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Staffage?
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Posted
I'm talking about populating a landscape with people. I've read that it's thought of as passé if you add, say, a man and his dog to a picture. But yesterday I went for a second time to worship at the feet of Van Gogh at the National Gallery's Poets & Lovers exhibition.
Oh there was so much to learn from him. Like the fact he sometimes didn't bother with shadows, even though technically there ought to be...so long as the picture had its chiaroscuro, he knew there was no need.
But what struck me most was that 90% of his landscapes were brought alive by his 'staffage'. Sometimes you thought there were none...but look closely - there was always one or two figures to awaken the landscape, to give it movement. (Ha!...As if a Van Gogh even needed movement)
I'll be going a third time next month, oh do try to get there if you can. As Marjorie suggested in the other thread, real life viewing stimulates the brain. It's so exciting - even the second time.
Here's one of his 'Reaper' pictures.


Posted
I've always liked to see life, whether with two legs or four, somewhere in a painting.
You have posted a good painting, Norrette. Vincent's work has always been full of life/ movement with and without staffage. His work has tremendous energy.
I've never worried much about this passe thing. I like what I like, I don't need others to suggest or tell me what I like.
Thanks for the info about the exhibition.
Posted
I managed to queue jump by flashing my membership card at the right hand staircase. My friend who is not a member also used the same entrance 10 mins earlier and had no problem also.
We had picked this week before half term, but it seems like there was a multitude of students visiting this week. The actual exhibition had a queue of 3 people in front of us at 1:30. So all these people in the outdoor queue were not to see Van Gogh.
I've chosen an 11am slot for my November visit.
Hint: Do not take large bags or liquids, this security check is all down to Just Stop Oil and their capers.
Edited
by Norrette Moore
