Van Gogh’s Painting

Van Gogh’s Painting

 The refusal to isolate and separate is evident in the style of Van Gogh’s painting. His work has often been called “ cosmic”. What, indeed, makes it possible to differentiate at first glance the analytical technique of Seurat from the pictorial vortices of Van Gogh is the linking of the elements of pictorial matter: the same movement of the brush appears to sweep through the whole canvas, submerging it in a continuous wave of furious, emotional painting.



Van Gogh’s plastic pictorial world, when compared with the analytical conception of a schizoid like Seurate, with the paranoid Dali’s disjointed, precise, formal, hard concrete painting or with the geometric abstractions of Mondrian, is clearly ruled by the viscous. Besides, it is with Van Gogh and his disciples, the Fauves, that oil paint begins to be as a viscous paste rather than as a translucid medium.


It is important to stress that the agglutinating structure of antiphrasis is the characteristic style of euphemism pushed to its limits. Schizomorphic structures were defined at the outset as structures of antithesis, and even antithetical hyperbole; whereas the vocation of binding, of attenuating differences and making negation disappear by the agency of negation itself, are all constitutive of antiphrasis, which is the ultimate euphemism.


In mystical language, everything is euphemized; the fall becomes a descent , chewing becomes swallowing, threatening darkness is tempered by night, matter becomes the mother, and tombs become blissful dwellings and cradles. For the great mystics, carnal language coincides with the semantics of salvation, and the same words express sin and redemption.



Anthropological Structures of the Imaginary

By Gilbert Durand

Translated by Springhero 雄伯

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