36¼ in. Courtesy of the Museum of Modern Art, New York, NY; acquired through the Lillie P. Bliss Bequest. Vincent was initially hospitalized in Arles on December 24, 1888, after the notorious episode when he apparently threatened Gauguin with a razor and, later that night, cut off the lower part of his own left ear. He presented the ear fragment to a prostitute; much as a matador does to his lady after the death of the bull, although he had no recollection of these events. Vincent suffered 3 attacks in Arles, from December 24, 1888, to January 19, 1889, from February 4 to February 18, 1899, and February 26 to mid April 1889. Although he seemed fully recovered between episodes and was treated by a local physician, 30 citizens of Arles petitioned the mayor asking that Vincent be returned to his family or committed to an asylum stating that "he does not dispose of his full mental faculties, that he indulges in excessive drinking after which he finds himself in such a state of excitement that he does not know what he says or does and that his instability inspires public fear."2 His friend Signac reported that Vincent ate hardly anything and what he drank was always too much. After spending a day in the blazing sun he would "take his seat on the terrace of a café. And the absinthes and brandies would follow each other in quick succession."2 During his episodes he reported both visual and auditory hallucinations, writing to his sister that he "didn't in the least know what I said, what I wanted, and what I did."1 When confronted with his neglect and alcohol use, he wrote to Theo "I admit all that, but at the same time it is true that to attain the high yellow note that I attained last summer, I had to be pretty well keyed up."1 His home in Arles was the famed "Yellow House" that he and Gauguin shared for 2 months in an aborted attempt to establish the Studio of the South. This was to be an art colony that would promulgate a new postimpressionist movement in art that would express the religious impulse with an authentic emotional immediacy and directness that they felt must be restored in the modern era. Vincent's father and grandfather were ministers in the Dutch Reform Church and, after initially failing as an art dealer he, too, had pursued the ministry and lived for a time as an evangelist until his efforts to identify with the poor and lead a Christ-like life proved too much for the authorities of the church. Subsequently, he turned away from traditional religion, preferring a religion of nature. Although stimulated toward a religious vocation by his family, Blumer3,4 suggests that his heightened religiosity might also have been linked to underlying temporal lobe epilepsy. The painting is the culmination of his examination of the night sky initiated a year earlier with Starry Night Over the Rhône. An avid reader, he had written1 to his sister Anna then that he sought to reproduce in his painting the feeling that Walt Whitman elicited in him in his poetry when Whitman wrote of "the great starlit vault of heaven." The Starry Night is an imaginative reconstruction of natural images. Vincent wrote that the "imagination alone can lead us to the creation of a more exalting and consoling nature than a single brief glance at reality."5 Yet he preferred to accurately reflect nature, noting that he may "exaggerate and sometimes change a motif but in the end I never invent."5 Thus, The Starry Night depicts the eastern predawn sky as Vincent saw it from his room at Saint-Rémy at about 4 AM in mid June. The position of the morning star, Venus near the cyprus tree on the left, and the waning moon, with its aureole, are astronomically consistent6 with the early morning sky of June 19, 1889, the day he said he completed the The central image of interlocking clouds may be drawn from his knowledge of popular depictions of the whirlpool galaxy M51. Out of these elements, with the intervention of his imaginative genius, The Starry Night has become a visionary image with its network of pulsating white, orange, and blue stars above the village surrounded by wheat fields and an olive grove. Although the sky is in turmoil, the overall effect of the painting is an invigorating calmness. For Vincent, this may be an image of psychological mastery following the suffering that he had experienced. The cloudlike images in the center of the sky assume the archetypal form of a mandala, a symmetrical form that frequently emerges as psychological conflicts come into balance. The flaming cyprus tree dwarfs the traditional church steeple on the right. The olive trees seem to echo the undulating currents in the sky. It is as if the tidal wave of his illness represented by the turbulence in the sky and the flowing lines on earth have now been sublimated into a composition that documents his newfound stability. Yet despite the balance found here, the looming dark cypress, which is on the viewer's left, the funeral tree and symbol of death in this region of France, may portend another episode of illness. Indeed, in July, a month after completing this painting, van Gogh suffered another attack. His temperamental difficulties were a lifelong problem in his relationships with others. He was exquisitely sensitive to loss and rejection and responded with depressed moods. Epilepsy was the diagnosis he was given at the time in both Arles and Saint-Rémy. Blumer reviews3,4 the psychiatric aspects of temporal lobe epilepsy and applies diagnostic criteria to Vincent's illness, arguing convincingly that Vincent's presentation is consistent with the psychosis of epilepsy and interictal dysphoric disorder. It is proposed that Vincent's facial asymmetry may have resulted from a birth injury that led to mesial temporal sclerosis. The cylothymic quality of his moods has led Jamison7 to a diagnosis of bipolar disorder, or at least, periods of major depression and hypomania. Arnold8 has proposed the diagnosis of acute intermittent porphyria with attacks initiated by his poor nutrition and use of absinthe, alcohol, turpentine to mix paints and clean brushes, pinene, and camphor for insomnia. Regardless of the diagnosis he received, all authors agree that his use of absinthe,8 the "cocaine of the artists of the last century,"9 may have contributed to his attacks. Because of its toxicity, absinthe was subsequently banned in France and throughout the world. A major ingredient in absinthe is alpha thujone a convulsant that blocks the γ-aminobutyric acid type A GABAA receptor chloride It is proposed that when Vincent was released from the hospital in Arles, his return to the use of alcohol and absinthe precipitated the recurrence of his attacks. After diagnosing his condition as epilepsy, Dr Ray, his physician in Arles, used a bromide salt, the standard medication available at the time for treatment. Vincent seemed to respond and wrote to Theo that "the unbearable hallucinations have ceased, and are now reduced to simple nightmares, in consequence of taking bromide of potassium, I think."1 Potassium bromide may well have benefited him, as it functions as an anticonvulsant that also affects the GABAergic Yet when he entered the asylum in Saint-Rémy, his custodian physician discontinued its use. Vincent probably suffered from partial complex seizures temporal lobe epilepsy as well as a mood disorder aggravated by stress and his concerns about continued support from Theo. His illness may have been exacerbated by his chronic use of absinthe, brandy, turpentine, and camphor. Ironically, an ornamental tree, the thuja tree, Thuja occidentalis, a source for alpha thujone was planted over his grave where it remained for 15 years. When his coffin was disinterred for reburial next to that of his brother Theo, the roots of the thuja tree entwined Alpha thujone, the most toxic compound in absinthe, the drink that may have a played a major role in his psychosis, accompanied him to his grave. The image is copyrighted by The Museum of ModernArt/Licensed by SCALA/Art Resource, New York, NY. Complete Letters of Vincent van Gogh. 3 Boston, Mass Bullfinch Press of Little Brown &Co2000; ME Vincent van Gogh. New York, NY The Alpine Fine Arts Collection Ltd1981; D Dysphoric disorders and paroxysmal affects recognition and treatment of epilepsy-related psychiatric disorders. Harv Rev Psychiatry. 2000;88- 17Google ScholarCrossref A Van Gogh's Starry Night a history of matter and a matter of history. Arts Magazine. 1984;5986- 103Google KR Touched With Fire Manic-Depressive Illness and the Artistic Temperament. New York, NY Simon & Schuster1993; WN Vincent van Gogh Chemicals, Crises, and Creativity. Boston, Mass Birkhauser1992; D Absinthe The Cocaine of the Nineteenth Century. Jefferson, NC McFarland & Co1995; KMSirisoma NSIkeda TNarahashi TCasida JE Alpha-thujone the active component of absinthe gamma-aminobutyric acid type A receptor modulation and metabolic detoxification. Proc Natl Acad Sci U S A. 2000;973826- 3831Google ScholarCrossref HGrunig FGutschmidt UGutierrez RPfeiffer MDraguhn ABruckner CHeinemann U Sodium bromide effects on different patterns of epileptiform activity, extracellular pH changes and GABAergic inhibition. Naunyn Schmiedebergs Arch Pharmacol. 2000;36125- 32Google ScholarCrossref

analisis lukisan the starry night