Architectural Space in the Paintings by Vincent van Gogh

The foreground is represented by a part of an empty table with no tableware or dishes; the viewer is offered a point of view of another visitor of the restaurant. Farther away, we see two unoccupied light-coloured long and narrow tables, with only empty bottles standing on them; there are no vases with flowers and the chairs are pushed in. At the second table, there are some signs of a recent visitor: a bottle of wine and a glass by its side.

The third one looks the least welcoming for visitors: with only one water bottle for the entire table, less chairs and no flowers it looks deserted. The fourth and the fifth tables almost merge into one. The gap between them is hardly visible, and the visitors are sitting close to each other, making the impression of a dense crowd from one border of the painting to the other. These two tables are decorated with vases of flowers, and there are paintings on the wall behind them.

The anthropomorphic characters are outlined in a very general way, with wide strokes of local colours, united into a group of characters. The only individualized character is the walking woman; standing out with her manner of motion, she draws attention with the verti- cality of her figure, the dynamics and direction of her walk, and clearer traced clothes reminding the uniform of a nurse.

The contrast light-coloured surface of the tables stands out in the background, perceived as a separator of the space. The first three rows are a lifeless territory with no people or any associated signs, like water bottles, tableware, or flowers. If there was a visitor at the second table, he would have been alone, and the presence of another person would not bring more life to this part of the space. This is a zone of alienation. At the same time, the fourth and the fifth tables are the epicentre of the restaurant life. The background is bustling with activity: the visitors absorbed in their meal, the walking woman, the flower pots, and paintings on the wall. Importantly, the flowers found around the restaurant are planted in pots, which is more typical for a homely interior. Due to her resemblance to a nurse, the woman may act as a symbol of life, salvation, and humanity.

In this piece of art, the interior is a reflection of the social and psychological conditions. Visually united by the table they are sitting at, the people are shown as a dense mass; the pot plants contribute to the image of community, unity, and life. At the same time, the first tables draw the picture of loneliness, alienation, and emptiness. The light-ochre tables standing out in the overall colour scheme remind of crossroads, offering the viewer to choose between joining the others and being alone.

Conclusion

The artistic studies of Vincent van Gogh belong to the post-impressionism trend, which declares the principal significance of the author's personal manner and representation of his individual world outlook. Just like other representatives of the trend, Van Gogh relied upon the achievements of impressionism and foreign art traditions, such as Japanese graphics, transformed by his subjective visual perception. The painting technique of Van Gogh is easy to recognize with the short dynamic strokes; colour prevailing over shape, distorting some elements of space. Together with colours, lines are used to shape up the saturated emotional charge of the paintings, expressing the psychological state of the author. The emotionally expressive language of the painter was used to manifest a number of spiritual and moral problems.

The review of the published studies showed how thoroughly the works of Van Gogh have been considered by representatives of different branches of knowledge and with a number of interdisciplinary approaches. The academic interest to the art of this painter is intensively developing and does not seem to fade: the researchers look upon the interdependence of the biography of the painter and the features of his individual techniques, the innovation of his painting manner, the technical aspects of painting, the symbolism and the influence Van Gogh made on his successors etc. We may notice a gradual increase in the number of studies intended to present the complete image of the artist to replace the picture of an artistically gifted man with a hard destiny and mental illnesses. The comprehensive studies of the painter's life and works attract many researchers of the early 21^st century.

Since the earliest periods, interior paintings have played a significant role in the art of Van Gogh. The architectural space and interior decorations were more than a formal picture of the material world, but acted as symbols for the psychological states and emotional dispositions. In his paintings, Vincent van Gogh turns to both personal and public interiors. However, due to their almost square format and chamber size, the works depicting public spaces are more likely to be perceived as personal, imposing a more intimate way of interaction. The philosophic and artistic analysis of the selected works showed that the interiors in the works by Van Gogh present the space of transformation. An ordinary bedroom is given a status of a sacral place where the mystery of creation takes place. A cafй acts as a place where one can contemplate over the finiteness of existence full with complex emotions, but, at the same time, this is a place where one can transform by releasing the passions burdening him. A piece of art may also throw the viewer into a hard psychological dilemma between the loneliness one is inclined to and the desire to join the society, as offered by Interior of a Restaurant in Arles. The arrangement of the composition and the colour system tunes the viewer to a certain emotional state; the pieces painted within three months of 1888 manifest the absolutely opposite states: one creates the feeling of joy and the experience of happiness; the other evokes the feeling of tragedy and hopelessness, and the third one represents the feeling of loneliness and alienation. However, in the complementary colours, types of lines and optic distortions of the linear perspective, the viewer can always find the way to escape these situations and leave. The interior spaces in the paintings by Van Gogh do not dominate over the viewer; they offer him to make a choice of his own.

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81Архитектурное пространство в произведениях Винсента Ван Гога

82Ю.Н. Авдеева, К.А. Дегтяренко, М.А. Колесник, Н.П. Копцева, Д.С. Пчелкина, А.А. Шпак Сибирский федеральный университет Российская Федерация, Красноярск

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