Debora Silverman’s Van Gogh and Gauguin: The Search for the Sacred Art by Judith Linhares

Part of the Editor's Choice series.

BOMB 75 Spring 2001
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The artist as romantic outsider has been a staple of the popular imagination for much of the 20th-century. Debora Silverman’s new book, Van Gogh and Gauguin: The Search for Sacred Art puts into context these well known 19th-century artists, while restoring a sense of dignity to their individual pursuits. When Gauguin traveled to Arles to join van Gogh in communal living and artistic collaboration they made a legendary odd couple; their differing religious backgrounds both informed their work and directed their goals in their search for the “infinite” in art.

Silverman shows how this partnership was doomed from the beginning. Van Gogh was raised in the Dutch Reform Church, which stressed the values that found God in nature and community. This attitude is present in all of van Gogh’s work and is particularly highlighted in Silverman’s analysis of his seminal painting Sower. In his youth Gauguin attended a Catholic seminary run by Bishop Dupanloup, an activist for educational reform who was eager to mold young minds. He encouraged his charges to look to God for enlightenment and forgiveness for a sinful nature. Until the end of his life Gauguin seemed to be conversing with Bishop Dupanloup in an attempt to free himself from the corruption of material reality and cultivate a life of the imagination. The framing of the two artists in their separate religious upbringings and the close analysis of particular paintings show how their values, attitudes, and goals became visible in the process of painting.

In this scholarly and beautifully written book Silverman challenges our presumptions about the art-making process. Gauguin tried to rid his painting of any link with the material world by making his paint thin and his subjects mythical, while van Gogh tried to infuse the earth and its people with a vitality expressed in paint’s physical application. We can see how these artists were not acting out of personal and emotive states; rather, they were making work that conflicted with the ideals embodied in their time.

Debora Silverman’s Van Gogh and Gauguin: The Search for Sacred Art was published by Farrar, Straus and Giroux in November 2000.

Spirit of Inquiry: Eleanor Ray Interviewed by Paul Maziar
A painting of a view through a window with sunlight coming into the room titled, June Windows, by Eleanor Ray

Small paintings of attuned attention.

Odili Donald Odita by Ugochukwu-Smooth C. Nzewi
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For BOMB’s Oral History Project, Odita, known for his geometric paintings, recalls growing up as a refugee from the Nigerian Civil War and the influence of his father, a historian of African art.

One Piece: Linger Longer by Samuel Jablon
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The artist talks about the genesis, composition, and execution of a recently completed work.

Originally published in

BOMB 75, Spring 2001

Featuring interviews with Wendy Wasserstein, Wong Kar-Wai, Amos Gitai, Eduardo Galeano, Tobias Schneebaum, Micheal Goldberg, Samuel Mockbee, Andrea Zittel. 

Read the issue
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