Van Gogh Sticker Sheets

Our vinyl sticker sheet gives you the perfect marketing material whether it's for your brand, your band, your art, or your event. With a vinyl construction and full design/shape customizability, you can create unique sticker bomb sheets with multiple stickers for all your needs. Available in white, holographic, and transparent versions to choose from. .: Material: water-resistant vinyl .: Suitable for indoor and short-term outdoor use .: Quantity: one sheet per listing 8.5" × 11" Width, in 8.50 Height, in 11.00 Depth, in 0.05 "Self Portrait" 1889 Self Portrait, 1889 is both more confident and more aggressive. It is a surly, almost rude and choleric face - as if the sitter had had enough of examining his features for signs of madness. There are deep creases by the nose and cheekbones, the eyebrows are thick and prominent, the corners of the mouth have turned down: it is the face of a man with no more time for friendliness. The snaking and swirling lines that denote the background are used for the person and clothing of the artist, too, and the restless rejection of harmony and tranquillity to which these lines attest sets the keynote of the subject's facial features: the need to deform and remake has created a new disorder in his physiognomy. The face is not so much meant to be coarse or angry as full of vitality, of the sense of the moment. Painter and sitter being one and the same person, there is (as it were) no need for the model to keep still. The picture is not a pretty pose nor a realistic record; rather, the face Van Gogh is here setting down on canvas is one that has seen too much jeopardy, too much turmoil, to be able to keep its agitation and trembling under control. It is not, in fact, an unfriendly face. This portrait articulates vitality. And the approach is plainly incapable of idealistic posing. Skull of a Skeleton with Burning Cigarette, 1885 by Vincent Van Gogh Skull of a Skeleton with Burning Cigarette is in many ways the key Antwerp picture. Van Gogh was mocking the procedure in drawing classes, where a skeleton invariably served as the basis of anatomical studies, considered by the teachers to be the artist's indispensable aid in figuring out physical proportions and anatomical structure. The lifelessness of the skeleton represented the very opposite of what van Gogh wanted a picture to express. With the burning cigarette jammed in its teeth, the skeleton, though still nothing but dead bones, has acquired a grotesquely funny hint of life. The painting is less amusing if we bear in mind van Gogh's feeling that he needed to make his outer appearance more attractive. He had just had major dental treatment. In Nuenen he had painted no selfportraits, but in Paris he tackled the task head-on - and the reason for this may well have been that van Gogh had recently acquired a touch of the upright citizen's vanity, and that he did not think himself presentable until his gap-teeth had been fixed. On the other hand, of course, if he now saw himself as a man about town, he would have developed the self-confidence needed to think he merited a self-portrait (and first some improvement of his facial appearance, which was sunken and weary). As Van Gogh mentioned in one of his letter, his health was not in the best of conditions: "The doctor tells me I absolutely have to keep my strength up...and until I have built it up I am to take it easy with my work. But now I have made things worse by smoking, which I did because one doesn't feel the emptiness of one's stomach then." With this in mind we can see the skull as van Gogh's first self-portrait - a cynical, merciless comment on an unkempt and unattractive appearance that had been a sign of solidarity with the peasants back in Nuenen but was now an embarrassment and a problem in the city." Street in Saintes-Maries-de-la-Mer ca. July 15, 1888 Vincent van Gogh Dutch In the summer of 1888, Van Gogh, who was then living in Arles, made a trip to the small Mediterranean fishing village of Saintes-Maries de la Mer, where he made a painted view of this street with its thatched roofs and smoking chimneys. This drawing was one of fifteen that were sent, in the month of July alone, to Van Gogh's friend, the artist Émile Bernard, in Brittany, to keep Bernard up to date on the work he was doing. In these vibrant drawings, Van Gogh captured the essence of the paintings while creating the compositions anew in a different medium. Street in Saintes-Maries-de-la-Mer, Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise), Reed pen, quill, and brown ink over black chalk on wove paper (backed with wove paper) Street in Saintes-Maries-de-la-Mer, Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise), Reed pen, quill, and brown ink over black chalk on wove paper (backed with wove paper)Street in Saintes-Maries-de-la-Mer, Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise), Reed pen, quill, and brown ink over black chalk on wove paper (backed with wove paper)Street in Saintes-Maries-de-la-Mer, Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise), Reed pen, quill, and brown ink over black chalk on wove paper (backed with wove paper) Street in Saintes-Maries-de-la-Mer, Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise), Reed pen, quill, and brown ink over black chalk on wove paper (backed with wove paper) Artwork Details Title: Street in Saintes-Maries-de-la-Mer Artist: Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise) Date: ca. July 15, 1888 Medium: Reed pen, quill, and brown ink over black chalk on wove paper (backed with wove paper)