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Vincent Willem van Gogh

Paintings

Butterflies and poppies

The Sower

Flowers in a blue vase

Starry Night

The Red Vineyard

Enclosed Wheat Field with Peasant

Still Life with Irises

Noon. Rest from Work

Six Sunflowers

Sunset at Montmajour

The Mulberry Tree

The Sower

Country road in Provence by night

Arles - Two Lovers

Cafe Terrace at Night

A Lane near Arles

Flowering plum tree

Corn Harvest in Provence

Courtesan

The Stevedores in Arles

Langlois Bridge

The harvest

The white orchard

Enclosed Field with Ploughman

Garden at Arles

Imperial Fritillaries in a Copper Vase

Still Life with Irises

Landscape from Saint-Remy

Landscape with House and Ploughman


Vase with Oleanders and Books

Olive grove

Olive Trees

Olive Trees with yellow sky and sun

Roses

Starry Night Over the Rhone

Sunflowers

Sunflowers

The bedroom

The Olive Trees

Fishing boats on the beach at Les Saintes-Maries-de-la-Mer

Langlois Bridge at Arles

Vase with Twelve Sunflowers

Langlois Bridge at Arles with Women Washing

Avenue in the Park

At Eternity's Gate

Augustine Roulin with her infant

Peasants at Work

Farmer Huts in Auvers

Tree trunks

Mountain landscape at sunrise

View of Arles

View of Arles with Irises

View from Montmartre

Orchard in Blossom

Orchard in Blossom

Peach Tree in Bloom

Peach Tree in Bloom

Café Terrace at Night

Roofs , view from Atelier van Gogh on Schenkweg

The community house in Auvers

The sea at Saintes -Maries

The Poppy Field

The Restaurant de la Sirene at Asnieres

The Garden Daubigny

The Good Samaritan (after Delacroix)

The park of the hospital Saint-Paul in Saint -Remy

The Sower

The Zouave

The Anglois Bridge at Arles ( The Drawbridge )

The arenas of Arles

The bridge of l' Anglois

The bridge Trinquetaille

The bushes

The Shepherdess

The Potato Eaters

The Church at Auvers

The novel reader

The red wine gardens

The Round of the Prisoners

Plane at Auvers

Railway bridge over the road to Tarascon

Factory town

Field under storm sky

Fishing boats on the beach at Saintes-Maries

Garden restaurant " La Guinguette " in Montmartre

Bushes at Arles

Vegetable Gardens in Montmartre (La Butte Montmartre)

Vegetable Gardens in Montmartre

Wheatfield with Crows

Wheat Field with poppies and lark

Cornfield with Cypresses

Plaster Torso

Hill at Saint- Rémy

Huts in Cordeville

Madhouse garden of St-Rémy

Young Peasant

Young man with hat

Quay in Antwerp with ships

Church at Auvers

Crows over wheat field

L' Arlesienne ( portrait of Madame Ginoux)

La Mousme

Landscape at Auvers

Landscape at Auvers in the Rain

Landscape with plowed fields

Landscape with Olive Trees

Country road with cypresses

Le Moulin de la Galette

Le Moulin de la Galette

Le Moulin de la Galette

Le Pont de l' Anglois

Le Pont de l' Anglois

Lying cow

Girl in White in the forest

Mademoiselle Gachet at the Piano

Almond blossom branch

Montmartre at the upper mill

Night Cafe

Orchard with Cypress

Olive grove

olive grove

Couple having walk in the woods

Park of Arles

Paul Gauguin's Chair ( The Empty Chair )

Pieta (after Delacroix)

Portrait of Augustine Roulin (La Berceuse )

Portrait of Mademoiselle Ravoux

Portrait of the old farmer Patience Escalier

Portrait of Armand Roulin

Portrait of Armand Roulin

Portrait of the Postman Joseph Roulin

Portrait of Doctor Rey

Portrait of Dr. Gachet

Portrait of Eugène Boch

Portrait of Trabuc

Portrait of Paul -Eugène Milliet

Portrait of Père Tanguy

Portrait of a peasant woman with white hood

Portrait of a young peasant girl

Promenade in Arles

Snow-covered fields before Arles

Schoolboy

Self-portrait

Self-portrait

Self-portrait

Self-portrait

Self-portrait with cut ear


Self-portrait with cut ear


Self- Portrait with Grey Felt Hat


Self Portrait with Grey Hat


Self-Portrait with Palette


Self Portrait with Straw Hat


Self- Portrait in Front of Easel


Summer evening at Arles


Souvenir de Mauve


Walk in Arles

Still life


Still Life, A Pair of Shoes


Still Life, A Pair of Shoes


Still life of a vase with daisies and anemones


Still Life with Bottle, Lemons and Oranges


Still Life with imperial crowns in a bronze vase


Still Life with Roses and Sunflowers


Still life with red gladiolas

Still life with sunflowers

Still life with sunflowers

Still Life with Straw Hat and Pipe


Street in Auvers


Street and road in Auvers


Road workers


Street Scene in Montmartre


Gateway to Farm


Van Gogh's Bedroom

Moored boats with sand

Vincent's Bedroom

Vincent's Chair with Pipe

Weaver At The Loom

Wheat Field with Cypresses


Drawings

View of Arles


Farmer from the Camargue


Farmer meal


Tree in a meadow


The " Groote market " in Antwerp


The blue carts


The Rock


The Gravedigger


The Bridge at Arles


The iron bridge at Trinquetaille


Garden House with Sunflowers


Municipal House of Auvers


Behind the Schenkweg


La Crau


Landscape at Nuenen


Mother and Child


Starry sky above Staint -Remy


Dead sparrows


Weeping Woman


Cypress grove


Illustrations

The Potato Eaters

Man with Pipe

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Vincent Willem van Gogh (Dutch: faŋˈxɔx About this sound listen (help·info), or English: ˌvæn ˈɡɒx,[note 1] 30 March 1853 – 29 July 1890) was a Dutch post-Impressionist painter whose work had a far-reaching influence on 20th century art for its vivid colors and emotional impact. He suffered from anxiety and increasingly frequent bouts of mental illness throughout his life, and died largely unknown, at the age of 37, from a self-inflicted gunshot wound.

Vincent van Gogh Complete Works

Little appreciated during his lifetime, his fame grew in the years after his death. Today, he is widely regarded as one of history's greatest painters and an important contributor to the foundations of modern art. Van Gogh did not begin painting until his late twenties, and most of his best-known works were produced during his final two years. He produced more than 2,000 artworks, consisting of around 900 paintings and 1,100 drawings and sketches. Although he was little known during his lifetime, his work was a strong influence on the modernist art that followed. Today many of his pieces—including his numerous self portraits, landscapes, portraits and sunflowers—are among the world's most recognizable and expensive works of art.

Van Gogh spent his early adulthood working for a firm of art dealers and traveled between The Hague, London and Paris, after which he taught in England. An early vocational aspiration was to become a pastor and preach the gospel, and from 1879 he worked as a missionary in a mining region in Belgium. During this time he began to sketch people from the local community, and in 1885 painted his first major work The Potato Eaters. His palette at the time consisted mainly of sombre earth tones and showed no sign of the vivid coloration that distinguished his later work. In March 1886, he moved to Paris and discovered the French Impressionists. Later he moved to the south of France and was taken by the strong sunlight he found there. His work grew brighter in color and he developed the unique and highly recognizable style which became fully realized during his stay in Arles in 1888.

The extent to which his mental illness affected his painting has been a subject of speculation since his death. Despite a widespread tendency to romanticise his ill health, modern critics see an artist deeply frustrated by the inactivity and incoherence brought about by his bouts of sickness. According to art critic Robert Hughes, Van Gogh's late works show an artist at the height of his ability, completely in control and "longing for concision and grace".[1]

Letters
Headshot photo of the artist as a cleanshaven young man. He has thick, ill-kempt, wavy hair, a high forehead, and deep-set eyes with a wary, watchful expression.
Vincent age 18, c. 1871–1872. This photograph was taken at the time when he was working at the branch of Goupil & Cie's gallery at The Hague.[2][3]
Headshot photo of a young man, similar in appearance to his brother, but neat, well-groomed and calm.
Theo in 1878 at age 21. Theo was a life-long supporter and friend to his brother. The two are buried together at Auvers-sur-Oise.[4]

The most comprehensive primary source for the understanding of Van Gogh as an artist is the collection of letters which were passed between him and his younger brother, the art dealer Theo van Gogh.[5] They lay the foundation for most of what is known about the thoughts and beliefs of the artist.[6][7] Theo continually provided his brother with both financial and emotional support.

Their lifelong friendship, and most of what is known of Van Gogh's thoughts and theories of art, is recorded in the hundreds of letters they exchanged from August 1872 until 1890. Most were written by Vincent to Theo beginning in the summer of 1872. More than 600 letters from Vincent to Theo and 40 from Theo to Vincent survive today and although many are undated, art historians have been able to largely arrange the correspondences chronologically. Problems remain—mainly from dating those from the Arles period. Yet during that period alone, it is known that Van Gogh wrote 200 letters to friends in Dutch, French and English.[8] The period when Vincent lived in Paris is the most difficult for art historians to examine because he and Theo shared accommodation and thus had no need to correspond, leaving little or no historical record of the time.[9]

In addition to letters to and from Theo, other surviving documents include those to Van Rappard, Émile Bernard, Van Gogh's sister Wil and her friend Line Kruysse.[10] The letters were first annotated in 1913 by Theo's widow Johanna van Gogh-Bonger. In her preface, she stated that she published with 'trepidation' because she did not want the drama in the artist's life to overshadow his work. Van Gogh himself was an avid reader of other artists' biographies and expected their lives to be in keeping with the character of their art.[5]

Biography
For a timeline, see Vincent van Gogh chronology.

Early life

Vincent Willem van Gogh was born on 30 March 1853 in Groot-Zundert, a village close to Breda in the province of North Brabant in the southern Netherlands.[11] He was the son of Anna Cornelia Carbentus and Theodorus van Gogh, a minister of the Dutch Reformed Church. Vincent was given the same name as his grandfather—and a first brother stillborn exactly one year before.[12] The practice of reusing a name in this way was not uncommon. Vincent was a common name in the Van Gogh family; his grandfather, Vincent, (1789–1874) had received his degree of theology at the University of Leiden in 1811. Grandfather Vincent had six sons, three of whom became art dealers, including another Vincent who was referred to in Van Gogh's letters as "Uncle Cent." Grandfather Vincent had perhaps been named in turn after his own father's uncle, the successful sculptor Vincent van Gogh (1729–1802).[13] Art and religion were the two occupations to which the Van Gogh family gravitated. His brother Theodorus (Theo) was born on 1 May 1857. He had another brother, Cor, and three sisters: Elisabeth, Anna and Willemina (Wil).[14]
black and white formal headshot photo of the artist as a boy in jacket and tie. He has thick curly hair and very pale-colored eyes with a wary, uneasy expression.
Vincent c. 1866, approx. age 13

As a child, Vincent was serious, silent and thoughtful. He attended the Zundert village school from 1860, where the single Catholic teacher taught around 200 pupils. From 1861, he and his sister Anna were taught at home by a governess, until 1 October 1864, when he went away to the elementary boarding school of Jan Provily in Zevenbergen, the Netherlands, about 20 miles (32 km) away. He was distressed to leave his family home, and recalled this even in adulthood. On 15 September 1866, he went to the new middle school, Willem II College in Tilburg, the Netherlands. Constantijn C. Huysmans, a successful artist in Paris, taught Van Gogh to draw at the school and advocated a systematic approach to the subject. In March 1868, Van Gogh abruptly left school and returned home. A later comment on his early years was, "My youth was gloomy and cold and sterile".[15] In July 1869, his uncle helped him obtain a position with the art dealer Goupil & Cie in The Hague. After his training, in June 1873, Goupil transferred him to London, where he lodged at 87 Hackford Road, Brixton,[16] and worked at Messrs. Goupil & Co., 17 Southampton Street.[17] This was a happy time for him; he was successful at work and was, at 20, earning more than his father. Theo's wife later remarked that this was the happiest year of Van Gogh's life. He fell in love with his landlady's daughter, Eugénie Loyer, but when he finally confessed his feeling to her, she rejected him, saying that she was already secretly engaged to a former lodger. He was increasingly isolated and fervent about religion. His father and uncle sent him to Paris to work in a dealership. However, he became resentful at how art was treated as a commodity, a fact apparent to customers. On 1 April 1876, his employment was terminated.[18]

Van Gogh returned to England for unpaid work. He took a position as a supply teacher in a small boarding school overlooking the harbor in Ramsgate, where he made sketches of the view. When the proprietor of the school relocated to Isleworth, Middlesex, Van Gogh moved to the new location taking the train to Richmond and the remainder of the journey by foot.[19] However the arrangement did not work out and he left to became a Methodist minister's assistant, to follow his wish to "preach the gospel everywhere."[20] At Christmas, he returned home and worked in a bookshop in Dordrecht for six months. However, he was not happy in this new position and spent most of his time in the back of the shop either doodling or translating passages from the Bible into English, French and German.[21] His roommate at the time, a young teacher called Görlitz, later recalled that Van Gogh ate frugally, and preferred not to eat meat.[22][23]

Van Gogh's religious emotion grew until he felt he had found his true vocation. In an effort to support his effort to become a pastor, in May 1877, his family sent him to Amsterdam to study theology. He stayed with his uncle Jan van Gogh, a naval Vice Admiral.[24] Vincent prepared for the entrance exam with his uncle Johannes Stricker; a respected theologian who published the first "Life of Jesus" available in the Netherlands. He failed, and left his uncle Jan's house in July 1878. He then undertook, but failed, a three-month course at the Vlaamsche Opleidingsschool Protestant missionary school in Laeken, near Brussels.
photo of a two-story brick house on the left partially obscured by trees with a front lawn and with a row of trees on the right
The house where Van Gogh stayed in Cuesmes in 1880; while living here he decided to become an artist

In January 1879, he took a temporary post as a missionary in the village of Petit Wasmes[25] in the coal-mining district of Borinage in Belgium. Taking Christianity to what he saw as its logical conclusion, Van Gogh opted to live like those he preached to—sharing their hardships to the extent of sleeping on straw in a small hut at the back of the baker's house where he was billeted. The baker's wife reported hearing Van Gogh sobbing all night in the hut. His choice of squalid living conditions did not endear him to the appalled church authorities, who dismissed him for "undermining the dignity of the priesthood." He then walked to Brussels,[26] returned briefly to the village of Cuesmes in the Borinage but gave in to pressure from his parents to return home to Etten. He stayed there until around March the following year,[a 1] a cause of increasing concern and frustration for his parents. There was particular conflict between Vincent and his father; Theodorus made inquiries about having his son committed to the lunatic asylum at Geel.[27][28]

He returned to Cuesmes where he lodged with a miner named Charles Decrucq until October.[29] He became increasingly interested in the people and scenes around him. He recorded his time there in his drawings, and that year followed the suggestion of Theo and took up art in earnest. He traveled to Brussels that autumn; intending to follow Theo's recommendation to study with the prominent Dutch artist Willem Roelofs, who persuaded Van Gogh, in spite of his aversion to formal schools of art, to attend the Académie Royale des Beaux-Arts in Brussels. He registered on November 15, 1880. While in attendance, he not only studied anatomy but also the standard rules of modeling and perspective, of which he said, "...you have to know just to be able to draw the least thing."[30] Van Gogh wished to become an artist while in God's service as he stated, "...to try to understand the real significance of what the great artists, the serious masters, tell us in their masterpieces, that leads to God; one man wrote or told it in a book; another in a picture."

Etten, Drenthe and The Hague

In April 1881, Van Gogh moved to the Etten countryside with his parents where he continued drawing, often using neighbors as subjects. Through the summer he spent much time walking and talking with his recently widowed cousin, Kee Vos-Stricker. She was the daughter of his mother's older sister and Johannes Stricker, who had shown warmth towards the artist.[31] Kee was seven years older than Van Gogh and had an eight-year-old son. He proposed marriage, but she refused with the words, "No, never, never" (niet, nooit, nimmer).[32] Late that November, he wrote a strongly worded letter to his uncle Stricker,[33] and then hurried to Amsterdam where he again spoke with Stricker on several occasions.[34] Kee refused to see him and her parents wrote, "Your persistence is disgusting".[35] In desperation, he held his left hand in the flame of a lamp, with the words "Let me see her for as long as I can keep my hand in the flame."[35] He did not clearly recall what next happened, but later assumed that his uncle blew out the flame. Kee's father made it clear that there was no question of marriage[36] given Van Gogh's inability to support himself financially.[37] Van Gogh's perceived hypocrisy of his uncle and former tutor affected him deeply. That Christmas he quarreled violently with his father, to the point of refusing a gift of money, and left for The Hague.[38]
A view from a window of pale red rooftops. A bird flying in the blue sky and in the near distance fields and to the right, the town and others buildings can be seen. In the distant horizon are smokestacks
Rooftops, View from the Atelier The Hague (1882), watercolour, Private collection.

In January 1882, he settled in The Hague where he called on his cousin-in-law, the painter Anton Mauve (1838–1888). Mauve introduced him to painting in both oil and watercolour and lent him money to set up a studio,[39] however the two soon fell out, possibly over the issue of drawing from plaster casts.[40] Mauve appears to have suddenly gone cold towards Van Gogh and did not return a number of his letters.[41] Van Gogh supposed that Mauve had learned of his new domestic arrangement with an alcoholic prostitute, Clasina Maria "Sien" Hoornik (1850–unknown)[42] and her young daughter.[43][44] He had met Sien towards the end of January,[45] when she had a five-year-old daughter and was pregnant. She had already borne two children who had died, although Van Gogh was unaware of this.[46] On 2 July, Sien gave birth to a baby boy, Willem.[47] When Van Gogh's father discovered the details of their relationship, he put considerable pressure on his son to abandon Sien and her children.[48] Vincent was at first defiant in the face of opposition.[49]

Van Gogh's art dealer uncle, Cornelis, commissioned 20 ink drawings of the city, the artist completed by the end of May.[50] That June, he spent three weeks in a hospital suffering gonorrhea.[51] That summer he began to paint in oil.[52] In autumn 1883, after a year together, he left Sien and the two children. Van Gogh had thought of moving the family from the city, but in the end made the break.[53] It is possible that lack of money had pushed Sien back to prostitution—the home had become a less happy one, and likely Van Gogh felt family life was irreconcilable with his artistic development. When he left, Sien gave her daughter to her mother and baby Willem to her brother. She then moved to Delft, and later to Antwerp.[54] Willem remembered being taken to visit his mother in Rotterdam at around the age of 12, where his uncle tried to persuade Sien to marry in order to legitimize the child. Willem remembered his mother saying, "But I know who the father is. He was an artist I lived with nearly 20 years ago in The Hague. His name was Van Gogh." She then turned to Willem and said "You are called after him."[55] Willem believed himself to be Van Gogh's son, however the timing of his birth makes this unlikely.[56] In 1904, Sien drowned at her own hand in the river Scheldt. Van Gogh moved to the Dutch province of Drenthe, in the northern Netherlands. That December, driven by loneliness, he went to stay with his parents who were by then living in Nuenen, North Brabant.[57]

Emerging artist

Nuenen and Antwerp (1883–1886)

In Nuenen, he devoted himself to drawing and would pay boys to bring him birds' nests for subject matter,[58] and made many sketches of weavers in their cottages.[59] In autumn 1884, Margot Begemann, a neighbor's daughter ten years older than him, often accompanied the artist on his painting forays. She fell in love, and he reciprocated—though less enthusiastically. They decided to marry, but the idea was opposed by both families. As a result, Margot took an overdose of strychnine. She was saved when Van Gogh rushed her to a nearby hospital.[47] On 26 March 1885, his father died of a heart attack and the artist grieved deeply at the loss.[60]
A human skull, bare bones of a neck and shoulders. The skull has a lit cigarette between its teeth.
Skull of a Skeleton with Burning Cigarette (1885), oil on canvas, Van Gogh Museum
group of five sit around a small wooden table with a large platter of food, while one person pours beverages from a kettle in a dark room with an overhead lantern
The Potato Eaters (1885), Van Gogh Museum

For the first time, there was interest from Paris in his work. That spring, he completed what is generally considered his first major work, The Potato Eaters (Dutch: De Aardappeleters).[61] That August, his work was exhibited for the first time, in the windows of a paint dealer, Leurs, in The Hague. He was accused of forcing himself on one of his young peasant sitters who became pregnant that September.[a 2] As a result, the Catholic village priest forbade parishioners from modeling for him. During 1885, he painted several groups of still-life paintings.

From this period, Still-Life with Straw Hat and Pipe and Still-life with Earthen Pot and Clogs are regarded by critics and writers for their technical mastery. Both are characterized by smooth, meticulous brushwork and fine shading of colors.[62] During his two-year stay in Nuenen, he completed numerous drawings and watercolors and nearly 200 oil paintings. However, his palette consisted mainly of sombre earth tones, particularly dark brown, and he showed no sign of developing the vivid coloration that distinguishes his later, best known work. When he complained that Theo was not making enough effort to sell his paintings in Paris, Theo replied that they were too dark and not in line with the current style of bright Impressionist paintings.[63]

In November 1885, he moved to Antwerp and rented a small room above a paint dealer's shop in the Rue des Images (Lange Beeldekensstraat).[64] He had little money and ate poorly, preferring to spend what money his brother Theo sent on painting materials and models. Bread, coffee and tobacco were his staple intake. In February 1886, he wrote to Theo saying that he could only remember eating six hot meals since May of the previous year. His teeth became loose and caused him much pain.[65] While in Antwerp he applied himself to the study of color theory and spent time looking at work in museums, particularly the work of Peter Paul Rubens, gaining encouragement to broaden his palette to carmine, cobalt and emerald green. He bought a number of Japanese Ukiyo-e woodcuts in the docklands, and incorporated their style into the background of a number of his paintings.[66] While in Antwerp Van Gogh began to drink absinthe heavily.[67] He was treated by Dr Cavenaile, whose practice was near the docklands,[68] possibly for syphilis;[69] the treatment of alum irrigations and sitz baths was jotted down by Van Gogh in one of his notebooks.[70] Despite his rejection of academic teaching, he took the higher-level admission exams at the Academy of Fine Arts in Antwerp, and in January 1886, matriculated in painting and drawing. For most of February, he was ill and run down by overwork, a poor diet and excessive smoking.[71][72]

] Paris (1886–1888)

Van Gogh traveled to Paris in March 1886 to study at Fernand Cormon's studio, where he shared Theo's Rue Laval apartment on Montmartre. In June, they took a larger flat further uphill, at 54 Rue Lepic. Since there was no longer need to communicate by letters, less is known about his time in Paris than of earlier or later periods of his life.[73] He painted several Paris street scenes in Montmartre and elsewhere, including Bridges across the Seine at Asnieres (1887).

During his stay in Paris, he collected Japanese ukiyo-e woodblock prints. His interest in such works date to his 1885 stay in Antwerp when he used them to decorate the walls of his studio. He collected hundreds of prints, and they can be seen in the backgrounds of several of his paintings. In his 1887 Portrait of Père Tanguy several are shown hanging on the wall behind the main figure. In The Courtesan or Oiran (after Kesai Eisen) (1887), Van Gogh traced the figure from a reproduction on the cover of the magazine Paris Illustre and then graphically enlarged it in his painting.[74] Plum Tree in Blossom (After Hiroshige) 1888 is another strong example of Van Gogh's admiration of the Japanese prints that he collected. His version is slightly bolder than the original.[75]

Van Gogh, greatly admired the work of Adolphe Joseph Thomas Monticelli after seeing it in Paris when he arrived there in 1886. Van Gogh immediately adopted a brighter palette and a bolder attack [76][77] In 1890, Van Gogh and his brother Theo were instrumental in publishing the first book about Monticelli.[78]
blue-hued pastel drawing of a man facing right, seated at a table with his hands and a glass on it while wearing a coat and with windows in the background
Henri de Toulouse-Lautrec, Portrait of Vincent van Gogh (1887), pastel drawing, Van Gogh Museum

For months, Van Gogh worked at Cormon's studio where he frequented the circle of the British-Australian artist John Peter Russell,[79] and met fellow students like Émile Bernard, Louis Anquetin, and Henri de Toulouse-Lautrec, who painted a portrait of Van Gogh with pastel. The group would meet at the paint store run by Julien "Père" Tanguy, which was at that time the only place to view works by Paul Cézanne. He had easy access to Impressionist works in Paris at the time. In 1886, two large vanguard exhibitions were staged. In these shows Neo-Impressionism made its first appearance—works of Georges Seurat and Paul Signac were the talk of the town. Though Theo, too, kept a stock of Impressionist paintings in his gallery on Boulevard Montmarte—by artists including Claude Monet, Alfred Sisley, Edgar Degas and Camille Pissarro—Vincent seemingly had problems acknowledging developments in how artists view and paint their subject matter.[80] Conflicts arose, and at the end of 1886 Theo found shared life with Vincent "almost unbearable". By the spring of 1887 they had made peace.

He moved to Asnières where he became acquainted with Signac. With Émile Bernard he adopted elements of pointillism, whereby many small dots are applied to the canvas to give an optical blend of hues when seen from a distance.[81] The style stresses the value of complementary colors—including blue and orange—to form vibrant contrasts and enhance each other when juxtaposed.[82]

In November 1887, Theo and Vincent met and befriended Paul Gauguin who had just arrived in Paris.[83] Towards the end of the year, Vincent arranged an exhibition of paintings by himself, Bernard, Anquetin, and probably Toulouse-Lautrec in the Restaurant du Chalet on Montmartre. There Bernard and Anquetin sold their first paintings, and Van Gogh exchanged work with Gauguin who soon departed to Pont-Aven. Discussions on art, artists and their social situations that started during this exhibition continued and expanded to include visitors to the show like Pissarro and his son Lucien, Signac and Seurat. Finally in February 1888, feeling worn out from life in Paris, he left, having painted over 200 paintings during his two years in the city. Only hours before his departure, accompanied by Theo, he paid his first and only visit to Seurat in his atelier (studio).[84]

Artistic breakthrough and final years

Arles

Van Gogh moved to Arles hoping for refuge; at the time he was ill from drink and suffering from smoker's cough.[8] He arrived on 21 February 1888, and took a room at the Hôtel-Restaurant Carrel, which, idealistically, he had expected to look like one of Hokusai (1760–1849) or Utamaro's (1753–1806) prints.[8][85] He had moved to the town with thoughts of founding a utopian art colony, and the Danish artist Christian Mourier-Petersen became his companion for two months. However, Arles appeared exotic and filthy to Van Gogh. In a letter he described it as a foreign country; "The Zouaves, the brothels, the adorable little Arlesiennes going to their First Communion, the priest in his surplice, who looks like a dangerous rhinocerous, the people drinking absinthe, all seem to me creatures from another world".[86]

100 years after his stay there, he was remembered by 113-year-old Jeanne Calment—who as a 13 year old was serving in her uncle's fabric shop where Van Gogh wanted to buy some canvas—as "dirty, badly dressed and disagreeable" and "very ugly, ungracious, impolite, sick".[87][88] She also recalled selling him colored pencils.[89]
A narrow bedroom with wooden floor, green walls, a large bed to the right, a 2 straw chairs to the left, and a small table, a mirror and a shuttered window on the back wall. Hanging over the bed are several small pictures
Bedroom in Arles (1888), Van Gogh Museum

Yet, he was taken by the local landscape and light. His works from the period are richly draped in yellow, ultramarine and mauve. His portrayals of the Arles landscape are informed by his Dutch upbringing; the patchwork of fields and avenues appear flat and lack perspective, but excel in their intensity of colour.[8][86] The vibrant light in Arles excited him, and his newfound appreciation is seen in the range and scope of his work. He painted local landscapes using a gridded "perspective frame" that March. Three of these paintings were shown at the annual exhibition of the Société des Artistes Indépendants. In April, he was visited by the American artist Dodge MacKnight, who was living nearby at Fontvieille.[85][90] On 1 May, he signed a lease for 15 francs month in the eastern wing of the Yellow House at No. 2 Place Lamartine. The rooms were unfurnished and uninhabited for some time. He had been staying at the Hôtel Restaurant Carrel, but the rate charged by the hotel was 5 francs a week, which he found excessive. He disputed the price, took the case to a local arbitrator and was awarded a twelve franc reduction on his total bill.[91]
laborers toil in the field, with all but one on foot and the other manning a beast drawn cart; a river curves in and out of the scene from the upper right with one person in it and the sun is prominently displayed among yellow lighting; the foreground fields are multicolored and the background fields are yellowish.
The Red Vineyard (November 1888), Pushkin Museum, Moscow). Sold to Anna Boch, 1890
patrons are present at a sparsely attended venue with half full seating tables along the right and left walls, while the back wall has a taller piece of furniture with bottles atop it next to a doorway and in the center of the room is a large piece of furniture that may be a billiards table. Bright lanterns hang from the ceiling and one person is standing.
The Night Café (1888), Yale University Art Gallery, New Haven
A wooden rocking chair with a couple of opened books set on the green and yellow seat cushion with a lit candle in a holder also on the seat of the chair. On the wall is a burning candle in a holder casting a glowing light.
Paul Gauguin's Armchair (1888), Van Gogh Museum

He moved from the Hôtel Carrel to the Café de la Gare on 7 May,[92] where he became friends with the proprietors, Joseph and Marie Ginoux. Although the Yellow House had to be furnished before he could fully move in, Van Gogh was able to utilise it as a studio.[93] Hoping to have a gallery to display his work, his major project at this time was a series of paintings which included: Van Gogh's Chair (1888), Bedroom in Arles (1888), The Night Café (1888), The Café Terrace on the Place du Forum, Arles, at Night (September 1888), Starry Night Over the Rhone (1888), Still Life: Vase with Twelve Sunflowers (1888), all intended to form the décoration for the Yellow House.[94] Van Gogh wrote about The Night Café: "I have tried to express the idea that the café is a place where one can ruin oneself, go mad, or commit a crime."[95]

He visited Saintes-Maries-de-la-Mer that June where he gave drawing lessons to a Zouave second lieutenant, Paul-Eugène Milliet. MacKnight introduced Van Gogh to Eugène Boch, a Belgian painter who stayed at times in Fontvieille, and the two exchanged visits in July.[96]
A vase on a table with about a dozen flowers of varying shades of yellow, tan and beige; a few at the top have darker centers and one on the left is green
Still Life: Vase with Twelve Sunflowers (August 1888), Neue Pinakothek, Munich
an outdoor cafe with tables and chairs to the left of an adjacent a streetway beneath an awning and under a nighttime sky with yellow stars in a dark sky; people are present in the background of both the cafe and street but not the foreground; dark buildings line the right side of the streetway.
The Café Terrace on the Place du Forum, Arles, at Night (September 1888), Kröller-Müller Museum, Otterlo, Holland
a long-bearded man with a blue uniform and hat is seated in a chair facing forward with his right arm on the chair's arm and left arm on a table and with a pastel blue background
Joseph Roulin (The Postman) (1888), Museum of Fine Arts, Boston
A chair with a pipe and a heaping of tobacco in it on a tiled floor with a box in the background that reads "Vincent" and two walls meeting in a corner behind the chair
Van Gogh's Chair (1888), National Gallery, London

Gauguin agreed to join him in Arles, giving Van Gogh much hope for friendship and his collective of artists. Waiting, in August, he painted sunflowers. Boch visited again and Van Gogh painted his portrait as well as the study The Poet Against a Starry Sky. Boch's sister Anna (1848–1936), also an artist, purchased The Red Vineyard in 1890.[97][98] Upon advice from his friend, the station's postal supervisor Joseph Roulin, whose portrait he painted, he bought two beds on 8 September,[99] and he finally spent the first night in the still sparsely furnished Yellow House on 17 September.[100] When Gauguin consented to work and live in Arles side-by-side with Van Gogh, he started to work on The Décoration for the Yellow House, probably the most ambitious effort he ever undertook.[101] Van Gogh did two chair paintings: Van Gogh's Chair and Gauguin's Chair.[102]

After repeated requests, Gauguin finally arrived in Arles on 23 October. During November, the two painted together. Gauguin painted Van Gogh's portrait The Painter of Sunflowers: Portrait of Vincent van Gogh, and uncharacteristically, Van Gogh painted some pictures from memory—deferring to Gauguin's ideas in this—as well as his The Red Vineyard. Their first joint outdoor painting exercise was conducted at the picturesque Alyscamps.[103]
A seated red bearded man wearing a brown coat; facing to the left; with a paint brush in his right hand, is painting a picture of large sunflowers
Paul Gauguin, The Painter of Sunflowers: Portrait of Vincent van Gogh (1888), Van Gogh Museum, Amsterdam

The two artists visited Montpellier that December and viewed works in the Alfred Bruyas collection by Courbet and Delacroix in the Musée Fabre.[104] However, their relationship was deteriorating. They quarreled fiercely about art; Van Gogh felt an increasing fear that Gauguin was going to desert him as a situation he described as one of "excessive tension" reached crisis point.

On 23 December 1888, frustrated and ill, Van Gogh confronted Gauguin with a razor blade. In panic, Van Gogh left their quarters and fled to a local brothel. While there, he cut off the lower part of his left ear lobe. He wrapped the severed tissue in newspaper and handed it to a prostitute named Rachel, asking her to "keep this object carefully."[105] Gauguin left Arles and never saw Van Gogh again.[a 3] Days later, Van Gogh was hospitalized and left in a critical state for several days. Immediately, Theo—notified by Gauguin—visited, as did both Madame Ginoux and Roulin. In January 1889, he returned to the Yellow House, but spent the following month between hospital and home suffering from hallucinations and delusions that he was being poisoned. In March, the police closed his house after a petition by 30 townspeople, who called him "fou roux" (the redheaded madman). Paul Signac visited him in hospital and Van Gogh was allowed home in his company. In April, he moved into rooms owned by Dr. Rey, after floods damaged paintings in his own home.[106][107] Around this time, he wrote, "Sometimes moods of indescribable anguish, sometimes moments when the veil of time and fatality of circumstances seemed to be torn apart for an instant." Two months later he had left Arles and entered an asylum in Saint-Rémy-de-Provence.[108]

Saint-Rémy (May 1889 – May 1890)
A landscape in which the starry night sky takes up two thirds of the picture. In the left foreground a dark pointed Cypress pine tree extends from the bottom to the top of the picture. To the left, village houses and a church with a tall steeple are clustered at the foot of a mountain range. The sky is deep blue. In the upper right is a yellow cresent moon surrounded by a halo of light. There are many bright stars large and small, each surrounded by intense swirling halos. Across the center of the sky the Milky Way is represented as a double swirling vortex.
The Starry Night (June 1889), The Museum of Modern Art, New York
A man is scattering seeds in a ploughed field. The figure is represented as small, and is set in the upper right and walking out of the picture. He carries a bag of seed over one shoulder. The ploughed soil is grey, and behind it rises standing crop, and in the left distance, a farmhouse. In the center of the horizon is a giant yellow rising sun surrounded by emanating yellow rays. A path leads into the picture, and birds are swooping down.
The Sower (1888), Kröller-Müller Museum

On 8 May 1889, accompanied by a carer, the Reverend Salles, he committed himself to the hospital at Saint-Paul-de-Mausole. A former monastery in Saint-Rémy less than 20 miles (32 km) from Arles, the monastery is located in an area of cornfields, vineyards and olive trees at the time run by a former naval doctor, Dr.Théophile Peyron. Theo arranged for two small rooms—adjoining cells with barred windows. The second was to be used as a studio.[109]

During his stay, the clinic and its garden became the main subjects of his paintings. He made several studies of the hospital interiors, such as Vestibule of the Asylum and Saint-Remy (September 1889). Some of the work from this time is characterized by swirls—including one of his best-known paintings The Starry Night.[110] He was allowed short supervised walks, which gave rise to images of cypresses and olive trees, like Olive Trees with the Alpilles in the Background 1889, Cypresses 1889, Cornfield with Cypresses (1889), Country road in Provence by Night (1890). Limited access to the world outside the clinic resulted in a shortage of subject matter. He was left to work on interpretations of other artist's paintings, such as Millet’s The Sower and Noon – Rest from Work (after Millet), as well as variations on his own earlier work. Van Gogh was an admirer of the Realism of Jules Breton, Gustave Courbet and Millet [111] and compared his copies to a musician's interpreting Beethoven.[112][113] Many of his most compelling works date from this period; his The Round of the Prisoners, (1890) was painted after an engraving by Gustave Doré (1832–1883), the face of the prisoner in the center of the painting and looking toward the viewer is Van Gogh.[114]
A frontal portrait of a seated woman with black hair looking slightly to the right, with her bent left elbow resting on the table before her and her hand is resting on her left cheek. There are two books on the table and she's wearing a black dress with an open neckline and a white frontal blouse underneath.
L'Arlésienne: (Madame Ginoux) (1890), Kröller-Müller Museum
A redheaded man wearing a cap, a black jacket with green buttons; with a red mustache and scraggly Van Dyke beard is leaning on his arm to the left looking slightly to the right. He is seated at a table with two yellow books and a red tablecloth. In the foreground on the table is a clear glass vase with flowers. In the background are hills and a dark blue starless night sky.
Portrait of Dr. Gachet (1890), was sold for US$ 82.5 million in 1990.[115] Private collection
A group of male prisoners (or inmates), walk around and around in a circle, in an indoor prison (or hospital) yard. The high walls and the floor are made of stone. In the right foreground the men are being watched by a small group of three, two men in civilian clothes with top hats and a policeman in uniform. One of the prisoners in the circle looks out towards the viewer, and he has the face of Vincent van Gogh.
The Round of the Prisoners (1890).

That September, he produced a further two versions of Bedroom in Arles, and in February 1890 painted four portraits of L'Arlésienne (Madame Ginoux), based on a charcoal sketch Gauguin had produced when Madame Ginoux sat for both artists at the beginning of November 1888.[116] His work was praised by Albert Aurier in the Mercure de France in January 1890, when he was described as "a genius".[117] In February invited by Les XX, a society of avant-garde painters in Brussels, he participated in their annual exhibition. At the opening dinner, Les XX member Henry de Groux insulted Van Gogh's works. Toulouse-Lautrec demanded satisfaction, and Signac declared he would continue to fight for Van Gogh's honor if Lautrec should be surrendered. Later, when Van Gogh's exhibit was on display with the Artistes Indépendants in Paris, Monet said that his work was the best in the show.[118] In February 1890, following the birth of his nephew Vincent Willem, he wrote in a letter to his mother, that with the new addition to the family, he "started right away to make a picture for him, to hang in their bedroom, big branches of white almond blossom against a blue sky."[119]


See also: Double-squares and Squares
An enclosed garden surrounded by trees, with a large house in the background, and another house off to the right. On the green lawn foreground is a cat, in the center of the lawn is a bed of flowers and at the rear of the lawn is a bench, a table and a few chairs. Nearby is a lone figure
Daubigny's Garden (July 1890), Auvers, Kunstmuseum Basel Basel. Barbizon painter Charles Daubigny moved to Auvers in 1861. This attracted other artists, including Camille Corot, Honoré Daumier and Van Gogh, who completed two paintings of the garden, which are among his final works[120]

In May 1890, Van Gogh left the clinic to move nearer the physician Dr. Paul Gachet (1828–1909), in Auvers-sur-Oise outside Paris, where he would also be closer to Theo. Dr. Gachet was recommended by Camille Pissarro (1830–1903); Gachet had previously treated several artists and was an amateur artist himself. Van Gogh's first impression was that Gachet was "...sicker than I am, I think, or shall we say just as much."[121] In June 1890, he painted Portrait of Dr. Gachet and completed two portraits of Gachet in oils, as well as a third—his only etching. In all three the emphasis is on Gachet's melancholic disposition.
A picture of an old man sitting alone on a straw chair with his head in his hands, evoking intense despair.
At Eternity's Gate (1890), Kröller-Müller Museum, Otterlo
A frontal view of a church, with darkened blue sky overhead, we see the back of a small single figure of a woman walking away from us on the road in front of the building to the left into the distance.
The Church at Auvers (1890), Musée d'Orsay, Paris

In his last weeks at Saint-Rémy, Van Gogh's thoughts returned to his "memories of the North",[122] and several of the approximately 70 oils he painted during his 70 days in Auvers-sur-Oise, such as The Church at Auvers, are reminiscent of northern scenes.

Wheat Field with Crows (July 1890)[123] is an example of the unusual double square canvas which he developed in the last weeks of his life. In its turbulent intensity, it is among his most haunting and elemental works.[124] It is often mistakenly believed to be his last work, but Van Gogh scholar Jan Hulsker lists seven paintings which postdate it.[125]

Barbizon painter Charles Daubigny moved to Auvers in 1861, and this in turn drew other artists there, including Camille Corot, Honoré Daumier, and in 1890, Vincent van Gogh. In July 1890, Van Gogh completed two paintings of Daubigny's Garden, and one of these is most likely to be his final work.[120] There are also paintings which show evidence of being unfinished, including Thatched Cottages by a Hill.[124]

Death
Portrait of a clean shaven man wearing a furry winter hat and smoking a pipe; facing to the right with a bandaged right ear
Self-portrait (1889), private collection. Mirror-image self portrait with bandaged ear
A table in a cafe with a bottle half filled with a clear liquid and a filled drinking glass of clear liquid
Still Life with Absinthe (1887), Van Gogh Museum

Recently acquitted from the hospital, Van Gogh suffered a severe setback in December 1889. Although he had been troubled by mental illness throughout his life, the episodes became more pronounced during his last few years. In some of these periods he was either unwilling or unable to paint, a factor which added to the mounting frustrations of an artist at the peak of his ability. His depression gradually deepened. On 27 July 1890, aged 37, he walked into a field and shot himself in the chest with a revolver. He survived the impact and managed to walk back to the Ravoux Inn. He died there two days later. Theo rushed to be at his side. Theo reported his brother's last words as "La tristesse durera toujours" (the sadness will last forever).[126]

A moving account of his death and funeral was given by Emile Bernard in a letter to Albert Aurier.[127] Anton Hirschig, a fellow lodger at the inn, has left a much bleaker account of his death.[128]
Two graves and two gravestones side by side; heading behind a bed of green leaves, bearing the remains of Vincent and Theo Van Gogh, where they lie in the cemetery of Auvers-sur-Oise. The stone to the left bears the inscription: Ici Repose Vincent van Gogh (1853–1890) and the stone to the right reads: Ici Repose Theodore van Gogh (1857–1891)
Vincent and Theo van Gogh's graves at the cemetery of Auvers-sur-Oise

Theo's health deteriorated in the months after the death of his brother. He contracted syphilis—though this was not admitted by the family for many years. He was admitted to the hospital, and weak and unable to come to terms with Vincent's absence, he died six months later, on 25 January, at Utrecht.[129] In 1914, Theo's body was exhumed and re-buried with his brother at Auvers-sur-Oise.[130]

While most of Vincent's late paintings are somber, they are essentially optimistic and reflect a desire to return to lucid mental health. However, the paintings completed in the days before his suicide are severely dark. His At Eternity's Gate, a portrayal of an old man holding his head in his hands, is particularly bleak. The work serves as a compelling and poignant expression of the artist's state of mind in his final days.[131] Yet, there has been much debate over the years as to the source of Van Gogh's illness and its effect on his work. Over 150 psychiatrists have attempted to label its root, and some 30 different diagnoses have been suggested.[132] Diagnoses that have been put forward include schizophrenia, bipolar disorder, syphilis, poisoning from swallowed paints, temporal lobe epilepsy and acute intermittent porphyria. Any of these could have been the culprit and been aggravated by malnutrition, overwork, insomnia and consumption of alcohol, especially absinthe.[133][134]

Work
Under a bright cloudless blue/green sky is a large collection of connected buildings on the right side of the canvas. The buildings are all part of a mill, up a slight embankment from a stream in the foreground. On the left side of the painting near the steps leading up the embankment to the old mill are two small figures. Off in the distance to the left we see farmland and farmhouses. In the far distance are low purple hills
The Old Mill (1888), Albright-Knox Art Gallery
The top of the painting is a dark blue night sky with many bright stars shining brightly surrounded by white halos. Along the distant horizon are houses and buildings with lights that are shining so brightly that they are casting yellow reflections on the dark blue river below. The bottom half of the picture is the Rhone river with reflected lights showing throughout the river. In the foreground we can see a shallow wave.
Starry Night Over the Rhone (1888), Musée d'Orsay, Paris
A starless, moonless evening sky of middle blue with two large white clouds are above darker blue twisting hills in the distance. In the foreground is a grove of Olive trees, that extend horizontally across the whole painting, towards the bottom is a winding, twisting path that extends horizontally across the painting
Olive Trees with the Alpilles in the Background (1889), Museum of Modern Art, New York

Van Gogh drew and painted with watercolors while at school; few of these works survive and authorship is challenged on some of those that do.[135] When he committed to art as an adult, he began at an elementary level by copying the Cours de dessin, edited by Charles Bargue and published by Goupil & Cie. Within two years he had begun to seek commissions. In Spring 1882, his uncle, Cornelis Marinus -owner of a renowned gallery of contemporary art in Amsterdam- asked him for drawings of the Hague. Van Gogh's work did not prove equal to his uncle's expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointed with the result. Nevertheless, Van Gogh persevered. He improved the lighting of his studio by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures —highly elaborated studies in "Black and White",[136] which at the time gained him only criticism. Today, they are recognized as his first masterpieces.[137]

Early in 1883, he began to work on multi-figure compositions, which he based on his drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, he destroyed them and turned to oil painting. By Autumn 1882, his brother had enabled him financially to turn out his first paintings, but all the money Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation.[138] When he moved to Nuenen after the intermezzo in Drenthe he began a number of large-sized paintings but destroyed most of them. The Potato Eaters and its companion pieces—The Old Tower on the Nuenen cemetery and The Cottage—are the only ones to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of technical experience.[138] So he traveled to Antwerp and later to Paris to learn and develop his skill.[139]
A white two story house at twilight, with 2 cypress trees on one end, and smaller green trees all around the house, with a yellow fence surrounding it. Two women are entering through the gate in the fence; while a woman in black walks on by going towards the left. In the sky, there is a bright star with a large intense yellow halo around it
White House at Night (1890), Hermitage Museum, St. Petersburg, painted six weeks before the artist's death

More or less acquainted with Impressionist and Neo-Impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as series on related or contrasting subject matter, which would reflect on the purposes of art. As his work progressed, he painted a great many Self-portraits. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures that found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on The Décoration for the Yellow House, which was by some accounts the most ambitious effort he ever undertook.[101] Most of his later work is involved with elaborating on or revising its fundamental settings. In the spring of 1889, he painted another, smaller group of orchards. In an April letter to Theo, he said, "I have 6 studies of Spring, two of them large orchards. There is little time because these effects are so short-lived."[140]

The art historian Albert Boime was the first to show that Van Gogh—even in seemingly fantastical compositions like Starry Night—based his work in reality.[141] The White House at Night, shows a house at twilight with a prominent star surrounded by a yellow halo in the sky. Astronomers at Southwest Texas State University in San Marcos calculated that the star is Venus, which was bright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture.[142]

The paintings from the Saint-Rémy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorov's statistical model of turbulence.[143]

Self Portraits

Van Gogh created many self-portraits during his lifetime. He was a prolific self-portraitist, who painted himself thirty-seven times between 1886 and 1889.[144] In all, the gaze of the painter is seldom directed at us; even when it is a fixed gaze, he seems to look elsewhere. The paintings vary in intensity and color and some portray the artist with beard, some beardless, some with bandages; representing the episode in which he severed one of his ears. Self-portrait without beard, from the end of September 1889, is one of the most expensive paintings of all time, selling for $71.5 million in 1998 in New York.[145] At the time, it was the third (or an inflation-adjusted fourth) most expensive painting ever sold. All of the self-portraits Van Gogh executed in Saint-Rémy show the artist's head from the left, i.e. with the side opposite his mutilated ear, showing only his good side. Many of Van Gogh's self portraits are depicting his face as it appeared in a mirror i.e. his left side in the image is in reality the right side of his face.[146][147][148] During the final weeks of his life in Auvers-sur-Oise, although he was producing many paintings, Van Gogh did not paint any self-portraits.

Cypresses

One of the most popular and widely known series of Van Gogh's paintings are his Cypresses. During the Summer of 1889, at sister Wil's request, he made several smaller versions of Wheat Field with Cypresses.[149] The works are characterised by swirls and densely painted impasto—and produced one of his best-known paintings – The Starry Night. Other works from the series have similar stylistic elements including Olive Trees with the Alpilles in the Background (1889) Cypresses (1889), Wheat Field with Cypresses (1889), (Van Gogh made several versions of this painting that year), Road with Cypress and Star (1890) and Starry Night Over the Rhone (1888). These have become synonymous with Van Gogh's work through their stylistic uniqueness. According to art historian Ronald Pickvance,
An early night sky with an intense large yellow star surrounded by a white halo to the top left, an intense yellow and red-lined glowing crescent moon to the mid-right top. A large singular dark green Cypress tree painted with impasto and intense upright brushstrokes extends down the middle of the painting, from the top of the canvas to the burnt orange field below, where it grows beside a twisting stream. in the far distant horizon are low blue hills and to the far right is a farmhouse with smoke from the chimney and lights on within. Along the right side of the foreground are two figures walking along on the road and quite a way behind them is a horse drawn buggy also coming down the road.
Road with Cypress and Star (May 1890), Kröller-Müller Museum
An open field of yellow wheat, under swirling and bright white clouds in an afternoon sky. A large cypress tree to the extreme right painted in shades of dark greens with swirling and impastoed brushstrokes. There are several smaller trees to the left and around the cypress tree are more small trees and several haystacks. There are blue-gray hills on the horizon in the background.
Wheat Field with Cypresses (1889), National Gallery, London
A pair of large trees to the left, one so tall it goes out of the top of the picture and mountains in the distance along the horizon. The afternoon sky is painted with bright blue and green swirls with white clouds and a visible daytime crescent moon also surrounded by swirls and halos. The dark green trees to the left are painted with thick impasto brush-strokes and swirls as well as the lighter yellow-green grasses in the foreground below.
Cypresses (1889), Metropolitan Museum of Art, New York City

Road with Cypress and Star (1890), is compositionally as unreal and artificial as the Starry Night. Pickvance goes on to say the painting Road with Cypress and Star represents an exalted experience of reality, a conflation of North and South, what both Van Gogh and Gauguin referred to as an "abstraction". Referring to Olive Trees with the Alpilles in the Background, on or around 18 June 1889, in a letter to Theo, he wrote, "At last I have a landscape with olives and also a new study of a Starry Night."[150]

Hoping to also have a gallery for his work, his major project at this time was a series of paintings including Still Life: Vase with Twelve Sunflowers (1888), and Starry Night Over the Rhone (1888) that all intended to form the décoration of the Yellow House.[151][152]

Flowering Orchards

A field on an early spring day with several lightly blooming trees in the left and in the distance contrasted against a pale sky. To the right middle ground is a large single tree with several growing branches in early bloom. A rake leans against the tree-trunk.
Cherry Tree (1888), Metropolitan Museum of Art, New York City
foreground has three erect trees in front of water reflecting green plants behind it, while the background has rows of trees, a few buildings and either trees or hills.

The series of Flowering Orchards, sometimes referred to as the Orchards in Blossom paintings, were among the first group of work that Van Gogh completed after his arrival in Arles, Provence in February 1888. The 14 paintings in this group are optimistic, joyous and visually expressive of the burgeoning Springtime. They are delicately sensitive, silent, quiet and unpopulated. About The Cherry Tree Vincent wrote to Theo on 21 April 1888 and said he had 10 orchards and: one big (painting) of a cherry tree, which I've spoiled.[153] The following spring he painted another smaller group of orchards, including View of Arles, Flowering Orchards.[140]

Van Gogh was taken by the landscape and vegetation of the South of France, and often visited the farm gardens near Arles. Because of the vivid light supplied by the Mediterranean climate his palette significantly brightened.[154] From his arrival, he was interested in capturing the effect of the Seasons on the surrounding landscape and plant life.

Flowers
See also: Sunflowers (series of paintings)

Van Gogh painted several versions of landscapes with flowers, as seen in View of Arles with Irises, and paintings of flowers, such as Irises, Sunflowers,[155] lilacs, roses, oleanders and other flowers. Some of the paintings of flowers reflect his interests in the language of color and also in Japanese ukiyo-e woodblock prints.[156]
A field with flowers, various plants and trees in front of a several buildings (some of which are either tall or on a hill).
View of Arles with Irises (1888), Van Gogh Museum, Amsterdam
A field of flowers. The foreground includes long green stems with blue flowers, while the background includes prominent gold flowers on the left; white flowers in the center and a field to the right.
Irises (1889), Getty Center, Los Angeles

He completed two series of sunflowers: the first while he was in Paris in 1887, and the second during his stay in Arles the following year. The first series shows living flowers in the ground. In the second series, they are dying in vases. However, the 1888 paintings were created during a rare period of optimism for the artist. He intended them to decorate a bedroom where Paul Gauguin was supposed to stay in Arles that August, when the two would create the community of artists Van Gogh had long hoped for. The flowers are rendered with thick brushstrokes (impasto) and heavy layers of paint.[157]

In an August 1888 letter to Theo, he wrote,

"I am hard at it, painting with the enthusiasm of a Marseillais eating bouillabaisse, which won't surprise you when you know that what I'm at is the painting of some sunflowers. If I carry out this idea there will be a dozen panels. So the whole thing will be a symphony in blue and yellow. I am working at it every morning from sunrise on, for the flowers fade so quickly. I am now on the fourth picture of sunflowers. This fourth one is a bunch of 14 flowers ... it gives a singular effect."[157]

The series is perhaps his best known and most widely reproduced. In recent years, there has been debate regarding the authenticity of one of the paintings, and it has been suggested that this version may have been the work of Émile Schuffenecker or of Paul Gauguin.[158] Most experts, however, conclude that the work is genuine.[159]

Wheat fields
a golden-hued field with streaks of green and a blue sky and a flock of black birds in the background
Wheatfield with Crows (1890), Van Gogh Museum, Amsterdam
See also: The Wheat Field

Van Gogh made several painting excursions during visits to the landscape around Arles. He made a number of paintings featuring harvests, wheat fields and other rural landmarks of the area, including The Old Mill (1888); a good example of a picturesque structure bordering the wheat fields beyond.[160] It was one of seven canvases sent to Pont-Aven on 4 October 1888 as exchange of work with Paul Gauguin, Emile Bernard, Charles Laval, and others.[160][161] At various times in his life, Van Gogh painted the view from his window—at The Hague, Antwerp, Paris. These works culminated in The Wheat Field series, which depicted the view he could see from his adjoining cells in the asylum at Saint-Rémy.[162]

Writing in July 1890, Van Gogh said that he had become absorbed "in the immense plain against the hills, boundless as the sea, delicate yellow".[163] He had become captivated by the fields in May when the wheat was young and green. The weather worsened in July, and he wrote to Theo of "vast fields of wheat under troubled skies", adding that he did not "need to go out of my way to try and express sadness and extreme loneliness".[164] By August, he had painted the crops both young and mature and during both dark and bright weather. A depiction of the golden wheat in bright sunlight was to be his final painting, along with his usual easel and paints he had carried a pistol with him that day.[163]

Working procedures

A self-taught artist with little training, Van Gogh was anything but academic in his painting and drawing techniques. Recent research has shown that works commonly known as "oil paintings" or "drawings" would better be described as "mixed-media". The Langlois Bridge at Arles shows highly elaborate under-drawing in pen and ink,[165] while several works from Saint-Rémy and Auvers, hitherto considered to be drawings or watercolors, such as Vestibule of the Asylum, Saint-Remy (September 1889), turned out to be painted in diluted oil and with a brush.[166]

Radiographical examination has shown that Van Gogh re-used older canvases more extensively than previously assumed—whether he really overpainted more than a third of his output, as presumed recently, must be verified by further investigations.[167] In 2008, a team from Delft University of Technology and the University of Antwerp used advanced X-ray techniques to create a clear image of a woman's face previously painted, underneath the work Patch of Grass.[168][169]

Legacy

Posthumous fame
Main article: Posthumous fame of Vincent van Gogh
man wearing a straw hat, carrying a canvas and paintbox, walking to the left, down a tree lined, leaf strewn country road
Painter on the Road to Tarascon (August 1888), Vincent van Gogh on the road to Montmajour, oil on canvas, 48 × 44 cm. formerly Museum, Magdeburg, destroyed by fire in World War II

Following his first exhibitions in the late 1880s, Van Gogh's fame grew steadily among colleagues, art critics, dealers and collectors.[170] After his death, memorial exhibitions were mounted in Brussels, Paris, The Hague and Antwerp. In the early 20th century, the exhibitions were followed by retrospectives in Paris (1901 and 1905), and Amsterdam (1905), and important group exhibitions in Cologne (1912), New York City (1913) and Berlin (1914).[171] These prompted a noticeable impact over later generations of artists.[172] By the mid 20th century Van Gogh was seen as one of the most recognizable and one of the greatest painters in history.[173][174]
[edit] Influence

In his final letter to Theo, Vincent admitted that as he did not have any children, he viewed his paintings as his progeny. Reflecting on this, the historian Simon Schama concluded that he "did have a child of course, Expressionism, and many, many heirs." Schama mentioned a wide number of artists who have adapted elements of Van Gogh's style, including Willem de Kooning, Howard Hodgkin and Jackson Pollock.[175] The French Fauves, including Henri Matisse, extended both his use of color and freedom in applying it,[176] as did German Expressionists in the Die Brücke group, as well as early modernism.[177] Abstract Expressionism of the 1940s and 1950s is seen as in part inspired from Van Gogh's broad, gestural brush strokes. In the words of art critic Sue Hubbard: At the beginning of the twentieth century Van Gogh gave the Expressionists a new painterly language which enabled them to go beyond surface appearance and penetrate deeper essential truths. It is no coincidence that at this very moment Freud was also mining the depths of that essentially modern domain - the subconscious. This beautiful and intelligent exhibition places Van Gogh where he firmly belongs; as the trailblazer of modern art.[178]

In 1957, Francis Bacon (1909–1992) based a series of paintings on reproductions of Van Gogh's The Painter on the Road to Tarascon, the original of which was destroyed during World War II. Bacon was inspired by not only an image he described as "haunting", but also Van Gogh himself, whom Bacon regarded as an alienated outsider, a position which resonated with Bacon. The Irish artist further identified with Van Gogh's theories of art and quoted lines written in a letter to Theo, "[R]eal painters do not paint things as they are...They paint them as they themselves feel them to be".[179] An exhibition devoted to Vincent van Gogh's letters took place in the Van Gogh Museum in Amsterdam from October 2009 to January 2010[180] and then moved to the Royal Academy in London from late January to April.[181]

Footnotes

1. ^ The pronunciation of "Van Gogh" varies in both English and Dutch. In English it is pronounced /ˌvæn ˈɡɒx/ or sometimes /ˌvæn ˈɡɒf/, especially in the UK, or /ˌvæn ˈɡoʊ/ with a silent gh, especially in the US. In standard Dutch, based on the dialect of Holland, it is [ˈvɪntsɛnt faŋˈxɔx] ( listen), with a voiceless V. However, though Van Gogh's parents were from Holland, he grew up in Brabant and used Brabant dialect in his writing; it is therefore likely that he himself pronounced his name with a Brabant accent: [vɑɲˈʝɔç], with a voiced V and palatalized G and gh. In France, where much of his work was produced, it is [vɑ̃ ɡɔɡə]

1. ^ There are different views as to this period; Jan Hulsker (1990) opts for a return to the Borinage and then back to Etten in this period; Dorn, in: Ges7kó (2006), 48 & note 12 supports the line taken in this article
2. ^ the girl was Gordina de Groot, who died in 1927; she claimed the father was not Van Gogh, but a relative.
3. ^ However, they continued to correspond and in 1890 Gauguin proposed they form an artist studio in Antwerp. See Pickvance (1986), 62


References

1. ^ Hughes (1990), 144
2. ^ Tralbaut (1981), 39
3. ^ Pickvance (1986), 129
4. ^ source of picture of Theo Retrieved August 2, 2010
5. ^ a b Pomerans, ix
6. ^ Van Gogh Museum. Retrieved 7 October 2009.
7. ^ Van Gogh's letters, Unabridged and Annotated. Retrieved 25 June 2009.
8. ^ a b c d Hughes, 143
9. ^ Pomerans, i–xxvi
10. ^ Pomerans, vii
11. ^ Vincent Van Gogh Biography, Quotes & Paintings. The Art History Archive. Retrieved 14 June 2007.
12. ^ It has been suggested that being given the same name as his dead elder brother might have had a deep psychological impact on the young artist, and that elements of his art, such as the portrayal of pairs of male figures, can be traced back to this. See: Lubin (1972), 82–84
13. ^ Erickson (1998), 9
14. ^ Tralbaut (1981), 24
15. ^ Letter 347 Vincent to Theo, 18 December 1883
16. ^ Hackford Road. vauxhallsociety.org.uk. Retrieved 27 June 2009.
17. ^ Letter 7 Vincent to Theo, 5 May 1873.
18. ^ Tralbaut (1981), 35–47
19. ^ "Letter from Vincent van Gogh to Theo van Gogh, Isleworth 18 August 1876". Retrieved 11 April 2010.
20. ^ Tralbaut (1981), 47–56
21. ^ Callow (1990), 54
22. ^ See the recollections gathered in Dordrecht by M. J. Brusse, Nieuwe Rotterdamsche Courant, 26 May and 2 June 1914.
23. ^ "...he would not eat meat, only a little morsel on Sundays, and then only after being urged by our landlady for a long time. Four potatoes with a suspicion of gravy and a mouthful of vegetables constituted his whole dinner"—from a letter to Frederik van Eeden, to help him with preparation for his article on Van Gogh in De Nieuwe Gids, Issue 1, December 1890. Quoted in Van Gogh: A Self-Portrait; Letters Revealing His Life as a Painter, selected by W. H. Auden, New York Graphic Society, Greenwich, CT. 1961. 37–39
24. ^ Erickson (1998), 23
25. ^ Letter 129, April 1879, and Letter 132. Van Gogh lodged in Wasmes at 22 rue de Wilson with Jean-Baptiste Denis a breeder or grower ('cultivateur', in the French original) according to Letter 553b. In the recollections of his nephew Jean Richez, gathered by Wilkie (in the 1970s!), 72–78. Denis and his wife Esther were running a bakery, and Richez admits that the only source of his knowledge is Aunt Esther.
26. ^ Letter from mother to Theo, 7 August 1879 and Callow, work cited, 72
27. ^ Letter 158 Vincent to Theo, 18 November 1881
28. ^ see Jan Hulsker's speech The Borinage Episode and the Misrepresentation of Vincent van Gogh, Van Gogh Symposium, 10–11 May 1990. In Erickson (1998), 67–68
29. ^ Letter 134, 20 August 1880 from Cuesmes
30. ^ Tralbaut (1981) 67–71
31. ^ Erickson (1998), 5
32. ^ Letter 153 Vincent to Theo, 3 November 1881
33. ^ Letter 161 Vincent to Theo, 23 November 1881
34. ^ Letter 164 Vincent to Theo, from Etten c.21 December 1881, describing the visit in more detail
35. ^ a b Letter 193 from Vincent to Theo, The Hague, 14 May 1882
36. ^ "Uncle Stricker", as Van Gogh refers to him in letters to Theo
37. ^ Gayford (2006), 130–131
38. ^ Letter 166 Vincent to Theo, 29 December 1881
39. ^ "Letter 196". Vincent van Gogh. The Letters. Amsterdam: Van Gogh Museum. http://vangoghletters.org/vg/letters/let196/letter.html.
40. ^ "Letter 219". Vincent van Gogh. The Letters. Amsterdam: Van Gogh Museum. http://www.vangoghletters.org/vg/letters/let219/letter.html.
41. ^ Tralbaut (1981), 96–103
42. ^ Callow (1990), 116; cites the work of Hulsker
43. ^ Callow (1990), 123–124
44. ^ "Letter 224". Vincent van Gogh. The Letters. Amsterdam: Van Gogh Museum. http://www.vangoghletters.org/vg/letters/let224/letter.html.
45. ^ Callow (1990), 117
46. ^ Callow (1990), 116; citing the research of Jan Hulsker; the two dead children were born in 1874 and 1879.
47. ^ a b Tralbaut (1981), 107
48. ^ Callow (1990), 132
49. ^ Tralbaut (1981),102–104,112
50. ^ Letter 203 Vincent to Theo, 30 May 1882 (postcard written in English)
51. ^ Letter 206, Vincent to Theo, 8 June or 9, June 1882
52. ^ Tralbaut (1981),110
53. ^ Arnold, 38
54. ^ Tralbaut (1981), 113
55. ^ Wilkie, 185
56. ^ Tralbaut (1981),101–107
57. ^ Tralbaut (1981), 111–122
58. ^ Johannes de Looyer, Karel van Engeland, Hendricus Dekkers, and Piet van Hoorn all as old men recalled being paid 5, 10 or 50 cents per nest, depending on the type of bird. See Theos' son's Webexhibits.org
59. ^ Vincent's nephew noted some reminiscences of local residents in 1949, including the description of the speed of his drawing
60. ^ Tralbaut (1981), 154
61. ^ The Potato Eaters by Vincent van Gogh. Retrieved 25 June 2009.
62. ^ Hulsker (1980) 196–205
63. ^ Tralbaut (1981),123–160
64. ^ Callow (1990), 181
65. ^ Callow (1990), 184
66. ^ Hammacher (1985), 84
67. ^ Callow (1990), 253
68. ^ Vincent's doctor was Hubertus Amadeus Cavenaile. Wilkie, pages 143–146.
69. ^ Arnold, 77. The evidence for syphilis is thin, coming solely from interviews with the grandson of the doctor; see Tralbaut (1981), 177–178
70. ^ Van der Wolk (1987), 104–105
71. ^ Tralbaut (1981), 173
72. ^ His 1885 painting Skull of a Skeleton with Burning Cigarette, is an apt commentary on his smoking
73. ^ Tralbaut (1981) 187–192
74. ^ Pickvance (1984), 38–39
75. ^ Tralbaut (1981), 216
76. ^ Letter 626a Retrieved August 24, 2010
77. ^ Van Gogh et Monticelli Retrieved August 24, 2010
78. ^ Turner, J. (2000). From Monet to Cézanne: late 19th-century French artists. Grove Art. New York: St Martin's Press. ISBN 0-312-22971-2
79. ^ Pickvance (1986), 62–63
80. ^ Tralbaut (1981), 212–213
81. ^ "Glossary term: Pointillism", National Gallery London. Retrieved 13 September 2007.
82. ^ "Glossary term: Complimentary colours", National Gallery, London. Retrieved 13 September 2007.
83. ^ D. Druick & P. Zegers, Van Gogh and Gauguin: The Studio of the South, Thames & Hudson, 2001. 81; Gayford, (2006), 50
84. ^ Letter 510 Vincent to Theo, 15 July 1888. Letter 544a. Vincent to Paul Gauguin, 3 October 1888
85. ^ a b Pickvance (1984), 41–42: Chronology
86. ^ a b Hughes, 144
87. ^ Whitney, Craig R. "Jeanne Calment, World's Elder, Dies at 122", The New York Times, 5 August 1997. Retrieved on 4 August 2008.
88. ^ "World's oldest person dies at 122", CNN, 4 August 1997. Retrieved on 4 August 2008.
89. ^ Associated Press. "World's oldest person marks 120 beautiful, happy years", Deseret News, 21 February 1995. Retrieved on 4 March 2010.
90. ^ "Letters of Vincent van Gogh". Penguin, 1998. 348. ISBN 0-14-044674-5
91. ^ Nemeczek, Alfred. Van Gogh in Arles. Prestel Verlag, 1999. 59–61. ISBN 3-7913-2230-3
92. ^ Gayford (2006), 16
93. ^ Callow (1990), 219
94. ^ Pickvance (1984), 175–176 and Dorn (1990), passim
95. ^ Tralbaut (1981), 266
96. ^ Letters of Vincent van Gogh, Penguin edition, 1998 page 348
97. ^ Hulsker (1980), 356
98. ^ Pickvance (1984), 168–169;206
99. ^ Letter 534; Gayford (2006), 18
100. ^ Letter 537; Nemeczek, 61
101. ^ a b See Dorn (1990)
102. ^ Pickvance (1984), 234–235
103. ^ Gayford (2006), 61
104. ^ Pickvance (1984), 195
105. ^ According to Doiteau & Leroy, the diagonal cut removed the lobe and probably a little more.
106. ^ Pickvance (1986). Chronology, 239–242
107. ^ Tralbaut (1981), 265–273
108. ^ Hughes (1990), 145
109. ^ Callow (1990), 246
110. ^ Carol Vogel, NY Times, Retrieved July 1, 2010
111. ^ Jules Breton and Realism, Van Gogh Museum
112. ^ Pickvance (1984), 102–103
113. ^ Pickvance (1986), 154–157
114. ^ Tralbaut (1981), 286
115. ^ "Ebony, David. "Portrait of Dr. Gachet: The Story of a van Gogh Masterpiece[dead link]". Art in America, April, 1999. Retrieved on 2 October 2009.
116. ^ Pickvance (1986) 175–177
117. ^ Aurier, G. Albert. "The Isolated Ones: Vincent van Gogh", January, 1890. Reproduced on vggallery.com. Retrieved 25 June 2009.
118. ^ Rewald (1978), 346–347; 348–350
119. ^ Tralbaut (1981), 293
120. ^ a b Pickvance (1986), 272–273
121. ^ Letter 648 Vincent to Theo, 10 July 1890
122. ^ Letter 629 Vincent to Theo, 30 April 1890
123. ^ Wheatfield with Crows, 1890. Van Gogh Museum. Retrieved on 28 March 2009.
124. ^ a b Pickvance (1986), 270–271
125. ^ Hulsker (1980), 480–483. Wheat Field with Crows is work number 2117 of 2125
126. ^ Hulsker (1980), 480–483
127. ^ "Letter from Emile Bernard to Albert Aurier. Paris, 2 August 1890.". van Gogh's letters. WebExhibits. http://www.webexhibits.org/vangogh/letter/21/etc-Bernard-Aurier.htm.
128. ^ Han van Crimpen, ‘Friends remember Van Gogh in 1912’, Van Gogh Van Gogh. International Symposium Tokyo – October 17–19, 1985. Ed. Haruo Arikawa et al. Tokyo 1988, p. 86
129. ^ Hayden, Deborah . POX, Genius, Madness and the Mysteries of Syphilis. Basic Books, 2003. 152. ISBN 0-465-02881-0
130. ^ "La tombe de Vincent Van Gogh – Auvers-sur-Oise, France". Groundspeak. Retrieved 23 June 2009.
131. ^ Hulsker (1980)
132. ^ Blumer, Dietrich. ""The Illness of Vincent van Gogh". American Journal of Psychiatry, 2002
133. ^ see Life with Absinthe, 1887
134. ^ Famous Absinthe Drinkers. Retrieved on 13 August 2009
135. ^ Van Heugten (1996), 246–251: Appendix 2—Rejected works
136. ^ Artists working in Black & White, i. e. for illustrated papers like The Graphic or Illustrated London News were among Van Gogh's favorites. See Pickvance (1974/75)
137. ^ See Dorn, Keyes & alt. (2000)
138. ^ a b See Dorn, Schröder & Sillevis, ed. (1996)
139. ^ See Welsh-Ovcharov & Cachin (1988)
140. ^ a b Hulsker (1980), 385
141. ^ Boime (1989)
142. ^ At around 8:00 pm on 16 June 1890, as astronomers determined by Venus's position in the painting. Star dates Van Gogh canvas 8 March 2001
143. ^ J. L. Aragón, Gerardo G. Naumis, M. Bai, M. Torres, P.K. Maini.'Kolmogorov scaling in impassioned van Gogh paintings'. 28 June 2006
144. ^ Encyclopedia of Irish and World Art, art of self-portrait Retrieved June 13, 2010
145. ^ Top-ten most expensive paintings Retrieved June 13, 2010
146. ^ JRSM Journal of the Royal Society of Medicine, A Tale of Two Ears Retrieved 24 August 2010
147. ^ Letter to the NY Times, September 1989, VAN GOGH MYTHS;The ear in the mirrorRetrieved 24 August 2010
148. ^ Self Portraits Retrieved 24 August 2010
149. ^ Ronald Pickvance, Van Gogh In Saint-Remy and Auvers. Exhibition catalog. Metropolitan Museum of Art, 1986. 132–133. ISBN 0-87099-477-8
150. ^ Pickvance (1986), 101; 189–191
151. ^ Pickvance (1984), 175–176
152. ^ Letter 595 Vincent to Theo, 17 or 18 June 1889
153. ^ Pickvance (1984), 45–53
154. ^ Fell, Derek. "The Impressionist Garden". London: Frances Lincoln, 1997. 32. ISBN 0-7112-1148-5
155. ^ "Letter 573" Vincent to Theo. 22 or 23 January 1889
156. ^ Pickvance (1986), 80–81; 184–187
157. ^ a b "Sunflowers 1888". National Gallery, London. Retrieved 12 September 2009.
158. ^ Johnston, Bruce. "Van Gogh's £25m Sunflowers is 'a copy by Gauguin'". The Daily Telegraph, 26 September 2001. Retrieved on 3 October 2009.
159. ^ "Van Gogh 'fake' declared genuine". BBC, 27 March 2002. Retrieved on 3 October 2009.
160. ^ a b Pickvance (1984), 177
161. ^ Seeing Feelings. Buffalo Fine Arts Academy. Retrieved 26 June 2009.
162. ^ Hulsker (1980), 390–394
163. ^ a b Edwards, Cliff. Van Gogh and God: A Creative Spiritual Quest. Loyola University Press, 1989. p. 115. ISBN 0-8294-0621-2
164. ^ Letter 649
165. ^ Schaefer, von Saint-George & Lewerentz, 105–110
166. ^ See Ives, Stein & alt. (2005)
167. ^ See Van Heugten (1995)
168. ^ Struik, Tineke van der, ed. Casciato Paul. "Hidden Van Gogh revealed in color by scientists". Reuters, 30 July 2008. Retrieved 3 August 2008.
169. ^ "'Hidden' Van Gogh painting revealed". Delft University of Technology, 30 July 2008. Retrieved 3 August 2008. A photograph reproduced here shows the revealed older image under the new painting.
170. ^ John Rewald, Studies in Post-Impressionism, The Posthumous Fate of Vincent van Gogh 1890-1970,pp. 244-254, published by Harry N. Abrams 1986, ISBN 0-8109-1632-0
171. ^ See Dorn, Leeman & alt. (1990)
172. ^ Rewald, John. "The posthumous fate of Vincent van Gogh 1890–1970". Museumjournaal, August–September 1970. Republished in Rewald (1986), 248
173. ^ "Vincent van Gogh The Dutch Master of Modern Art has his Greatest American Show," Life Magazine, October 10, 1949, pp. 82-87. Retrieved July 2, 2010
174. ^ National Gallery of Art, Washington DC Retrieved July 2, 2010
175. ^ Schama, Simon. "Wheatfield with Crows". Simon Schama's Power of Art, 2006. Documentary, from 59:20
176. ^ "Glossary: Fauvism, Tate. Retrieved 23 June 2009.
177. ^ David Minthorn, NYC exhibit highlights Van Gogh's impact on German modernists, USA Today, 2007 Retrieved July 1, 2010
178. ^ Hubbard, Sue. "Vincent Van Gogh and Expressionism". Independent, 2007. Retrieved July 3, 2010
179. ^ Farr, Dennis; Peppiatt, Michael; Yard, Sally. Francis Bacon: A Retrospective. Harry N Abrams, 1999. 112. ISBN 0-8109-2925-2
180. ^ The Art Newspaper. Retrieved 7 October 2009.
181. ^ "The Real Van Gogh: The Artist and His Letters". Royal Academy of Arts. http://www.royalacademy.org.uk/exhibitions/vangogh/. Retrieved 24 March 2010.


Bibliography

General and biographical

* Beaujean, Dieter. Vincent van Gogh: Life and Work. Könemann, 1999. ISBN 3-8290-2938-1.
* Bernard, Bruce (ed.). Vincent by Himself. London: Time Warner, 2004.
* †Callow, Philip. Vincent van Gogh: A Life, Ivan R. Dee, 1990. ISBN 1-56663-134-3.
* Erickson, Kathleen Powers. At Eternity's Gate: The Spiritual Vision of Vincent van Gogh, 1998. ISBN 0-8028-4978-4.
* Gayford, Martin. "The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles". Penguin, 2006. ISBN 0-670-91497-5.
* Grossvogel, David I. Behind the Van Gogh Forgeries: A Memoir by David I. Grossvogel. Authors Choice Press, 2001. ISBN 0-595-17717-4.
* Hammacher, A.M. Vincent van Gogh: Genius and Disaster. New York: Harry N. Abrams, 1985. ISBN 0-8109-8067-3.
* Hughes, Robert. Nothing If Not Critical. London: The Harvill Press, 1990. ISBN 0-14-016524-X
* Hulsker, Jan. Vincent and Theo van Gogh; A dual biography. Ann Arbor: Fuller Publications, 1990. ISBN 0-940537-05-2
* Hulsker, Jan. The Complete Van Gogh. Oxford: Phaidon, 1980. ISBN 0-7148-2028-8.
* Lubin, Albert J. Stranger on the earth: A psychological biography of Vincent van Gogh. Holt, Rinehart and Winston, 1972. ISBN 0-03-091352-7.
* Pomerans, Arnold. The Letters of Vincent van Gogh. Penguin Classics, 2003. ISBN 0-14-044674-5
* Rewald, John. Post-Impressionism: From van Gogh to Gauguin. Secker & Warburg, 1978. ISBN 0-436-41151-2.
* Rewald, John. Studies in Post-Impressionism, Abrams, New York 1986. ISBN 0-8109-1632-0.
* Tralbaut, Marc Edo. Vincent van Gogh, le mal aimé. Edita, Lausanne (French) & Macmillan, London 1969 (English); reissued by Macmillan, 1974 and by Alpine Fine Art Collections, 1981. ISBN 0-933516-31-2.
* van Heugten, Sjraar. Van Gogh The Master Draughtsman. Thames and Hudson, 2005. ISBN 978-0-500-23825-7.
* Walther, Ingo F. & Metzger, Rainer. Van Gogh: the Complete Paintings. Benedikt Taschen 1997. ISBN 3-8228-8265-8.


Art historical

* Boime, Albert. Vincent van Gogh: Die Sternennacht — Die Geschichte des Stoffes und der Stoff der Geschichte, Fischer, Frankfurt/Main 1989 ISBN 3-596-23953-2 (in German) ISBN 3-634-23015-0 (CD-ROM 1995).
* Cachin, Françoise & Welsh-Ovcharov, Bogomila. Van Gogh à Paris (exh. cat. Musée d'Orsay, Paris 1988), RMN, Paris 1988. ISBN 2-7118-2159-5.
* Dorn, Roland: Décoration — Vincent van Goghs Werkreihe für das Gelbe Haus in Arles, Olms Verlag, Hildesheim, Zürich & New York 1990. ISBN 3-487-09098-8.
* Dorn, Roland, Leeman, Fred & alt. Vincent van Gogh and Early Modern Art, 1890–1914 (exh. cat). Essen & Amsterdam, 1990. ISBN 3-923641-33-8 (in English) ISBN 3-923641-31-1 (in German) ISBN 90-6630-247-X (in Dutch)
* Dorn, Roland, Keyes, George S. & alt. Van Gogh Face to Face — The Portraits (exh. cat). Detroit, Boston & Philadelphia, 2000–01, Thames & Hudson, London & New York, 2000. ISBN 0-89558-153-1
* Druick, Douglas, Zegers, Pieter Kort & alt. Van Gogh and Gauguin — The Studio of the South (exh. cat). Chicago & Amsterdam 2001-02, Thames & Hudson, London & New York 2001. ISBN 0-500-51054-7
* Geskó, Judit, ed. Van Gogh in Budapest (exh. cat). Museum of Fine Arts, Budapest, 2006–07, Vince Books, Budapest 2006. ISBN 978-963-7063-34-3 (English edition).ISBN 963-7063-33-1 (Hungarian edition).
* Ives, Colta, Stein, Susan Alyson & alt. Vincent van Gogh — The Drawings (exh. cat). New York 2005), Yale University Press, New Haven & London, 2005. ISBN 0-300-10720-X
* Kōdera, Tsukasa. Vincent van Gogh — Christianity versus Nature, (European edition). John Benjamins, Amsterdam & Philadelphia, 1990. ISBN 90-272-5333-1
* Pickvance, Ronald. English Influences on Vincent van Gogh (exh. catalogue University of Nottingham & alt. 1974/75). London: Arts Council, 1974.
* Pickvance, Ronald. Van Gogh in Arles (exh. cat. Metropolitan Museum of Art, New York), Abrams, New York 1984. ISBN 0-87099-375-5
* Pickvance, Ronald. Van Gogh In Saint-Rémy and Auvers (exh. cat. Metropolitan Museum of Art, New York), Abrams, New York 1986. ISBN 0-87099-477-8
* Orton, Fred and Pollock, Griselda. "Rooted in the Earth: A Van Gogh Primer", in: Avant-Gardes and Partisans Reviewed. London: Redwood Books, 1996. ISBN 0-7190-4398-0
* Schaefer, Iris, von Saint-George, Caroline & Lewerentz, Katja: Painting Light. The hidden techniques of the Impressionists (exh. cat. Cologne & Florence, 2008), Skira, Milan 2008. ISBN 88-6130-609-8
* Van der Wolk, Johannes: De schetsboeken van Vincent van Gogh, Meulenhoff/Landshoff, Amsterdam 1986 ISBN 90-290-8154-6; translated to English: The Seven Sketchbooks of Vincent van Gogh: a facsimile edition, Harry Abrams Inc, New York, 1987.
* Van Heugten, Sjraar. Radiographic images of Vincent van Gogh's paintings in the collection of the Van Gogh Museum, Van Gogh Museum Journal 1995. 63–85. ISBN 90-400-9796-8
* Van Heugten, Sjraar. Vincent van Gogh — Drawings, vol. 1, V+K Publishing / Inmerc, Bussum 1996. ISBN 90-6611-501-7 (Dutch edition).
* Van Uitert, Evert, & alt. Van Gogh in Brabant — Paintings and drawings from Etten and Nuenen. Exhibition catalog. 's-Hertogenbosch 1987/78, (English edition). Waanders, Zwolle 1987. ISBN 90-6630-104-X


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