LUMINOUS EVENING

In the painting “Starry Night,” Van Gogh created a cosmos that endured for all of eternity. This is an illusion that surpasses any trails that Byzantine or Roman artists had tried to construct in order to execute the grand mysteries included inside the Christian religion. Van Gogh’s paintings of eruptible stars had a more direct connection to the discovery of space than they did to the mystical religion that was prevalent during that time period. On the other hand, this illusion was produced by means of precise strokes that required a significant amount of time. The more we learn about expressionism in painting, the more likely it is that we will associate it with confident brushstrokes. These uncontrolled or burning strokes were the result of activities that were either instinctive or spontaneous. Neither the process of logical thinking nor the use of rigorous methodologies were able to constrain them. Van Gogh’s artwork exudes a sense of novelty, originality, and unconventionality. This is due to the fact that he has had an encounter that is either supernatural or extrasensory. This sensation may be shown by a stroke that is performed with care. This stroke gives the impression that the painters are racking their minds and correctly reproducing the things that they are seeing in front of them. The statement is accurate in some respects. mostly due to the fact that Van Gogh was a painter who painted what he saw. Therefore, he painted the phantoms if he had seen them in the first place. The landscape picture known as “Starry Night” is both recognizable and ethereal. An example of this may be found in the elevated perspective methods that the landscape painter Bruegel used in the 16th century. However, the direct source of inspiration for Van Gogh came from several landscape paintings that were created by Impressionists. There is a little town in the valley that is perched calmly beneath the shelter of the ogival church, and the high cypresses are flowing gently in front of us. In what is being referred to as the “final judgment,” every single star and planet in the cosmos is exploding and whirling. This last judgment is not for us as individuals, but rather for the whole solar system. In the month of June in the year 1889, this piece was crafted in the Saint Remy sanatorium. Following the second time that his nerves had been thrown off, he was admitted to this sanatorium. The condition of his disease was both positive and negative at times; when he was in his right mind, he was brimming with feelings, and he continued to paint without stopping. The predominant hues are blue and violet, with the dazzling yellow being beaten out on a regular basis. A huge night in the globe is represented by the cypress tree in the foreground, which is dark green and brown in color. The great traditions of portraiture were passed down to Vincent Van Gogh, which is something that is not very frequent among painters of his period.