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Van Gogh painted the Views of Paris from the perspective of his window in Montmartre looking toward the center of Paris. In the foreground of the composition, we see city blocks and buildings with bright and colorful shuttered windows and an array of rooftops, opening to a view of Paris in the distance with the cathedral of Notre-Dame de Paris in the city's center beneath the blue and green sky.
The Montmartre paintings are a group of works that Vincent van Gogh created in 1886 and 1887 of the Paris district of Montmartre while living there, at 54 Rue Lepic, with his brother Theo. Rather than capture urban settings in Paris, Van Gogh preferred pastoral scenes, such as Montmartre and Asnières in the northwest suburbs.
Wiks va Montmartre dem raporxo (trutca ke Van Gogh) Nudafa nakila koe Montmartre (trutca ke Van Gogh) Azekos is dizvexo koe Blute-Fin sukarn koe Montmartre (trutca ke Van Gogh) Deor ke Paris poke Montmartre (trutca ke Van Gogh) Rostelaxo koe Montmartre (1) (trutca ke Van Gogh) Rostelaxo koe Montmartre (2) (trutca ke Van Gogh)
Montmartre remained outside of the city limits of Paris until January 1, 1860, when it was annexed to the city along with other communities (faubourgs) surrounding Paris, and became part of the 18th arrondissement of Paris. In 1871, Montmartre was the site of the beginning of the revolutionary uprising of the Paris Commune.
View of Montmartre from Cité des Fleurs to Les Batignolles; View of Paris from Vincent's Room in the Rue Lepic; Vue de toits (Effet de neige) W. Wall of Love;
An aerial view of Paris in 1928. While the Eiffel Tower remains one of the top tourist destinations in Paris, the Palais de Trocadéro no longer stands across the river as pictured here.
Le Moulin de la Galette is the title of several paintings made by Vincent van Gogh in 1886 of a windmill, the Moulin de la Galette, which was near Van Gogh and his brother Theo's apartment in Montmartre. The owners of the windmill maximized the view on the butte overlooking Paris, creating a terrace for viewing and a dance hall for entertainment.
Like many Impressionsits, [2] Van Gogh was concerned about the way in which the landscape and way of life were affected by technical progress and industrialization. He felt the concern back in the Netherlands, which he expressed to Anthon van Rappard, "I remember as a boy seeing that heath and the little farms, the looms and the spinning wheels in exactly the same way as I see them now in ...
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