Artlyst - Van Gogh’s Religious Journey Around London

My latest feature article for Artlyst, written in the light of The EY Exhibition: Van Gogh and Britain at Tate Britain, takes Van Gogh’s religious journey around London as the starting point for exploring the way in which the religious convictions which were nurtured in Van Gogh through his time in Britain may have then inspired his art:

'At Eternity’s Gate: The Spiritual Vision of Vincent van Gogh sees Kathleen Powers Erickson tracing Van Gogh’s pilgrimage of faith, from his early religious training, through his evangelical missionary period, to his struggle with religion and modern thought, and finally to the synthesis of traditional Christian beliefs with the modern world-view that Erickson contends he achieved in both his life and his art.

This synthesis extends from his first major work, The Potato Eaters, where he ‘attempted to suggest the divine presence symbolically … through his subtle allusion to the celebration of the Eucharist.’ His continuing preoccupation ‘with the symbols and subjects that first came to him through the parables and sayings of Jesus is apparent in his many renditions of sowers, reapers, and wheatfields.’ He explored new ways to represent the presence of Christ often ‘depicting him as a glowing light or a blazing sun’ and using the colour yellow to imply a divine presence. During his illness and confinement in St. Rémy it was ‘religion that often dictated his choice of subjects, such as the Pietà, the Good Samaritan, and the resurrected Lazarus.’ ‘Finally, Van Gogh’s continued belief in an afterlife informed the symbolism of his later works, such as Starry Night, Crows over the Wheatfield, and At Eternity’s Gate.’

My other Artlyst articles and interviews are:

• William Congdon Holy Sites And The Kettle’s Yard Connection
• Mark Dean Premieres Pastiche Mass At Banqueting Hall Chelsea College of Arts
• John Kirby: The Torment Underlying The Civilised Facade
• Curating Spiritual Sensibilities In Changing Times
• Ken Currie: Protest Defeat And Victory
• Bosco Sodi: A Moment Of Genesis
• Bill Viola And The Art Of Contemplation
• Art In Churches 2018: Spiritual Combinations Explored
• Sister Wendy Beckett – A Reminiscence
• Marleen Hengelaar-Rookmaaker On The Legacy Of ArtWay
• Guido Guidi: Per Strada Flowers Gallery London
• Peter Howson Artlyst Interview
• Peter Howson: The play is over – Flowers Gallery
• Camille Henrot: Scientific History And Creation Story Mash Up
• Nicola Green Explores Recent And Contemporary Religious Leaders – St Martin-in-the-Fields
• Art And The Consequences Of War Explored In Two Exhibitions
• Helaine Blumenfeld Translating Her Vision
• Alastair Gordon A Testament To His Faith
• Sacred Noise: Explores Religion, Faith And Divinity
• Bill Viola: Quiet Contemplative Video Installation St Cuthbert’s Church Edinburgh
• The ground-breaking work of Sister Corita Kent
• Katrina Moss Chaiya Art Awards Interview: Where is God in our 21st century world?
• Picasso To Souza: The Crucifixion Imagery Rarely Exhibited
• Apocalypse Now: Michael Takeo Magruder Interviewed
• Jonathan Anderson: Religious Inspirations Behind Modernism
• Michael Takeo Magruder: De / coding the Apocalypse – Panacea Museum
• Giorgio Griffa: The Golden Ratio And Inexplicable Knowledge
• Arabella Dorman Unveils New Installation At St James Church Piccadilly
• Can Art Transform Society?
• Art Awakening Humanity Conference Report
• Central St Martins in the Fields Design Then And Now
• The Sacramental And Liturgical Nature Of Conceptual Art
• Caravan – An Interview With Rev Paul Gordon Chandler On Arts Peacebuilding
• Art Awakening Humanity Alexander de Cadenet Interviewed
• Polish Art In Britain Centenary Marked At London’s Ben Uri Gallery
• Michael Pendry New Installation Lights Up St Martin In The Fields;
• Mark Dean Projects Stations of the Cross Videos On Henry Moore Altar;
• Refugee Artists Learning from The Lives Of Others;
• The Religious Impulses Of Robert Rauschenberg;
• The Christian Science Connection Within The British Modern Art Movement;
• Artists Rebranding The Christmas Tree Tradition;
• Art Impacted - A Radical Response To Radicalisation;
• The Art of St Martin-in-the-Fields; and
• Was Caravaggio A Good Christian?

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Don McLean - Vincent.

Foyer display: Jonathan Kearney

‘The promise of the morning sky’ by Jonathan Kearney (PVA glue, acrylic, wood)

St Martin-in-the-Fields is home to several commissions and permanent installations by contemporary artists.

We also have an exciting programme of temporary exhibitions, as well as a group of artists and craftspeople from the St Martin’s community who show artwork and organise art projects on a temporary basis.

One of the initiatives from this group is a changing display of work by the group members. Each month a different member of the group will show an example of their work, so, if you are able, do return to see the changing display.

Jonathan Kearney is an artist and teacher. He runs the Fine Art Masters course at Camberwell College of Arts, University of the Arts London and is Postgraduate Programme Director. For many years he has used PVA glue and acrylic paint, exploring movement, patterns, trace and colour.

There are many times we fear that hope has gone missing, a just and loving reign is despairingly distant, the long promised Kingdom of God has never arrived. Yet every day the early morning light hints at the coming sun. Long before the sun is visible its light warms the darkness and bathes the mist into brightness. Our dreams are energised by the promise of the morning sky.

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Bruce Cockburn - Hills Of Morning.