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How 'Shoes' (1886) shaped Van Gogh's reputation as an artist

An essay on how Van Gogh sought to shape his own artistic identity

By Juliet WilkinsonPublished 2 years ago 3 min read
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'Shoes' 1886 - Vincent Van Gogh

‘Shoes’ (1886), is a perfect representation of the identity Vincent van Gogh wished to construct for himself through the earlier part of the 1880s. It is an example of the non conformist work produced by an artist who rejected the rules of academia and wished to be seen as unique and authentic.

Van Gogh wished to be known as a ‘painter of peasant and rural life’, depicting people and symbols of the ‘real and hard’ aspects of provincial life and struggle. Additionally, his being perceived as a simple, common laborer (within his own profession) was of utmost importance in establishing the authenticity behind his craft.

The subject matter of ‘Shoes’ was definitely an unusual choice in a time when figure painting was the ‘norm’ - also their dilapidated state associates them with hard work and toil, which in turn aligns with Van Gogh's exaggerated, somewhat showy affinity to the peasant class (which he worked hard to understand through casting off his bourgeois background, living his own self-inflicted difficult life). In order to be seen as a master of ‘peasant life’ artistry, he needed to show his full understanding of ‘hard work and struggle’ through immersing himself in it. In turn this allowed him to emulate Delacroix (who painted everyday people) and Millet, whom he admired as an artist conveying the dignity of country life and labor.

‘Shoes’ is a depiction of an everyday object of working class life - a worn out, misshapen object, representing the never ending grind of work and drudgery of the life lived by the wearer. Perhaps also conveying the physical, spiritual and mental state of the owner - tired and worn down. In terms of color, the use of exaggerated, earthly, bleak tones further convey weary emotion. As a post impressionist, Van Gogh has utilized palette which is not particularly true to life but is his interpretation of accurate color to convey the extreme sadness he wanted (some of his work) to channel. Brushwork is also in line with the wild, messy, somewhat structureless (and in turn unique) style which Van Gogh was so proud of - his own adaptation of impressionist style. Additionally, he was not interested in establishing himself with the then academic approach of painting lifelike, fashionable subject matter, and that too through blended brushstrokes.

‘Shoes’ does not convey a natural space, where shoes may lie - there is no background detail - we cannot get away from the object which is at the forefront, heightening feelings of discomfort. This is of course in line with Van Gogh wishing to convey, accurately, the hardship of a life of laboring. ‘Shoes’ is not only painted in portrait, but is certainly not 3-dimensional in form or lifelike - further examples of Van Gogh relinquishing academic norms and establishing his unique reputation.

Surely, we think, the painter must fully understand (through living it) the drudgery of the life represented in the painting. This is exactly what Van Gogh wished people to think of him, and further solidified his (intended) identity as a poor, lowly artist - he felt that he became his ‘own muse’. The irony of this is that he was highly educated, from a middle class background, and was consistently financially supported by his brother. Additionally, he was making the choice to live what he felt was a ‘life of struggle’ (and that too to pursue his life's passion), whereas the peasant class have no vocational choice and perhaps do not feel passionately about constant toil for survival. This piece is also in line with Van Gogh's wish to produce art of ‘everyday people’ - of course no ‘respectable’, upper class citizen would adorn their wall with ‘Shoes’?!

Historical
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Juliet Wilkinson

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