fbpx
Wikipedia

Vincent van Gogh

January 19, 2024

"Van Gogh" redirects here. For other uses, see Van Gogh (disambiguation) and Vincent van Gogh (disambiguation).
In this Dutch name, the surname is van Gogh, not Gogh.

Vincent Willem van Gogh (Dutch: [ˈvɪnsɛnt ˈʋɪləɱ vɑŋ ˈɣɔx] ⓘ;[note 1] 30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created approximately 2100 artworks, including around 860 oil paintings, most of them in the last two years of his life. They include landscapes, still lifes, portraits and self-portraits, and are characterised by bold, symbolic colours, and dramatic, impulsive and highly expressive brushwork that contributed to the foundations of modern art. Only one of his paintings was known by name to have been sold during his lifetime. Van Gogh became famous after his suicide at age 37, which followed years of poverty and mental illness.

Vincent van Gogh
Born
Vincent Willem van Gogh

(1853-03-30)30 March 1853
Zundert, Netherlands
Died29 July 1890(1890-07-29) (aged 37)
Auvers-sur-Oise, France
Cause of deathGunshot wound
Education
Years active1881–1890
Notable work
MovementPost-Impressionism
FamilyTheodorus van Gogh (brother)
Signature
Sunflowers (F.458), repetition of the 4th version (yellow background), August 1889.[1] Van Gogh Museum, Amsterdam
Wheatfield with Crows, 1890. Van Gogh Museum, Amsterdam

Born into an upper-middle-class family, Van Gogh drew as a child and was serious, quiet and thoughtful, but showed signs of mental instability. As a young man he worked as an art dealer, often travelling, but became depressed after he was transferred to London. He turned to religion, and spent time as a missionary in southern Belgium. Later he drifted in ill-health and solitude. He was keenly aware of modernist trends in art and, while back with his parents, took up painting in 1881. His younger brother, Theo, supported him financially, and the two of them kept up a long correspondence by letter.

Van Gogh's early works consisted of mostly still lifes and depictions of peasant labourers. In 1886, he moved to Paris, where he met members of the artistic avant-garde, including Émile Bernard and Paul Gauguin, who were seeking new paths beyond Impressionism. Frustrated in Paris and inspired by a growing spirit of artistic change and collaboration, Van Gogh moved to Arles in south of France in February 1888 with the goal of establishing an artistic retreat and commune. Once there, Van Gogh's art changed. His paintings grew brighter and he turned his attention to the natural world, depicting local olive groves, wheat fields and sunflowers. Van Gogh invited Gauguin to join him in Arles and eagerly anticipated Gauguin's arrival in the fall of 1888.

Van Gogh suffered from psychotic episodes and delusions. Though he worried about his mental stability, he often neglected his physical health, did not eat properly and drank heavily. His friendship with Gauguin ended after a confrontation with a razor when, in a rage, he severed part of his own left ear. He spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris, he came under the care of the homeopathic doctor Paul Gachet. His depression persisted, and on 27 July 1890, Van Gogh is believed to have shot himself in the chest with a revolver, dying from his injuries two days later.

Van Gogh's art gained critical recognition after his death and his life story captured public imagination as an emblem of misunderstood genius,[6] due in large part to the efforts of his widowed sister-in-law Johanna van Gogh-Bonger.[7] His bold use of color, expressive line and thick application of paint inspired avant garde artistic groups like the Fauves and German Expressionists in the early 20th century. Van Gogh's work gained widespread critical and commercial success in the following decades, and he has become a lasting icon of the romantic ideal of the tortured artist. Today, Van Gogh's works are among the world's most expensive paintings to have ever sold, and his legacy is honoured by a museum in his name, the Van Gogh Museum in Amsterdam, which holds the world's largest collection of his paintings and drawings.

Letters

See also: The Letters of Vincent van Gogh

The most comprehensive primary source on Van Gogh is his correspondence with younger brother, Theo. Their lifelong friendship, and most of what is known of Vincent's thoughts and theories of art, are recorded in the hundreds of letters they exchanged from 1872 until 1890.[8] Theo van Gogh was an art dealer and provided his brother with financial and emotional support as well as access to influential people on the contemporary art scene.[9]

Theo kept all of Vincent's letters to him;[10] but Vincent kept only a few of the letters he received. After both had died, Theo's widow Jo Bonger-van Gogh arranged for the publication of some of their letters. A few appeared in 1906 and 1913; the majority were published in 1914.[11][12] Vincent's letters are eloquent and expressive, have been described as having a "diary-like intimacy",[9] and read in parts like autobiography.[9] Translator Arnold Pomerans wrote that their publication adds a "fresh dimension to the understanding of Van Gogh's artistic achievement, an understanding granted to us by virtually no other painter".[13]

 
 
Vincent van Gogh (left) in 1873, when he worked at the Goupil & Cie gallery in The Hague;[14] His brother, Theo (pictured right, in 1878), was a life-long supporter and friend.

There are more than 600 letters from Vincent to Theo and around 40 from Theo to Vincent. There are 22 to his sister Wil, 58 to the painter Anthon van Rappard, 22 to Émile Bernard as well as individual letters to Paul Signac, Paul Gauguin, and the critic Albert Aurier. Some are illustrated with sketches.[9] Many are undated, but art historians have been able to place most in chronological order. Problems in transcription and dating remain, mainly with those posted from Arles. While there, Vincent wrote around 200 letters in Dutch, French, and English.[15] There is a gap in the record when he lived in Paris as the brothers lived together and had no need to correspond.[16]

The highly paid contemporary artist Jules Breton was frequently mentioned in Vincent's letters. In 1875 letters to Theo, Vincent mentions he saw Breton, discusses the Breton paintings he saw at a Salon, and discusses sending one of Breton's books but only on the condition that it be returned.[17][18] In a March 1884 letter to Rappard he discusses one of Breton's poems that had inspired one of his own paintings.[19] In 1885 he describes Breton's famous work The Song of the Lark as being "fine".[20] In March 1880, roughly midway between these letters, Van Gogh set out on an 80-kilometre trip on foot to meet with Breton in the village of Courrières; however, he was apparently intimidated by Breton's success and/or the high wall around his estate. He turned around and returned without making his presence known.[21][22][23] It appears Breton was unaware of Van Gogh or his attempted visit. There are no known letters between the two artists and Van Gogh is not one of the contemporary artists discussed by Breton in his 1891 autobiography Life of an Artist.

Life

See also: Vincent van Gogh chronology

Early years

See also: Van Gogh's family in his art

Vincent Willem van Gogh was born on 30 March 1853 in Groot-Zundert, in the predominantly Catholic province of North Brabant in the Netherlands.[24] He was the oldest surviving child of Theodorus van Gogh (1822–1885), a minister of the Dutch Reformed Church, and his wife, Anna Cornelia Carbentus (1819–1907). Van Gogh was given the name of his grandfather and of a brother stillborn exactly a year before his birth.[note 2] Vincent was a common name in the Van Gogh family. The name had been borne by his grandfather, the prominent art dealer Vincent (1789–1874), and a theology graduate at the University of Leiden in 1811. This Vincent had six sons, three of whom became art dealers, and may have been named after his own great-uncle, a sculptor (1729–1802).[26]

Van Gogh's mother came from a prosperous family in The Hague,[27] and his father was the youngest son of a minister.[28] The two met when Anna's younger sister, Cornelia, married Theodorus's older brother Vincent (Cent). Van Gogh's parents married in May 1851, and moved to Zundert.[29] His brother Theo was born on 1 May 1857. There was another brother, Cor, and three sisters: Elisabeth, Anna, and Willemina (known as "Wil"). In later life, Van Gogh remained in touch only with Willemina and Theo.[30] Van Gogh's mother was a rigid and religious woman who emphasized the importance of family to the point of claustrophobia for those around her.[31] Theodorus's salary as a minister was modest, but the Church also supplied the family with a house, a maid, two cooks, a gardener, a carriage and horse; his mother Anna instilled in the children a duty to uphold the family's high social position.[32]

Van Gogh was a serious and thoughtful child.[33] He was taught at home by his mother and a governess, and in 1860, was sent to the village school. In 1864, he was placed in a boarding school at Zevenbergen,[34] where he felt abandoned, and he campaigned to come home. Instead, in 1866, his parents sent him to the middle school in Tilburg, where he was also deeply unhappy.[35] His interest in art began at a young age. He was encouraged to draw as a child by his mother,[36] and his early drawings are expressive,[34] but do not approach the intensity of his later work.[37] Constant Cornelis Huijsmans, who had been a successful artist in Paris, taught the students at Tilburg. His philosophy was to reject technique in favour of capturing the impressions of things, particularly nature or common objects. Van Gogh's profound unhappiness seems to have overshadowed the lessons, which had little effect.[38] In March 1868, he abruptly returned home. He later wrote that his youth was "austere and cold, and sterile".[39]

In July 1869, Van Gogh's uncle Cent obtained a position for him at the art dealers Goupil & Cie in The Hague.[40] After completing his training in 1873, he was transferred to Goupil's London branch on Southampton Street, and took lodgings at 87 Hackford Road, Stockwell.[41] This was a happy time for Van Gogh; he was successful at work and, at 20, was earning more than his father. Theo's wife, Jo Van Gogh-Bonger, later remarked that this was the best year of Vincent's life. He became infatuated with his landlady's daughter, Eugénie Loyer, but she rejected him after confessing his feelings; she was secretly engaged to a former lodger. He grew more isolated and religiously fervent. His father and uncle arranged a transfer to Paris in 1875, where he became resentful of issues such as the degree to which the art dealers commodified art, and he was dismissed a year later.[42]

 
Van Gogh's home in Cuesmes; while there he decided to become an artist

In April 1876, he returned to England to take unpaid work as a supply teacher in a small boarding school in Ramsgate. When the proprietor moved to Isleworth in Middlesex, Van Gogh went with him.[43][44] The arrangement was not successful; he left to become a Methodist minister's assistant.[45] His parents had meanwhile moved to Etten;[46] in 1876 he returned home at Christmas for six months and took work at a bookshop in Dordrecht. He was unhappy in the position and spent his time doodling or translating passages from the Bible into English, French, and German.[47] He immersed himself in Christianity, and became increasingly pious and monastic.[48] According to his flatmate of the time, Paulus van Görlitz, Van Gogh ate frugally, avoiding meat.[49]

To support his religious conviction and his desire to become a pastor, in 1877, the family sent him to live with his uncle Johannes Stricker, a respected theologian, in Amsterdam.[50] Van Gogh prepared for the University of Amsterdam theology entrance examination;[51] he failed the exam and left his uncle's house in July 1878. He undertook, but also failed, a three-month course at a Protestant missionary school in Laken, near Brussels.[52]

In January 1879, he took up a post as a missionary at Petit-Wasmes[53] in the working class, coal-mining district of Borinage in Belgium. To show support for his impoverished congregation, he gave up his comfortable lodgings at a bakery to a homeless person and moved to a small hut, where he slept on straw.[54] His humble living conditions did not endear him to church authorities, who dismissed him for "undermining the dignity of the priesthood". He then walked the 75 kilometres (47 mi) to Brussels,[55] returned briefly to Cuesmes in the Borinage, but he gave in to pressure from his parents to return home to Etten. He stayed there until around March 1880,[note 3] which caused concern and frustration for his parents. His father was especially frustrated, and advised that his son be committed to the lunatic asylum in Geel.[57][58][note 4]

Van Gogh returned to Cuesmes in August 1880, where he lodged with a miner until October.[60] He became interested in the people and scenes around him, and he recorded them in drawings after Theo's suggestion that he take up art in earnest. He traveled to Brussels later in the year, to follow Theo's recommendation that he study with the Dutch artist Willem Roelofs, who persuaded him – in spite of his dislike of formal schools of art – to attend the Académie Royale des Beaux-Arts. He registered at the Académie in November 1880, where he studied anatomy and the standard rules of modelling and perspective.[61]

Etten, Drenthe and The Hague

See also: Early works of Vincent van Gogh
 
Kee Vos-Stricker with her son Jan c. 1879–80

Van Gogh returned to Etten in April 1881 for an extended stay with his parents.[62] He continued to draw, often using his neighbours as subjects. In August 1881, his recently widowed cousin, Cornelia "Kee" Vos-Stricker, daughter of his mother's older sister Willemina and Johannes Stricker, arrived for a visit. He was thrilled and took long walks with her. Kee was seven years older than he was and had an eight-year-old son. Van Gogh surprised everyone by declaring his love to her and proposing marriage.[63] She refused with the words "No, nay, never" ("nooit, neen, nimmer").[64] After Kee returned to Amsterdam, Van Gogh went to The Hague to try to sell paintings and to meet with his second cousin, Anton Mauve. Mauve was the successful artist Van Gogh longed to be.[65] Mauve invited him to return in a few months and suggested he spend the intervening time working in charcoal and pastels; Van Gogh returned to Etten and followed this advice.[65]

Late in November 1881, Van Gogh wrote a letter to Johannes Stricker, one which he described to Theo as an attack.[66] Within days he left for Amsterdam.[67] Kee would not meet him, and her parents wrote that his "persistence is disgusting".[68] In despair, 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."[68][69] He did not recall the event well, but later assumed that his uncle had blown out the flame. Kee's father made it clear that her refusal should be heeded and that the two would not marry, largely because of Van Gogh's inability to support himself.[70]

Mauve took Van Gogh on as a student and introduced him to watercolour, which he worked on for the next month before returning home for Christmas.[71] He quarrelled with his father, refusing to attend church, and left for The Hague.[note 5][72] In January 1882, Mauve introduced him to painting in oil and lent him money to set up a studio.[73][74] Within a month Van Gogh and Mauve fell out, possibly over the viability of drawing from plaster casts.[75] Van Gogh could afford to hire only people from the street as models, a practice of which Mauve seems to have disapproved.[76] In June Van Gogh suffered a bout of gonorrhoea and spent three weeks in hospital.[77] Soon after, he first painted in oils,[78] bought with money borrowed from Theo. He liked the medium, and he spread the paint liberally, scraping from the canvas and working back with the brush. He wrote that he was surprised at how good the results were.[79]

 
Rooftops, View from the Atelier The Hague, 1882, private collection

By March 1882, Mauve appeared to have gone cold towards Van Gogh, and he stopped replying to his letters.[80] He had learned of Van Gogh's new domestic arrangement with an alcoholic prostitute, Clasina Maria "Sien" Hoornik (1850–1904), and her young daughter.[81] Van Gogh had met Sien towards the end of January 1882, when she had a five-year-old daughter and was pregnant. She had previously borne two children who died, but Van Gogh was unaware of this.[82] On 2 July, she gave birth to a baby boy, Willem.[83] When Van Gogh's father discovered the details of their relationship, he put pressure on his son to abandon Sien and her two children. Vincent at first defied him,[84] and considered moving the family out of the city, but in late 1883, he left Sien and the children.[85]

Poverty may have pushed Sien back into prostitution; the home became less happy and Van Gogh may have felt family life was irreconcilable with his artistic development. Sien gave her daughter to her mother and baby Willem to her brother.[86] Willem remembered visiting Rotterdam when he was about 12, when an uncle tried to persuade Sien to marry to legitimise the child.[87] He believed Van Gogh was his father, but the timing of his birth makes this unlikely.[88] Sien drowned herself in the River Scheldt in 1904.[89]

In September 1883, Van Gogh moved to Drenthe in the northern Netherlands. In December driven by loneliness, he went to live with his parents, then in Nuenen, North Brabant.[89]

Emerging artist

Nuenen and Antwerp (1883–1886)

See also: Peasant Character Studies (Van Gogh series), Still life paintings by Vincent van Gogh (Netherlands), and List of drawings by Vincent van Gogh

In Nuenen, Van Gogh focused on painting and drawing. Working outside and very quickly, he completed sketches and paintings of weavers and their cottages. Van Gogh also completed The Parsonage Garden at Nuenen, which was stolen from the Singer Laren in March 2020.[90][91] From August 1884, Margot Begemann, a neighbour's daughter ten years his senior, joined him on his forays; she fell in love and he reciprocated, though less enthusiastically. They wanted to marry, but neither side of their families were in favour. Margot was distraught and took an overdose of strychnine, but survived after Van Gogh rushed her to a nearby hospital.[83] On 26 March 1885, his father died of a heart attack.[92]

Van Gogh painted several groups of still lifes in 1885.[93] During his two-year stay in Nuenen, he completed numerous drawings and watercolours and nearly 200 oil paintings. His palette consisted mainly of sombre earth tones, particularly dark brown, and showed no sign of the vivid colours that distinguished his later work.[94]

There was interest from a dealer in Paris early in 1885.[95] Theo asked Vincent if he had paintings ready to exhibit.[96] In May, Van Gogh responded with his first major work, The Potato Eaters, and a series of "peasant character studies" which were the culmination of several years of work.[97] When he complained that Theo was not making enough effort to sell his paintings in Paris, his brother responded that they were too dark and not in keeping with the bright style of Impressionism.[94] In August his work was publicly exhibited for the first time, in the shop windows of the dealer Leurs in The Hague. One of his young peasant sitters became pregnant in September 1885; Van Gogh was accused of forcing himself upon her, and the village priest forbade parishioners to model for him.[98]

He moved to Antwerp that November and rented a room above a paint dealer's shop in the rue des Images (Lange Beeldekensstraat).[99] He lived in poverty and ate poorly, preferring to spend the money Theo sent on painting materials and models. Bread, coffee and tobacco became his staple diet. In February 1886, he wrote to Theo that he could only remember eating six hot meals since the previous May. His teeth became loose and painful.[100] In Antwerp he applied himself to the study of colour theory and spent time in museums—particularly studying the work of Peter Paul Rubens—and broadened his palette to include carmine, cobalt blue and emerald green. Van Gogh bought Japanese ukiyo-e woodcuts in the docklands, later incorporating elements of their style into the background of some of his paintings.[101] He was drinking heavily again,[102] and was hospitalised between February and March 1886,[103] when he was possibly also treated for syphilis.[104][note 6]

 
Farm with Stacks of Peat, 1883
 
The Potato Eaters, 1885. Van Gogh Museum, Amsterdam

After his recovery, despite his antipathy towards 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. He became ill and run down by overwork, poor diet and excessive smoking.[107] He started to attend drawing classes after plaster models at the Antwerp Academy on 18 January 1886. He quickly got into trouble with Charles Verlat, the director of the academy and teacher of a painting class, because of his unconventional painting style. Van Gogh had also clashed with the instructor of the drawing class Franz Vinck. Van Gogh finally started to attend the drawing classes after antique plaster models given by Eugène Siberdt. Soon Siberdt and Van Gogh came into conflict when the latter did not comply with Siberdt's requirement that drawings express the contour and concentrate on the line. When Van Gogh was required to draw the Venus de Milo during a drawing class, he produced the limbless, naked torso of a Flemish peasant woman. Siberdt regarded this as defiance against his artistic guidance and made corrections to Van Gogh's drawing with his crayon so vigorously that he tore the paper. Van Gogh then flew into a violent rage and shouted at Siberdt: 'You clearly do not know what a young woman is like, God damn it! A woman must have hips, buttocks, a pelvis in which she can carry a baby!' According to some accounts, this was the last time Van Gogh attended classes at the academy and he left later for Paris.[108] On 31 March 1886, which was about a month after the confrontation with Siberdt, the teachers of the academy decided that 17 students, including Van Gogh, had to repeat a year. The story that Van Gogh was expelled from the academy by Siberdt is therefore unfounded.[109]

Paris (1886–1888)

See also: Japonaiserie (Van Gogh) and Still life paintings by Vincent van Gogh (Paris)

Van Gogh moved to Paris in March 1886 where he shared Theo's rue Laval apartment in Montmartre and studied at Fernand Cormon's studio. In June the brothers took a larger flat at 54 rue Lepic.[110] In Paris, Vincent painted portraits of friends and acquaintances, still life paintings, views of Le Moulin de la Galette, scenes in Montmartre, Asnières and along the Seine. In 1885 in Antwerp he had become interested in Japanese ukiyo-e woodblock prints and had used them to decorate the walls of his studio; while in Paris he collected hundreds of them. He tried his hand at Japonaiserie, tracing a figure from a reproduction on the cover of the magazine Paris Illustre, The Courtesan or Oiran (1887), after Keisai Eisen, which he then graphically enlarged in a painting.[111]

After seeing the portrait of Adolphe Monticelli at the Galerie Delareybarette, Van Gogh adopted a brighter palette and a bolder attack, particularly in paintings such as his Seascape at Saintes-Maries (1888).[112][113] Two years later, Vincent and Theo paid for the publication of a book on Monticelli paintings, and Vincent bought some of Monticelli's works to add to his collection.[114]

Van Gogh learned about Fernand Cormon's atelier from Theo.[115] He worked at the studio in April and May 1886,[116] where he frequented the circle of the Australian artist John Russell, who painted his portrait in 1886.[117] Van Gogh also met fellow students Émile Bernard, Louis Anquetin and Henri de Toulouse-Lautrec – who painted a portrait of him in pastel. They met at Julien "Père" Tanguy's paint shop,[116] (which was, at that time, the only place where Paul Cézanne's paintings were displayed). In 1886, two large exhibitions were staged there, showing Pointillism and Neo-impressionism for the first time and bringing attention to Georges Seurat and Paul Signac. Theo kept a stock of Impressionist paintings in his gallery on boulevard Montmartre, but Van Gogh was slow to acknowledge the new developments in art.[118]

Conflicts arose between the brothers. At the end of 1886 Theo found living with Vincent to be "almost unbearable".[116] By early 1887, they were again at peace, and Vincent had moved to Asnières, a northwestern suburb of Paris, where he got to know Signac. He adopted elements of Pointillism, a technique in which a multitude of small coloured dots are applied to the canvas so that when seen from a distance they create an optical blend of hues. The style stresses the ability of complementary colours – including blue and orange – to form vibrant contrasts.[96][116]

While in Asnières Van Gogh painted parks, restaurants and the Seine, including Bridges across the Seine at Asnières. In November 1887, Theo and Vincent befriended Paul Gauguin who had just arrived in Paris.[119] Towards the end of the year, Vincent arranged an exhibition alongside Bernard, Anquetin, and probably Toulouse-Lautrec, at the Grand-Bouillon Restaurant du Chalet, 43 avenue de Clichy, Montmartre. In a contemporary account, Bernard wrote that the exhibition was ahead of anything else in Paris.[120] There, Bernard and Anquetin sold their first paintings, and Van Gogh exchanged work with Gauguin. Discussions on art, artists, and their social situations started during this exhibition, continued and expanded to include visitors to the show, like Camille Pissarro and his son Lucien, Signac and Seurat. In February 1888, feeling worn out from life in Paris, Van Gogh left, having painted more than 200 paintings during his two years there. Hours before his departure, accompanied by Theo, he paid his first and only visit to Seurat in his studio.[121]

Artistic breakthrough

Arles (1888–89)

See also: Décoration for the Yellow House, Langlois Bridge at Arles, and Saintes-Maries (Van Gogh series)
 
The Yellow House, 1888. Van Gogh Museum, Amsterdam

Ill from drink and suffering from smoker's cough, in February 1888 Van Gogh sought refuge in Arles.[15] He seems to have moved with thoughts of founding an art colony. The Danish artist Christian Mourier-Petersen became his companion for two months, and, at first, Arles appeared exotic. In a letter, he described it as a foreign country: "The Zouaves, the brothels, the adorable little Arlésienne going to her First Communion, the priest in his surplice, who looks like a dangerous rhinoceros, the people drinking absinthe, all seem to me creatures from another world."[122]

The time in Arles became one of Van Gogh's more prolific periods: he completed 200 paintings and more than 100 drawings and watercolours.[123] He was enchanted by the local countryside and light; his works from this period are rich in yellow, ultramarine and mauve. They include harvests, wheat fields and general rural landmarks from the area, including The Old Mill (1888), one of seven canvases sent to Pont-Aven on 4 October 1888 in an exchange of works with Paul Gauguin, Émile Bernard, Charles Laval and others.[124] The portrayals of Arles are informed by his Dutch upbringing; the patchworks of fields and avenues are flat and lacking perspective, but excel in their use of colour.[125]

In March 1888, he painted landscapes using a gridded "perspective frame"; three of the works 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.[126][127] On 1 May 1888, for 15 francs per month, he signed a lease for the eastern wing of the Yellow House at 2 place Lamartine. The rooms were unfurnished and had been uninhabited for months.[128]

On 7 May, Van Gogh moved from the Hôtel Carrel to the Café de la Gare,[129] having befriended the proprietors, Joseph and Marie Ginoux. The Yellow House had to be furnished before he could fully move in, but he was able to use it as a studio.[130] He wanted a gallery to display his work and started a series of paintings that eventually included Van Gogh's Chair (1888), Bedroom in Arles (1888), The Night Café (1888), Café Terrace at Night (September 1888), Starry Night Over the Rhone (1888), and Still Life: Vase with Twelve Sunflowers (1888), all intended for the decoration for the Yellow House.[131]

Van Gogh wrote that with The Night Café he tried "to express the idea that the café is a place where one can ruin oneself, go mad, or commit a crime".[132] When he visited Saintes-Maries-de-la-Mer in June, he gave lessons to a Zouave second lieutenant – Paul-Eugène Milliet[133] – and painted boats on the sea and the village.[134] MacKnight introduced Van Gogh to Eugène Boch, a Belgian painter who sometimes stayed in Fontvieille, and the two exchanged visits in July.[133]

Gauguin's visit (1888)

See also: Sunflowers (Van Gogh series)
 
Paul Gauguin, The Painter of Sunflowers: Portrait of Vincent van Gogh, 1888. Van Gogh Museum, Amsterdam

When Gauguin agreed to visit Arles in 1888, Van Gogh hoped for friendship and to realize his idea of an artists' collective. Van Gogh prepared for Gauguin's arrival by painting four versions of Sunflowers in one week.[135] "In the hope of living in a studio of our own with Gauguin," he wrote in a letter to Theo, "I'd like to do a decoration for the studio. Nothing but large Sunflowers."[136]

When Boch visited again, Van Gogh painted a portrait of him, as well as the study The Poet Against a Starry Sky.[137][note 7]

In preparation for Gauguin's visit, Van Gogh bought two beds on advice from the station's postal supervisor Joseph Roulin, whose portrait he painted. On 17 September, he spent his first night in the still sparsely furnished Yellow House.[139] When Gauguin consented to work and live in Arles with him, Van Gogh started to work on the Décoration for the Yellow House, probably the most ambitious effort he ever undertook.[140] He completed two chair paintings: Van Gogh's Chair and Gauguin's Chair.[141]

After much pleading from Van Gogh, Gauguin arrived in Arles on 23 October and, in November, the two painted together. Gauguin depicted Van Gogh in his The Painter of Sunflowers; Van Gogh painted pictures from memory, following Gauguin's suggestion. Among these "imaginative" paintings is Memory of the Garden at Etten.[142][note 8] Their first joint outdoor venture was at the Alyscamps, when they produced the pendants Les Alyscamps.[143] The single painting Gauguin completed during his visit was his portrait of Van Gogh.[144]

Van Gogh and Gauguin visited Montpellier in December 1888, where they saw works by Courbet and Delacroix in the Musée Fabre.[145] Their relationship began to deteriorate; Van Gogh admired Gauguin and wanted to be treated as his equal, but Gauguin was arrogant and domineering, which frustrated Van Gogh. They often quarrelled; Van Gogh increasingly feared that Gauguin was going to desert him, and the situation, which Van Gogh described as one of "excessive tension", rapidly headed towards crisis point.[146]

Hospital in Arles (December 1888)

See also: Hospital in Arles
 
Local newspaper report dated 30 December 1888 recording van Gogh's self-mutilation[147]
 
Portrait of Félix Rey, January 1889, Pushkin Museum; note written by Dr Rey for novelist Irving Stone with sketches of the damage to van Gogh's ear

The exact sequence that led to the mutilation of van Gogh's ear is not known. Gauguin said, fifteen years later, that the night followed several instances of physically threatening behaviour.[148] Their relationship was complex and Theo may have owed money to Gauguin, who suspected the brothers were exploiting him financially.[149] It seems likely that Vincent realised that Gauguin was planning to leave.[149] The following days saw heavy rain, leading to the two men being shut in the Yellow House.[150] Gauguin recalled that Van Gogh followed him after he left for a walk and "rushed towards me, an open razor in his hand."[150] This account is uncorroborated;[151] Gauguin was almost certainly absent from the Yellow House that night, most likely staying in a hotel.[150]

After an altercation on the evening of 23 December 1888,[152] Van Gogh returned to his room where he seemingly heard voices and either wholly or in part severed his left ear with a razor[note 9] causing severe bleeding.[153] He bandaged the wound, wrapped the ear in paper and delivered the package to a woman at a brothel Van Gogh and Gauguin both frequented.[153] Van Gogh was found unconscious the next morning by a policeman and taken to hospital,[156][157] where he was treated by Félix Rey, a young doctor still in training. The ear was brought to the hospital, but Rey did not attempt to reattach it as too much time had passed.[150] Van Gogh researcher and art historian Bernadette Murphy discovered the true identity of the woman named Gabrielle, who died in Arles at the age of 80 in 1952, and whose descendants still lived (as of 2020) just outside Arles. Gabrielle, known in her youth as "Gaby," was a 17-year-old cleaning girl at the brothel and other local establishments at the time Van Gogh presented her with his ear.[152][158][159]

Van Gogh had no recollection of the event, suggesting that he may have suffered an acute mental breakdown.[160] The hospital diagnosis was "acute mania with generalised delirium",[161] and within a few days, the local police ordered that he be placed in hospital care.[162][163] Gauguin immediately notified Theo, who, on 24 December, had proposed marriage to his old friend Andries Bonger's sister Johanna.[164] That evening, Theo rushed to the station to board a night train to Arles. He arrived on Christmas Day and comforted Vincent, who seemed to be semi-lucid. That evening, he left Arles for the return trip to Paris.[165]

During the first days of his treatment, Van Gogh repeatedly and unsuccessfully asked for Gauguin, who asked a policeman attending the case to "be kind enough, Monsieur, to awaken this man with great care, and if he asks for me tell him I have left for Paris; the sight of me might prove fatal for him."[166] Gauguin fled Arles, never to see Van Gogh again. They continued to correspond, and in 1890, Gauguin proposed they form a studio in Antwerp. Meanwhile, other visitors to the hospital included Marie Ginoux and Roulin.[167]

Despite a pessimistic diagnosis, Van Gogh recovered and returned to the Yellow House on 7 January 1889.[168] He spent the following month between hospital and home, suffering from hallucinations and delusions of poisoning.[169] In March, the police closed his house after a petition by 30 townspeople (including the Ginoux family) who described him as le fou roux "the redheaded madman";[162] Van Gogh returned to hospital. Paul Signac visited him twice in March;[170] in April, Van Gogh moved into rooms owned by Dr Rey after floods damaged paintings in his own home.[171] Two months later, he left Arles and voluntarily entered an asylum in Saint-Rémy-de-Provence. 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."[172]

Van Gogh gave his 1889 Portrait of Doctor Félix Rey to Dr Rey. The physician was not fond of the painting and used it to repair a chicken coop, then gave it away.[173] In 2016, the portrait was housed at the Pushkin Museum of Fine Arts and estimated to be worth over $50 million.[174]

  •  
    Self-portrait with Bandaged Ear and Pipe, 1889, private collection
  •  
    The Courtyard of the Hospital at Arles, 1889, Oskar Reinhart Collection "Am Römerholz", Winterthur, Switzerland
  •  
    Self-portrait with Bandaged Ear, 1889, Courtauld Institute of Art, London
  •  
    Ward in the Hospital in Arles, 1889, Oskar Reinhart Collection "Am Römerholz", Winterthur, Switzerland

Saint-Rémy (May 1889 – May 1890)

Main article: Saint-Paul Asylum, Saint-Rémy (Van Gogh series)
 
The Starry Night, June 1889. Museum of Modern Art, New York

Van Gogh entered the Saint-Paul-de-Mausole asylum on 8 May 1889, accompanied by his caregiver, Frédéric Salles, a Protestant clergyman. Saint-Paul was a former monastery in Saint-Rémy, located less than 30 kilometres (19 mi) from Arles, and it was run by a former naval doctor, Théophile Peyron. Van Gogh had two cells with barred windows, one of which he used as a studio.[175] The clinic and its garden became the main subjects of his paintings. He made several studies of the hospital's interiors, such as Vestibule of the Asylum and Saint-Rémy (September 1889), and its gardens, such as Lilacs (May 1889). Some of his works from this time are characterised by swirls, such as The Starry Night. He was allowed short supervised walks, during which time he painted cypresses and olive trees, including Valley with Ploughman Seen from Above, Olive Trees with the Alpilles in the Background 1889, Cypresses 1889, Cornfield with Cypresses (1889), Country road in Provence by Night (1890). In September 1889, he produced two further versions of Bedroom in Arles and The Gardener.[176]

Limited access to life outside the clinic resulted in a shortage of subject matter. Van Gogh instead worked on interpretations of other artist's paintings, such as Millet's The Sower and Noonday Rest, and variations on his own earlier work. Van Gogh was an admirer of the Realism of Jules Breton, Gustave Courbet and Millet,[177] and he compared his copies to a musician's interpreting Beethoven.[178]

His Prisoners' Round (after Gustave Doré) (1890) was painted after an engraving by Gustave Doré (1832–1883). Tralbaut suggests that the face of the prisoner in the centre of the painting looking towards the viewer is Van Gogh himself;[179] Jan Hulsker discounts this.[180]

Between February and April 1890, Van Gogh suffered a severe relapse. Depressed and unable to bring himself to write, he was still able to paint and draw a little during this time,[181] and he later wrote to Theo that he had made a few small canvases "from memory ... reminisces of the North".[182] Among these was Two Peasant Women Digging in a Snow-Covered Field at Sunset. Hulsker believes that this small group of paintings formed the nucleus of many drawings and study sheets depicting landscapes and figures that Van Gogh worked on during this time. He comments that this short period was the only time that Van Gogh's illness had a significant effect on his work.[183] Van Gogh asked his mother and his brother to send him drawings and rough work he had done in the early 1880s so he could work on new paintings from his old sketches.[184] Belonging to this period is Sorrowing Old Man ("At Eternity's Gate"), a colour study Hulsker describes as "another unmistakable remembrance of times long past".[185][186] His late paintings show an artist at the height of his abilities, according to the art critic Robert Hughes, "longing for concision and grace".[122]

After the birth of his nephew, Van Gogh wrote, "I started right away to make a picture for him, to hang in their bedroom, branches of white almond blossom against a blue sky."[187]

1890 Exhibitions and recognition

See also Vincent van Gogh's display at Les XX, 1890

Albert Aurier praised his work in the Mercure de France in January 1890 and described him as "a genius".[188] In February, Van Gogh painted five versions of L'Arlésienne (Madame Ginoux), based on a charcoal sketch Gauguin had produced when she sat for both artists in November 1888.[189][note 10] Also in February, Van Gogh was invited by Les XX, a society of avant-garde painters in Brussels, to participate in their annual exhibition. At the opening dinner a Les XX member, Henry de Groux, insulted Van Gogh's work. Toulouse-Lautrec demanded satisfaction, and Signac declared he would continue to fight for Van Gogh's honour if Lautrec surrendered. De Groux apologised for the slight and left the group.

From 20 March to 27 April 1890, Van Gogh was included in the sixth exhibition of the Société des Artistes Indépendants in the Pavillon de la Ville de Paris on the Champs-Elysées. Van Gogh exhibited ten paintings.[190] While Van Gogh's exhibit was on display with the Artistes Indépendants in Paris, Claude Monet said that his work was the best in the show.[191]

Auvers-sur-Oise (May–July 1890)

See also: Houses at Auvers, Auvers size 30 canvases, and Double-squares and Squares
 
Les Vessenots à Auvers, 1890. Thyssen-Bornemisza Museum, Madrid, painted six weeks before the artist's death

In May 1890, Van Gogh left the clinic in Saint-Rémy to move nearer to both Dr Paul Gachet in the Paris suburb of Auvers-sur-Oise and to Theo. Gachet was an amateur painter and had treated several other artists – Camille Pissarro had recommended him. Van Gogh's first impression was that Gachet was "iller than I am, it seemed to me, or let's say just as much."[192]

The painter Charles Daubigny moved to Auvers in 1861 and in turn drew other artists there, including Camille Corot and Honoré Daumier. In July 1890, Van Gogh completed two paintings of Daubigny's Garden, one of which is likely his final work.[193]

 
The Church at Auvers, 1890. Musée d'Orsay, Paris

During his last weeks at Saint-Rémy, his thoughts returned to "memories of the North",[182] and several of the approximately 70 oils, painted during as many days in Auvers-sur-Oise, are reminiscent of northern scenes.[194] In June 1890, he painted several portraits of his doctor, including Portrait of Dr Gachet, and his only etching. In each the emphasis is on Gachet's melancholic disposition.[195] There are other paintings which are probably unfinished, including Thatched Cottages by a Hill.[193]

In July, Van Gogh wrote that he had become absorbed "in the immense plain against the hills, boundless as the sea, delicate yellow".[196] He had first become captivated by the fields in May, when the wheat was young and green. In July, he described to Theo "vast fields of wheat under turbulent skies".[197]

He wrote that they represented his "sadness and extreme loneliness" and that the "canvases will tell you what I cannot say in words, that is, how healthy and invigorating I find the countryside".[198] Wheatfield with Crows, although not his last oil work, is from July 1890 and Hulsker discusses it as being associated with "melancholy and extreme loneliness".[199] Hulsker identifies seven oil paintings from Auvers that follow the completion of Wheatfield with Crows.[200]

Death

Main articles: Death of Vincent van Gogh, Auberge Ravoux, and Vincent van Gogh's health
 
Article on Van Gogh's death from L'Écho Pontoisien, 7 August 1890

On 27 July 1890, aged 37, Van Gogh shot himself in the chest with a revolver.[201] The shooting may have taken place in the wheat field in which he had been painting, or in a local barn.[202] The bullet was deflected by a rib and passed through his chest without doing apparent damage to internal organs – possibly stopped by his spine. He was able to walk back to the Auberge Ravoux, where he was attended to by two doctors. One of them, Dr Gachet, served as a war surgeon in 1870 and had extensive knowledge of gunshots. Vincent was possibly attended to during the night by Dr Gachet's son Paul Louis Gachet and the innkeeper, Arthur Ravoux. The following morning, Theo rushed to his brother's side, finding him in good spirits. But within hours Vincent's health began to fail, suffering from an infection resulting from the wound. He died in the early hours of 29 July. According to Theo, Vincent's last words were: "The sadness will last forever".[203][204][205][206]

 
Vincent and Theo's graves at Auvers-sur-Oise Cemetery

Van Gogh was buried on 30 July, in the municipal cemetery of Auvers-sur-Oise. The funeral was attended by Theo van Gogh, Andries Bonger, Charles Laval, Lucien Pissarro, Émile Bernard, Julien Tanguy and Paul Gachet, among twenty family members, friends and locals. Theo suffered from syphilis, and his health began to decline further after his brother's death. Weak and unable to come to terms with Vincent's absence, he died on 25 January 1891 at Den Dolder and was buried in Utrecht.[207] In 1914, Johanna van Gogh-Bonger had Theo's body exhumed and moved from Utrecht to be re-buried alongside Vincent's at Auvers-sur-Oise.[208]

There have been numerous debates as to the nature of Van Gogh's illness and its effect on his work, and many retrospective diagnoses have been proposed. The consensus is that Van Gogh had an episodic condition with periods of normal functioning.[209] Perry was the first to suggest bipolar disorder in 1947,[210] and this has been supported by the psychiatrists Hemphill and Blumer.[211][212] Biochemist Wilfred Arnold has countered that the symptoms are more consistent with acute intermittent porphyria, noting that the popular link between bipolar disorder and creativity might be spurious.[209] Temporal lobe epilepsy with bouts of depression has also been suggested.[212] Whatever the diagnosis, his condition was likely worsened by malnutrition, overwork, insomnia and alcohol.[212]

Style and works

Artistic development

 
Starry Night Over the Rhône, 1888. Musée d'Orsay, Paris

Van Gogh drew and painted with watercolours while at school, but only a few examples survive and the authorship of some has been challenged.[213] When he took up art as an adult, he began at an elementary level. In early 1882, his uncle, Cornelis Marinus, owner of a well-known gallery of contemporary art in Amsterdam, asked for drawings of The Hague. Van Gogh's work did not live up to expectations. Marinus offered a second commission, specifying the subject matter in detail, but was again disappointed with the result. Van Gogh persevered; he experimented with lighting in his studio using variable shutters and different drawing materials. For more than a year he worked on single figures – highly elaborate studies in black and white,[note 11] which at the time gained him only criticism. Later, they were recognised as early masterpieces.[215]

In August 1882, Theo gave Vincent money to buy materials for working en plein air. Vincent wrote that he could now "go on painting with new vigour".[216] From early 1883, he worked on multi-figure compositions. 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. Van Gogh turned to well-known Hague School artists like Weissenbruch and Blommers, and he received technical advice from them as well as from painters like De Bock and Van der Weele, both of the Hague School's second generation.[217] He moved to Nuenen after a short period of time in Drenthe and began work on several large paintings but destroyed most of them. The Potato Eaters and its companion pieces are the only ones to have survived.[217] Following a visit to the Rijksmuseum Van Gogh wrote of his admiration for the quick, economical brushwork of the Dutch Masters, especially Rembrandt and Frans Hals.[218][note 12] He was aware many of his faults were due to lack of experience and technical expertise,[217] so in November 1885 he travelled to Antwerp and later Paris to learn and develop his skills.[219]

 
Olive Trees with the Alpilles in the Background, 1889. Museum of Modern Art, New York

Theo criticised The Potato Eaters for its dark palette, which he thought unsuitable for a modern style.[220] During Van Gogh's stay in Paris between 1886 and 1887, he tried to master a new, lighter palette. His Portrait of Père Tanguy (1887) shows his success with the brighter palette and is evidence of an evolving personal style.[221] Charles Blanc's treatise on colour interested him greatly and led him to work with complementary colours. Van Gogh came to believe that the effect of colour went beyond the descriptive; he said that "colour expresses something in itself".[222][223] According to Hughes, Van Gogh perceived colour as having a "psychological and moral weight", as exemplified in the garish reds and greens of The Night Café, a work he wanted to "express the terrible passions of humanity".[224] Yellow meant the most to him, because it symbolised emotional truth. He used yellow as a symbol for sunlight, life, and God.[225]

Van Gogh strove to be a painter of rural life and nature;[226] during his first summer in Arles he used his new palette to paint landscapes and traditional rural life.[227] His belief that a power existed behind the natural led him to try to capture a sense of that power, or the essence of nature in his art, sometimes through the use of symbols.[228] His renditions of the sower, at first copied from Jean-François Millet, reflect the influence of Thomas Carlyle and Friedrich Nietzsche's thoughts on the heroism of physical labour,[229] as well as Van Gogh's religious beliefs: the sower as Christ sowing life beneath the hot sun.[230] These were themes and motifs he returned to often to rework and develop.[231] His paintings of flowers are filled with symbolism, but rather than use traditional Christian iconography he made up his own, where life is lived under the sun and work is an allegory of life.[232] In Arles, having gained confidence after painting spring blossoms and learning to capture bright sunlight, he was ready to paint The Sower.[222]

 
Memory of the Garden at Etten, 1888. Hermitage Museum, St Petersburg

Van Gogh stayed within what he called the "guise of reality"[233] and was critical of overly stylised works.[234] He wrote afterwards that the abstraction of Starry Night had gone too far and that reality had "receded too far in the background".[234] Hughes describes it as a moment of extreme visionary ecstasy: the stars are in a great whirl, reminiscent of Hokusai's Great Wave, the movement in the heaven above is reflected by the movement of the cypress on the earth below, and the painter's vision is "translated into a thick, emphatic plasma of paint".[235]

Between 1885 and his death in 1890, Van Gogh appears to have been building an oeuvre,[236] a collection that reflected his personal vision and could be commercially successful. He was influenced by Blanc's definition of style, that a true painting required optimal use of colour, perspective and brushstrokes. Van Gogh applied the word "purposeful" to paintings he thought he had mastered, as opposed to those he thought of as studies.[237] He painted many series of studies;[233] most of which were still lifes, many executed as colour experiments or as gifts to friends.[238] The work in Arles contributed considerably to his oeuvre: those he thought the most important from that time were The Sower, Night Cafe, Memory of the Garden in Etten and Starry Night. With their broad brushstrokes, inventive perspectives, colours, contours and designs, these paintings represent the style he sought.[234]

Major series

Main article: List of works by Vincent van Gogh
 
L'Arlésienne: Madame Ginoux with Books, November 1888. Metropolitan Museum of Art, New York

Van Gogh's stylistic developments are usually linked to the periods he spent living in different places across Europe. He was inclined to immerse himself in local cultures and lighting conditions, although he maintained a highly individual visual outlook throughout. His evolution as an artist was slow, and he was aware of his painterly limitations. He moved home often, perhaps to expose himself to new visual stimuli, and through exposure develop his technical skill.[239] Art historian Melissa McQuillan believes the moves also reflect later stylistic changes, and that Van Gogh used the moves to avoid conflict, and as a coping mechanism for when the idealistic artist was faced with the realities of his then current situation.[240]

Portraits

See also: Portraits by Vincent van Gogh, Paintings of Children (Van Gogh series), and Van Gogh's family in his art

Van Gogh said portaiture was his greatest interest. "What I'm most passionate about, much much more than all the rest in my profession", he wrote in 1890, "is the portrait, the modern portrait."[241] It is "the only thing in painting that moves me deeply and that gives me a sense of the infinite."[238][242] He wrote to his sister that he wished to paint portraits that would endure, and that he would use colour to capture their emotions and character rather than aiming for photographic realism.[243] Those closest to Van Gogh are mostly absent from his portraits; he rarely painted Theo, Van Rappard or Bernard. The portraits of his mother were from photographs.[244]

Van Gogh painted Arles' postmaster Joseph Roulin and his family repeatedly. In five versions of La Berceuse (The Lullaby), Van Gogh painted Augustine Roulin quietly holding a rope that rocks the unseen cradle of her infant daughter. Van Gogh had planned for it to be the central image of a triptych, flanked by paintings of sunflowers. [245]

Self-portraits

Main article: Portraits of Vincent van Gogh § Self-portraits
 
Self-Portrait, September 1889. Musée d'Orsay

Van Gogh created more than 43 self-portraits between 1885 and 1889.[246][note 13] They were usually completed in series, such as those painted in Paris in mid-1887, and continued until shortly before his death.[247] Generally the portraits were studies, created during periods when he was reluctant to mix with others, or when he lacked models, and so painted himself.[238][248]

The self-portraits reflect a high degree of self-scrutiny.[249] Often they were intended to mark important periods in his life; for example, the mid-1887 Paris series were painted at the point where he became aware of Claude Monet, Paul Cézanne and Signac.[250] In Self-Portrait with Grey Felt Hat, heavy strains of paint spread outwards across the canvas. It is one of his most renowned self-portraits of that period, "with its highly organized rhythmic brushstrokes, and the novel halo derived from the Neo-impressionist repertoire was what Van Gogh himself called a 'purposeful' canvas".[251]

They contain a wide array of physiognomical representations.[246] Van Gogh's mental and physical condition is usually apparent; he may appear unkempt, unshaven or with a neglected beard, with deeply sunken eyes, a weak jaw, or having lost teeth. Some show him with full lips, a long face or prominent skull, or sharpened, alert features. His hair is sometimes depicted in a vibrant reddish hue and at other times ash colored.[246]

Van Gogh's self-portraits vary stylistically. In those painted after December 1888, the strong contrast of vivid colors highlight the haggard pallor of his skin.[248] Some depict the artist with a beard, others without. He can be seen with bandages in portraits executed just after he mutilated his ear. In only a few does he depict himself as a painter.[246] Those painted in Saint-Rémy show the head from the right, the side opposite his damaged ear, as he painted himself reflected in his mirror.[252][253]

  •  
    Self-Portrait with Grey Felt Hat, Winter 1887–88. Van Gogh Museum, Amsterdam
  •  
    Self-Portrait with Straw Hat, Paris, Winter 1887–88. Metropolitan Museum of Art, New York
  •  
    Self-Portrait, 1889. National Gallery of Art, Washington, D.C. His Saint-Rémy self-portraits show the unmutilated ear, as reflected in the mirror.
  •  
    Self-Portrait Without Beard, (c. September 1889) may have been Van Gogh's last self-portrait, which he gifted to his mother on her birthday.[254][255]

Flowers

See also: Sunflowers (Van Gogh series) and Almond Blossoms
 
Still Life: Vase with Fourteen Sunflowers, August 1888. National Gallery, London

Van Gogh painted several landscapes with flowers, including roses, lilacs, irises, and sunflowers. Some reflect his interests in the language of colour, and also in Japanese ukiyo-e.[256] There are two series of dying sunflowers. The first was painted in Paris in 1887 and shows flowers lying on the ground. The second set was completed a year later in Arles and is of bouquets in a vase positioned in early morning light.[257] Both are built from thickly layered paintwork, which, according to the London National Gallery, evoke the "texture of the seed-heads".[258]

In these series, Van Gogh was not preoccupied by his usual interest in filling his paintings with subjectivity and emotion; rather, the two series are intended to display his technical skill and working methods to Gauguin,[144] who was about to visit. The 1888 paintings were created during a rare period of optimism for the artist. Vincent wrote to Theo in August 1888:

I'm painting with the gusto of a Marseillais eating bouillabaisse, which won't surprise you when it's a question of painting large sunflowers ... If I carry out this plan there'll be a dozen or so panels. The whole thing will therefore be a symphony in blue and yellow. I work on it all these mornings, from sunrise. Because the flowers wilt quickly and it's a matter of doing the whole thing in one go.[259]

The sunflowers were painted to decorate the walls in anticipation of Gauguin's visit, and Van Gogh placed individual works around the Yellow House's guest room in Arles. Gauguin was deeply impressed and later acquired two of the Paris versions.[144] After Gauguin's departure, Van Gogh imagined the two major versions of the sunflowers as wings of the Berceuse Triptych, and included them in his Les XX in Brussels exhibit. Today the major pieces of the series are among his best known, celebrated for the sickly connotations of the colour yellow and its tie-in with the Yellow House, the expressionism of the brush strokes, and their contrast against often dark backgrounds.[260]

Cypresses and olives

See also: Olive Trees (Van Gogh series)
 
Road with Cypress and Star, May 1890, Kröller-Müller Museum, Otterlo

Fifteen canvases depict cypresses, a tree he became fascinated with in Arles.[262] He brought life to the trees, which were traditionally seen as emblematic of death.[228] The series of cypresses he began in Arles featured the trees in the distance, as windbreaks in fields; when he was at Saint-Rémy he brought them to the foreground.[263] Vincent wrote to Theo in May 1889: "Cypresses still preoccupy me, I should like to do something with them like my canvases of sunflowers"; he went on to say, "They are beautiful in line and proportion like an Egyptian obelisk."[264]

In mid-1889, and at his sister Wil's request, Van Gogh painted several smaller versions of Wheat Field with Cypresses.[265] The works are characterised by swirls and densely painted impasto, and include The Starry Night, in which cypresses dominate the foreground.[262] In addition to this, other notable works on cypresses include Cypresses (1889), Cypresses with Two Figures (1889–90), and Road with Cypress and Star (1890).[266]

During the last six or seven months of the year 1889, he had also created at least fifteen paintings of olive trees, a subject which he considered as demanding and compelling.[267] Among these works are Olive Trees with the Alpilles in the Background (1889), about which in a letter to his brother Van Gogh wrote, "At last I have a landscape with olives".[266] While in Saint-Rémy, Van Gogh spent time outside the asylum, where he painted trees in the olive groves. In these works, natural life is rendered as gnarled and arthritic as if a personification of the natural world, which are, according to Hughes, filled with "a continuous field of energy of which nature is a manifestation".[228]

  •  
    Cypresses in Starry Night, a reed pen drawing executed by Van Gogh after the painting in 1889
  •  
    Cypresses and Two Women, February 1890. Kröller-Müller Museum, Otterlo, Netherlands
  •  
    Wheat Field with Cypresses, September 1889. Metropolitan Museum of Art, New York
  •  
    Cypresses, 1889. Metropolitan Museum of Art, New York

Orchards

See also: Flowering Orchards

The Flowering Orchards (also the Orchards in Blossom) are among the first groups of work completed after Van Gogh's arrival in Arles in February 1888. The 14 paintings are optimistic, joyous and visually expressive of the burgeoning spring. They are delicately sensitive and unpopulated. He painted swiftly, and although he brought to this series a version of Impressionism, a strong sense of personal style began to emerge during this period. The transience of the blossoming trees, and the passing of the season, seemed to align with his sense of impermanence and belief in a new beginning in Arles. During the blossoming of the trees that spring, he found "a world of motifs that could not have been more Japanese".[268] Vincent wrote to Theo on 21 April 1888 that he had 10 orchards and "one big [painting] of a cherry tree, which I've spoiled".[269]

During this period Van Gogh mastered the use of light by subjugating shadows and painting the trees as if they are the source of light – almost in a sacred manner.[268] Early the following year he painted another smaller group of orchards, including View of Arles, Flowering Orchards.[270] Van Gogh was enthralled by the landscape and vegetation of the south of France, and often visited the farm gardens near Arles. In the vivid light of the Mediterranean climate his palette significantly brightened.[271]

  •  
    Pink Peach Tree in Blossom (Reminiscence of Mauve), watercolour, March 1888. Kröller-Müller Museum
  •  
    The Pink Orchard also Orchard with Blossoming Apricot Trees, March 1888. Van Gogh Museum, Amsterdam
  •  
    Orchard in Blossom, Bordered by Cypresses, April 1888. Kröller-Müller Museum, Otterlo, Netherlands
  •  
    View of Arles, Flowering Orchards, April 1889. Neue Pinakothek, Munich

Wheat fields

See also: Wheat Fields (Van Gogh series) and The Wheat Field
 
Wheatfield Under Thunderclouds, 1890, Van Gogh Museum, Amsterdam, Netherlands

Van Gogh made several painting excursions during visits to the landscape around Arles. He made paintings of 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.[124] At various points, Van Gogh painted the view from his window – at The Hague, Antwerp, and Paris. These works culminated in The Wheat Field series, which depicted the view from his cells in the asylum at Saint-Rémy.[272]

Many of the late paintings are sombre but essentially optimistic and, right up to the time of Van Gogh's death, reflect his desire to return to lucid mental health. Yet some of his final works reflect his deepening concerns.[273][274] Writing in July 1890, from Auvers, Van Gogh said that he had become absorbed "in the immense plain against the hills, boundless as the sea, delicate yellow".[196]

Van Gogh was captivated by the fields in May when the wheat was young and green. His Wheatfields at Auvers with White House shows a more subdued palette of yellows and blues, which creates a sense of idyllic harmony.[275]

About 10 July 1890, Van Gogh wrote to Theo of "vast fields of wheat under troubled skies".[276] Wheatfield with Crows shows the artist's state of mind in his final days; Hulsker describes the work as a "doom-filled painting with threatening skies and ill-omened crows".[199] Its dark palette and heavy brushstrokes convey a sense of menace.[277]

Reputation and legacy

Main article: Posthumous fame of Vincent van Gogh
 
Johanna van Gogh-Bonger, 1889

After Van Gogh's first exhibitions in the late 1880s, his reputation grew steadily among artists, art critics, dealers and collectors.[278] In 1887, André Antoine hung Van Gogh's alongside works of Georges Seurat and Paul Signac, at the Théâtre Libre in Paris; some were acquired by Julien Tanguy.[279] In 1889, his work was described in the journal Le Moderniste Illustré by Albert Aurier as characterised by "fire, intensity, sunshine".[280] Ten paintings were shown at the Société des Artistes Indépendants, in Brussels in January 1890.[281] French president Marie François Sadi Carnot was said to have been impressed by Van Gogh's work.[282]

After Van Gogh's death, memorial exhibitions were held in Brussels, Paris, The Hague and Antwerp. His work was shown in several high-profile exhibitions, including six works at Les XX; in 1891 there was a retrospective exhibition in Brussels.[281] In 1892, Octave Mirbeau wrote that Van Gogh's suicide was an "infinitely sadder loss for art ... even though the populace has not crowded to a magnificent funeral, and poor Vincent van Gogh, whose demise means the extinction of a beautiful flame of genius, has gone to his death as obscure and neglected as he lived."[279]

Theo died in January 1891, removing Vincent's most vocal and well-connected champion.[283] Theo's widow Johanna van Gogh-Bonger was a Dutchwoman in her twenties who had not known either her husband or her brother-in-law very long and who suddenly had to take care of several hundreds of paintings, letters and drawings, as well as her infant son, Vincent Willem van Gogh.[278][note 14] Gauguin was not inclined to offer assistance in promoting Van Gogh's reputation, and Johanna's brother Andries Bonger also seemed lukewarm about his work.[278] Aurier, one of Van Gogh's earliest supporters among the critics, died of typhoid fever in 1892 at the age of 27.[285]

 
Painter on the Road to Tarascon, August 1888 (destroyed by fire in the Second World War)

In 1892, Émile Bernard organised a small solo show of Van Gogh's paintings in Paris, and Julien Tanguy exhibited his Van Gogh paintings with several consigned from Johanna van Gogh-Bonger. In April 1894, the Durand-Ruel Gallery in Paris agreed to take 10 paintings on consignment from Van Gogh's estate.[285] In 1896, the Fauvist painter Henri Matisse, then an unknown art student, visited John Russell on Belle Île off Brittany.[286][287] Russell had been a close friend of Van Gogh; he introduced Matisse to the Dutchman's work, and gave him a Van Gogh drawing. Influenced by Van Gogh, Matisse abandoned his earth-coloured palette for bright colours.[287][288]

In Paris in 1901, a large Van Gogh retrospective was held at the Bernheim-Jeune Gallery, which excited André Derain and Maurice de Vlaminck, and contributed to the emergence of Fauvism.[285] Important group exhibitions took place with the Sonderbund artists in Cologne in 1912, the Armory Show, New York in 1913, and Berlin in 1914.[289] Henk Bremmer was instrumental in teaching and talking about Van Gogh,[290] and introduced Helene Kröller-Müller to Van Gogh's art; she became an avid collector of his work.[291] The early figures in German Expressionism such as Emil Nolde acknowledged a debt to Van Gogh's work.[292] Bremmer assisted Jacob Baart de la Faille, whose catalogue raisonné L'Oeuvre de Vincent van Gogh appeared in 1928.[293][note 15] Van Gogh's fame reached its first peak in Austria and Germany before World War I,[296] helped by the publication of his letters in three volumes in 1914.[297] His letters are expressive and literate, and have been described as among the foremost 19th-century writings of their kind.[9] These began a compelling mythology of Van Gogh as an intense and dedicated painter who suffered for his art and died young.[298] In 1934, the novelist Irving Stone wrote a biographical novel of Van Gogh's life titled Lust for Life, based on Van Gogh's letters to Theo.[299] This novel and the 1956 film further enhanced his fame, especially in the United States where Stone surmised only a few hundred people had heard of Van Gogh prior to his surprise best-selling book.[300][301]

In 1957, Francis Bacon 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 the Second World War. Bacon was inspired by an image he described as "haunting", and regarded Van Gogh as an alienated outsider, a position which resonated with him. Bacon identified with Van Gogh's theories of art and quoted lines written to Theo: "[R]eal painters do not paint things as they are ... [T]hey paint them as they themselves feel them to be."[302]

Van Gogh's works are among the world's most expensive paintings. Those sold for over US$100 million (today's equivalent) include Portrait of Dr Gachet,[303] Portrait of Joseph Roulin and Irises. The Metropolitan Museum of Art acquired a copy of Wheat Field with Cypresses in 1993 for US$57 million by using funds donated by publisher, diplomat and philanthropist Walter Annenberg.[304] In 2015, L'Allée des Alyscamps sold for US$66.3 million at Sotheby's, New York, exceeding its reserve of US$40 million.[305]

Minor planet 4457 van Gogh is named in his honour.[306]

In October 2022, two activists protesting the effects of the fossil fuel industry on climate change threw a can of tomato soup on Van Gogh's Sunflowers in the National Gallery, London, and then glued their hands to the gallery wall. As the painting was covered by glass it was not damaged.[307][308]

Van Gogh Museum

Main article: Van Gogh Museum
 
The Van Gogh Museum, Amsterdam

Van Gogh's nephew and namesake, Vincent Willem van Gogh (1890–1978),[309] inherited the estate after his mother's death in 1925. During the early 1950s he arranged for the publication of a complete edition of the letters presented in four volumes and several languages. He then began negotiations with the Dutch government to subsidise a foundation to purchase and house the entire collection.[310] Theo's son participated in planning the project in the hope that the works would be exhibited under the best possible conditions. The project began in 1963; architect Gerrit Rietveld was commissioned to design it, and after his death in 1964 Kisho Kurokawa took charge.[311] Work progressed throughout the 1960s, with 1972 as the target for its grand opening.[309]

The Van Gogh Museum opened in the Museumplein in Amsterdam in 1973.[312] It became the second most popular museum in the Netherlands, after the Rijksmuseum, regularly receiving more than 1.5 million visitors a year. In 2015 it had a record 1.9 million.[313] Eighty-five percent of the visitors come from other countries.[314]

Nazi-looted art

Main article: Nazi looting of artworks by Vincent van Gogh

During the Nazi period (1933–1945) a great number of artworks by Van Gogh changed hands, many of them looted from Jewish collectors who were forced into exile or murdered. Some of these works have disappeared into private collections. Others have since resurfaced in museums, or at auction, or have been reclaimed, often in high-profile lawsuits, by their former owners.[315] The German Lost Art Foundation still lists dozens of missing van Goghs[316] and the American Alliance of Museums lists 73 van Goghs on the Nazi Era Provenance Internet Portal.[317]

References

Explanatory footnotes

  1. ^ The pronunciation of Van Gogh varies in both English and Dutch. Especially in British English it is /ˌvæn ˈɡɒx/[2] or sometimes /ˌvæn ˈɡɒf/ VAN GOF.[3] American dictionaries list /ˌvæn ˈɡoʊ/ ⓘ VAN GOH, with a silent gh, as the most common pronunciation.[4] In the dialect of Holland, it is [ˈvɪnsɛnt fɑŋˈ xɔx] ⓘ, with a voiceless v and g. He grew up in Brabant and used Brabant dialect in his writing; his own pronunciation was thus likely [vɑɲ ˈʝɔç], with a voiced v and palatalised g and gh. In France, where much of his work was produced, it is [vɑ̃ ɡɔɡ(ə)].[5]
  2. ^ 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.[25]
  3. ^ Hulsker suggests that Van Gogh returned to the Borinage and then back to Etten in this period.[56]
  4. ^ See Jan Hulsker's speech The Borinage Episode and the Misrepresentation of Vincent van Gogh, Van Gogh Symposium, 10–11 May 1990.[59]
  5. ^ "At Christmas I had a rather violent argument with Pa, and feelings ran so high that Pa said it would be better if I left home. Well, it was said so decidedly that I actually left the same day."
  6. ^ The only evidence for this is from interviews with the grandson of the doctor.[105] For an overall review see Naifeh and Smith.[106]
  7. ^ Boch's sister Anna (1848–1936), also an artist, purchased The Red Vineyard in 1890.[138]
  8. ^ Van Gogh (2009), Letter 719 Vincent to Theo van Gogh. Arles, Sunday, 11 or Monday, 12 November 1888:
    I've been working on two canvases ... A reminiscence of our garden at Etten with cabbages, cypresses, dahlias and figures ... Gauguin gives me courage to imagine, and the things of the imagination do indeed take on a more mysterious character.
  9. ^ Theo and his wife, Gachet and his son, and Signac, who saw Van Gogh after the bandages were removed, maintained that only the earlobe had been removed.[153] According to Doiteau and Leroy, the diagonal cut removed the lobe and probably a little more.[154] The policeman and Rey both claimed Van Gogh severed the entire outer ear;[153] Rey repeated his account in 1930, writing a note for novelist Irving Stone and including a sketch of the line of the incision.[155]
  10. ^ The version intended for Ginoux is lost. It was an attempt to deliver this painting to her in Arles that precipitated his February relapse.[181]
  11. ^ Artists working in black and white, e.g. for illustrated papers like The Graphic or The Illustrated London News were among Van Gogh's favourites.[214]
  12. ^ Van Gogh (2009), Letter 535 To Theo van Gogh. Nuenen, on or about Tuesday, 13 October 1885:
    What particularly struck me when I saw the old Dutch paintings again is that they were usually painted quickly. That these great masters like Hals, Rembrandt, Ruisdael – so many others – as far as possible just put it straight down – and didn't come back to it so very much. And – this, too, please – that if it worked, they left it alone. Above all I admired hands by Rembrandt and Hals – hands that lived, but were not finished in the sense that people want to enforce nowadays ... In the winter I'm going to explore various things regarding manner that I noticed in the old paintings. I saw a great deal that I needed. But this above all things – what they call – dashing off – you see that's what the old Dutch painters did famously. That – dashing off – with a few brushstrokes, they won't hear of it now  – but how true the results are.
  13. ^ Rembrandt is one of the few major painters to exceed this volume of self-portraits, producing over 50, but he did so over a forty-year period.[246]
  14. ^ Her husband had been the sole support of the family, and Johanna was left with only an apartment in Paris, a few items of furniture, and her brother-in-law's paintings, which at the time were "looked upon as having no value at all".[284]
  15. ^ In de la Faille's 1928 catalogue each of Van Gogh's works was assigned a number. These numbers preceded by the letter "F" are frequently used when referring to a particular painting or drawing.[294] Not all the works listed in the original catalogue are now believed to be authentic works of Van Gogh.[295]

Citations

  1. ^ "Sunflowers – Van Gogh Museum". vangoghmuseum.nl. from the original on 29 October 2016. Retrieved 21 September 2016.
  2. ^ "BBC – Magazine Monitor: How to Say: Van Gogh". BBC. 22 January 2010. from the original on 26 September 2016. Retrieved 10 September 2016.
  3. ^ Sweetman (1990), 7.
  4. ^ Davies (2007), p. 83.
  5. ^ Veltkamp, Paul. . vggallery.com. Archived from the original on 22 September 2015.
  6. ^ McQuillan (1989), 9.
  7. ^ "The Woman Who Made Vincent van Gogh". The New York Times. 14 April 2021. Retrieved 12 September 2023.
  8. ^ Van Gogh (2009), "Van Gogh: The Letters".
  9. ^ a b c d e McQuillan (1989), 19.
  10. ^ Pomerans (1997), xv.
  11. ^ Rewald (1986), 248.
  12. ^ Pomerans (1997), ix, xv.
  13. ^ Pomerans (1997), ix.
  14. ^ Pickvance (1986), 129; Tralbaut (1981), 39.
  15. ^ a b Hughes (1990), 143.
  16. ^ Pomerans (1997), i–xxvi.
  17. ^ "Vincent van Gogh to Theo van Gogh : 9 December 1875". www.webexhibits.org. from the original on 3 March 2021. Retrieved 1 January 2021.
  18. ^ "034 (034, 27): To Theo van Gogh. Paris, Monday, 31 May 1875. – Vincent van Gogh Letters". www.vangoghletters.org. from the original on 2 June 2021. Retrieved 1 January 2021.
  19. ^ "The Poem That Inspired a Van Gogh Painting, Written in His Hand". The Raab Collection. from the original on 17 April 2016. Retrieved 1 January 2021.
  20. ^ "500 (503, 406): To Theo van Gogh. Nuenen, Monday, 4 and Tuesday, 5 May 1885. – Vincent van Gogh Letters". www.vangoghletters.org. from the original on 16 January 2021. Retrieved 1 January 2021.
  21. ^ Route, Van Gogh. "Vincent van Gogh in Borinage, Belgium". Van Gogh Route. from the original on 27 March 2021. Retrieved 1 January 2021.
  22. ^ hoakley (6 April 2017). "Jules Breton's Eternal Harvest: 4 1877–1889". The Eclectic Light Company. from the original on 15 January 2021. Retrieved 1 January 2021.
  23. ^ "AN ARTIST IS BORN". AwesomeStories.com. from the original on 30 October 2020. Retrieved 1 January 2021.
  24. ^ Pomerans (1997), 1.
  25. ^ Lubin (1972), 82–84.
  26. ^ Erickson (1998), 9.
  27. ^ Naifeh & Smith (2011), 14–16.
  28. ^ Naifeh & Smith (2011), 59.
  29. ^ Naifeh & Smith (2011), 18.
  30. ^ Walther & Metzger (1994), 16.
  31. ^ Naifeh & Smith (2011), 23–25.
  32. ^ Naifeh & Smith (2011), 31–32.
  33. ^ Sweetman (1990), 13.
  34. ^ a b Tralbaut (1981), 25–35.
  35. ^ Naifeh & Smith (2011), 45–49.
  36. ^ Naifeh & Smith (2011), 36–50.
  37. ^ Hulsker (1980), 8–9.
  38. ^ Naifeh & Smith (2011), 48.
  39. ^ Van Gogh (2009), Letter 403. Vincent to Theo van Gogh, Nieuw-Amsterdam, on or about Monday, 5 November 1883.
  40. ^ Walther & Metzger (1994), 20.
  41. ^ Van Gogh (2009), Letter 007. Vincent to Theo van Gogh, The Hague, Monday, 5 May 1873.
  42. ^ Tralbaut (1981), 35–47.
  43. ^ Pomerans (1997), xxvii.
  44. ^ Van Gogh (2009), Letter 088. Vincent to Theo van Gogh. Isleworth, Friday, 18 August 1876.
  45. ^ Tralbaut (1981), 47–56.
  46. ^ Naifeh & Smith (2011), 113.
  47. ^ Callow (1990), 54.
  48. ^ Naifeh & Smith (2011), 146–147.
  49. ^ Sweetman (1990), 175.
  50. ^ McQuillan (1989), 26; Erickson (1998), 23.
  51. ^ Grant (2014), p. 9.
  52. ^ Hulsker (1990), 60–62, 73.
  53. ^ Sweetman (1990), 101.
  54. ^ Fell (2015), 17.
  55. ^ Callow (1990), 72.
  56. ^ Geskó (2006), 48.
  57. ^ Naifeh & Smith (2011), 209–210, 488–489.
  58. ^ Van Gogh (2009), Letter 186. Vincent to Theo van Gogh. Etten, Friday, 18 November 1881.
  59. ^ Erickson (1998), 67–68.
  60. ^ Van Gogh (2009), Letter 156. Vincent to Theo van Gogh. Cuesmes, Friday, 20 August 1880.
  61. ^ Tralbaut (1981), 67–71.
  62. ^ Pomerans (1997), 83.
  63. ^ Sweetman (1990), 145.
  64. ^ Van Gogh (2009), Letter 179. Vincent to Theo van Gogh. Etten, Thursday, 3 November 1881.
  65. ^ a b Naifeh & Smith (2011), 239–240.
  66. ^ Van Gogh (2009), Letter 189. Vincent to Theo van Gogh. Etten, Wednesday, 23 November 1881.
  67. ^ Van Gogh (2009), Letter 193. Vincent to Theo van Gogh, Etten, on or about Friday, 23 December 1881, describing the visit in more detail.
  68. ^ a b Van Gogh (2009), Letter 228. Vincent to Theo van Gogh, The Hague, on or about Tuesday, 16 May 1882.
  69. ^ Sweetman (1990), 147.
  70. ^ Gayford (2006), 125.
  71. ^ Naifeh & Smith (2011), 250–252.
  72. ^ Van Gogh (2009), Letter 194. Vincent to Theo van Gogh, The Hague, Thursday 29 December 1881
  73. ^ Van Gogh (2009), Letter 196. Vincent to Theo van Gogh. The Hague, on or about Tuesday, 3 January 1882.
  74. ^ Walther & Metzger (1994), 64.
  75. ^ Van Gogh (2009), Letter 219.
  76. ^ Naifeh & Smith (2011), 258.
  77. ^ Van Gogh (2009), Letter 237. Vincent to Theo van Gogh. The Hague, on or about Thursday, 8 June 1882.
  78. ^ Tralbaut (1981), 110.
  79. ^ Naifeh & Smith (2011), 306.
  80. ^ Tralbaut (1981), 96–103.
  81. ^ Callow (1990), 116; cites the work of Hulsker; Callow (1990), 123–124; Van Gogh (2009), Letter 224. Vincent to Theo van Gogh. The Hague, on or about Sunday, 7 May 1882
  82. ^ Callow (1990), 116–117. citing the research of Jan Hulsker; the two dead children were born in 1874 and 1879.
  83. ^ a b Tralbaut (1981), 107.
  84. ^ Callow (1990), 132; Tralbaut (1981), 102–104, 112
  85. ^ Arnold (1992), 38.
  86. ^ Tralbaut (1981), 113.
  87. ^ Wilkie (2004), 185.
  88. ^ Tralbaut (1981), 101–107.
  89. ^ a b Tralbaut (1981), 111–122.
  90. ^ "Opportunistic Thieves Just Stole a Prized Van Gogh Landscape From a Locked-Down Dutch Museum Under Cover of Night". artnet News. 30 March 2020. from the original on 31 March 2020. Retrieved 30 March 2020.
  91. ^ Sweetman (1990), 174.
  92. ^ Tralbaut (1981), 154.
  93. ^ Hulsker (1980), 196–205.
  94. ^ a b Tralbaut (1981), 123–160.
  95. ^ Naifeh & Smith (2011), 436.
  96. ^ a b van Uitert, van Tilborgh & van Heugten (1990), 29.
  97. ^ McQuillan (1989), 127.
  98. ^ Walther & Metzger (1994), 709.
  99. ^ Callow (1990), 181.
  100. ^ Callow (1990), 184.
  101. ^ Hammacher (1985), 84.
  102. ^ Callow (1990), 253.
  103. ^ Naifeh & Smith (2011), 477.
  104. ^ Arnold (1992), 77.
  105. ^ Tralbaut (1981), 177–178.
  106. ^ Naifeh & Smith (2011), 477 n. 199.
  107. ^ Tralbaut (1981), 173.
  108. ^ Naifeh & Smith (2011), 448–489.
  109. ^ . Jan Lampo. Archived from the original on 6 February 2017.
  110. ^ Tralbaut (1981), 187–192.
  111. ^ Pickvance (1984), 38–39.
  112. ^ Sweetman (1990), 135.
  113. ^ Van Gogh (2009), Letter 853. Vincent to Albert Aurier. Saint-Rémy-de-Provence, Sunday, 9 or Monday, 10 February 1890.
  114. ^ Naifeh & Smith (2011), 520–522.
  115. ^ Naifeh & Smith (2011), 702.
  116. ^ a b c d Walther & Metzger (1994), 710.
  117. ^ Pickvance (1986), 62–63.
  118. ^ Tralbaut (1981), 212–213.
  119. ^ Druick & Zegers (2001), 81; Gayford (2006), 50.
  120. ^ Hulsker (1990), 256.
  121. ^ Van Gogh (2009), Letter 640. Vincent to Theo van Gogh, Arles, Sunday, 15 July 1888. Letter 695. Vincent to Paul Gauguin, Arles, Wednesday, 3 October 1888.
  122. ^ a b Hughes (1990), 144.
  123. ^ Pickvance (1984), 11.
  124. ^ a b Pickvance (1984), 177.
  125. ^ Hughes (1990), 143–144.
  126. ^ Pickvance (1986), 129.
  127. ^ Pomerans (1997), 348.
  128. ^ Nemeczek (1999), 59–61.
  129. ^ Gayford (2006), 16.
  130. ^ Callow (1990), 219.
  131. ^ Pickvance (1984), 175–176.
  132. ^ Tralbaut (1981), 266.
  133. ^ a b Pomerans (1997), 356, 360.
  134. ^ "Fishing Boats on the Beach at Saintes-Maries-de-la-Mer, 1888". Permanent Collection. Van Gogh Museum. Retrieved 23 February 2016.
  135. ^ "Sunflowers". philamuseum.org. Retrieved 22 October 2022.
  136. ^ "666 (670, 526): To Theo van Gogh. Arles, Tuesday, 21 or Wednesday, 22 August 1888. - Vincent van Gogh Letters". vangoghletters.org. Retrieved 22 October 2022.
  137. ^ Hulsker (1980), 356; Pickvance (1984), 168–169, 206.
  138. ^ Hulsker (1980), 356; Pickvance (1984), 168–169, 206.
  139. ^ Van Gogh (2009), Letter 677. Vincent to Theo van Gogh. Arles, Sunday, 9 September 1888; Letter 681 Vincent to Theo van Gogh. Arles, Sunday, 16 September 1888; Gayford (2006), 18; Nemeczek (1999), 61.
  140. ^ Dorn (1990).
  141. ^ Pickvance (1984), 234–235.
  142. ^ Hulsker (1980), 374–376.
  143. ^ Gayford (2006), 61.
  144. ^ a b c Walther & Metzger (1994), 411.
  145. ^ Pickvance (1984), 195.
  146. ^ Gayford (2006), 274–277.
  147. ^ Hulsker (1980), 380–382.
  148. ^ McQuillan (1989), 66.
  149. ^ a b Druick & Zegers (2001), 266.
  150. ^ a b c d Sweetman (1990), 290.
  151. ^ Sweetman (1990), 1.
  152. ^ a b "What actually happened to Vincent van Gogh's ear? Here are 3 things you should know". UC Berkeley Library News. from the original on 26 October 2020. Retrieved 6 September 2020.
  153. ^ a b c d Rewald (1978), 243–248.
  154. ^ Doiteau & Leroy (1928).
  155. ^ Cain, Abigail (26 July 2016). "How One Art History Teacher Solved Two of the Biggest Mysteries about Van Gogh". artsy.net. from the original on 21 February 2019. Retrieved 21 February 2019.
  156. ^ Sund (2002), 235.
  157. ^ Gayford (2006), 277.
  158. ^ "BBC The Mystery of Van Goghs Ear". from the original on 6 September 2020. Retrieved 6 September 2020 – via www.youtube.com.
  159. ^ Adams, James (14 July 2016). "Historian Bernadette Murphy on digging into the Van Gogh ear mystery". The Globe and Mail. from the original on 30 October 2020. Retrieved 6 September 2020.
  160. ^ Naifeh & Smith (2011), 707–708.
  161. ^ Naifeh & Smith (2011), 249.
  162. ^ a b Van Gogh (2009), Concordance, lists, bibliography: Documentation.
  163. ^ Sund (2002), 237.
  164. ^ Rewald (1986), 37.
  165. ^ Naifeh & Smith (2011), 704–705.
  166. ^ Gayford (2006), 284.
  167. ^ Pickvance (1986), 62.
  168. ^ Naifeh & Smith (2011), 713.
  169. ^ Sweetman (1990), 298–300.
  170. ^ Sweetman (1990), 300.
  171. ^ Pickvance (1986), 239–242; Tralbaut (1981), 265–273.
  172. ^ Hughes (1990), 145.
  173. ^ Cluskey, Peter (12 July 2016). "Gun used by Vincent van Gogh to kill himself goes on display". The Irish Times. from the original on 23 October 2016. Retrieved 22 October 2016.
  174. ^ . van gogh studio (in Dutch). Archived from the original on 23 October 2016. Retrieved 22 October 2016.
  175. ^ Callow (1990), 246.
  176. ^ Pickvance (1984), 102–103.
  177. ^ van Uitert, van Tilborgh & van Heugten (1990), 23.
  178. ^ Pickvance (1986), 154–157.
  179. ^ Tralbaut (1981), 286.
  180. ^ Hulsker (1990), 434.
  181. ^ a b Hulsker (1990), 440.
  182. ^ a b Van Gogh (2009), letter 863. Theo van Gogh to Vincent, Saint-Rémy-de-Provence, Tuesday, 29 April 1890.
  183. ^ Hulsker (1990), 390, 404.
  184. ^ Rewald (1978), 326–329.
  185. ^ a b Naifeh & Smith (2011), 820.
  186. ^ Hulsker (1990), 390, 404; Tralbaut (1981), 287.
  187. ^ Tralbaut (1981), 293.
  188. ^ Pickvance (1986), Appendix III, 310–315. Aurier's original 1890 review in French with parallel English translation.
  189. ^ Pickvance (1986), 175–177.
  190. ^ "854 (855, 626): To Theo van Gogh. Saint-Rémy-de-Provence, Wednesday, 12 February 1890. – Vincent van Gogh Letters". vangoghletters.org. from the original on 6 May 2021. Retrieved 29 April 2021.
  191. ^ Rewald (1978), 346–347, 348–350.
  192. ^ Van Gogh (2009), Letter RM20. Vincent to Theo and Jo van Gogh-Bonger. Auvers-sur-Oise, Saturday, 24 May 1890.
  193. ^ a b Pickvance (1986), 270–271.
  194. ^ Rosenblum (1975), 98–100.
  195. ^ Walther & Metzger (1994), 640.
  196. ^ a b Edwards (1989), 115.
  197. ^ Van Gogh (2009), Letter 898. Vincent to Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, on or about Thursday, 10 July 1890.
  198. ^ Van Gogh (2009), Letter 898. Vincent to Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, on or about Thursday, 10 July 1890; Rosenblum (1975), 100.
  199. ^ a b Hulsker (1990), 478–479.
  200. ^ Hulsker (1990), 472–480.
  201. ^ Sweetman (1990), 342–343.
  202. ^ Walther & Metzger (1994), 669.
  203. ^ Sweetman (1990), 342–343; Hulsker (1980), 480–483.
  204. ^ "La misère ne finira jamais", Études, 1947, p. 9 22 November 2016 at the Wayback Machine, Bibliothèque nationale de France, département Philosophie, histoire, sciences de l'homme, D-33939
  205. ^ "La tristesse durera toujours", François-Bernard Michel, La face humaine de Vincent Van Gogh, Grasset, 3 November 1999, ISBN 978-2-246-58959-4
  206. ^ van Gogh, Theodorus. "Letter from Theo van Gogh to Elisabeth van Gogh Paris, 5 August 1890". Webexhibits.org. from the original on 24 June 2011. Retrieved 28 April 2015. he said, "La tristesse durera toujours" [The sadness will last forever]
  207. ^ Hayden (2003), 152; Van der Veen & Knapp (2010), 260–264.
  208. ^ Sweetman (1990), 367.
  209. ^ a b Arnold (2004).
  210. ^ Perry (1947).
  211. ^ Hemphill (1961).
  212. ^ a b c Blumer (2002).
  213. ^ Van Heugten (1996), 246–251.
  214. ^ Pickvance (1974).
  215. ^ Dorn & Keyes (2000).
  216. ^ Van Gogh (2009), Letter 253. Vincent to Theo van Gogh. The Hague, Saturday, 5 August 1882.
  217. ^ a b c Dorn, Schröder & Sillevis (1996).
  218. ^ Van Gogh (2009), Letter 535To Theo van Gogh. Nuenen, on or about Tuesday, 13 October 1885.
  219. ^ Walther & Metzger (1994), 708.
  220. ^ van Uitert, van Tilborgh & van Heugten (1990), 18.
  221. ^ van Uitert, van Tilborgh & van Heugten (1990), 18–19.
  222. ^ a b Sund (1988), 666.
  223. ^ Van Gogh (2009), Letter 537. Vincent to Theo, Nuenen, on or about Wednesday, 28 October 1885.
  224. ^ Hughes (2002), 7.
  225. ^ Hughes (2002), 11.
  226. ^ van Uitert (1981), 232.
  227. ^ van Uitert, van Tilborgh & van Heugten (1990), 20.
  228. ^ a b c Hughes (2002), 8–9.
  229. ^ Wamberg, Jacob (2010). "Wounded Working Heroes: Seeing Millet and van Gogh through the Cleft Lens of Totalitarianism". In Rasmussen, Mikkel Bolt; Wamberg, Jacob (eds.). Totalitarian Art and Modernity. Aarhus University Press. pp. 36–104.
  230. ^ Sund (1988), 668.
  231. ^ van Uitert (1981), 236.
  232. ^ Hughes (2002), 12.
  233. ^ a b van Uitert (1981), 223.
  234. ^ a b c van Uitert, van Tilborgh & van Heugten (1990), 21.
  235. ^ Hughes (2002), 8.
  236. ^ van Uitert (1981), 224.
  237. ^ van Uitert, van Tilborgh & van Heugten (1990), 16–17.
  238. ^ a b c van Uitert (1981), 242.
  239. ^ McQuillan (1989), 138.
  240. ^ McQuillan (1989), 193.
  241. ^ "879 (883, W22): To Willemien van Gogh. Auvers-sur-Oise, Thursday, 5 June 1890. - Vincent van Gogh Letters". www.vangoghletters.org. Retrieved 20 October 2022.
  242. ^ Van Gogh (2009), Letter 652. Vincent to Theo van Gogh. Arles, Tuesday, 31 July 1888.
  243. ^ Channing & Bradley (2007), 67; Van Gogh (2009), Letter 879. Vincent to Willemien van Gogh. Auvers-sur-Oise, Thursday, 5 June 1890.
  244. ^ McQuillan (1989), 198.
  245. ^ "Vincent van Gogh (1853-1890)". www.metmuseum.org. October 2004. Retrieved 20 October 2022.
  246. ^ a b c d e McQuillan (1989), 15.
  247. ^ Walther & Metzger (1994), 263–269, 653.
  248. ^ a b Sund (2002), 261.
  249. ^ Hughes (2002), 10.
  250. ^ Walther & Metzger (1994), 265–269.
  251. ^ van Uitert, van Tilborgh & van Heugten (1990), 83.
  252. ^ Walther & Metzger (1994), 535–537.
  253. ^ Cohen (2003), 305–306.
  254. ^ Pickvance (1986), 131.
  255. ^ Van Gogh (2009), Letter 806, note 16. Vincent to Theo van Gogh. Saint-Rémy-de-Provence, Saturday, 28 September 1889.
  256. ^ Pickvance (1986), 80–81, 184–187.
  257. ^ Walther & Metzger (1994), 413.
  258. ^ "Vincent van Gogh; Sunflowers; NG3863". National Gallery, London. from the original on 12 August 2016. Retrieved 1 August 2016.
  259. ^ Van Gogh (2009), Letter 666. Vincent to Theo van Gogh. Arles, Tuesday, 21 or Wednesday, 22 August 1888.
  260. ^ Walther & Metzger (1994), 417.
  261. ^ Naifeh & Smith (2011), 819–820.
  262. ^ a b Pickvance (1986), 101, 189–191.
  263. ^ Pickvance (1986), 110.
  264. ^ Rewald (1978), 311.
  265. ^ Pickvance (1986), 132–133.
  266. ^ a b Pickvance (1986), 101.
  267. ^ "The Olive Garden, 1889". Collection. National Gallery of Art, Washington, DC. 2011. from the original on 10 May 2011. Retrieved 25 March 2011.
  268. ^ a b Walther & Metzger (1994), 331–333.
  269. ^ Pickvance (1984), 45–53.
  270. ^ Hulsker (1980), 385.
  271. ^ Fell (1997), 32.
  272. ^ Hulsker (1980), 390–394.
  273. ^ van Uitert, van Tilborgh & van Heugten (1990), 283.
  274. ^ Walther & Metzger (1994), 680–686.
  275. ^ Walther & Metzger (1994), 654.
  276. ^ Van Gogh (2009), Letter 898. Vincent to Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, on or about Thursday, 10 July 1890.
  277. ^ Walther & Metzger (1994), 680.
  278. ^ a b c Rewald (1986), 244–254.
  279. ^ a b Sund (2002), 305.
  280. ^ Sund (2002), 307.
  281. ^ a b McQuillan (1989), 72.
  282. ^ Furness, Hannah (27 August 2018). "Van Gogh was not unappreciated in his lifetime, myth-busting letter shows". The Daily Telegraph. from the original on 8 September 2018. Retrieved 7 September 2018.
  283. ^ Sund (2002), 310.
  284. ^ Van Gogh (2009), Memoirs of V.W. Van Gogh.
  285. ^ a b c Rewald (1986), 245.
  286. ^ Spurling (1998), 119–138.
  287. ^ a b interview with Hilary Spurling (8 June 2005). "The Unknown Matisse ... – Book Talk". ABC Online. from the original on 12 October 2011. Retrieved 1 August 2016.
  288. ^ Spurling (1998), 138.
  289. ^ Dorn & Leeman (1990).
  290. ^ Rovers (2007), 262.
  291. ^ Rovers (2007), 258.
  292. ^ Selz (1968), p. 82.
  293. ^ Faille (1928); "Faille, J-B de la". Dictionary of Art Historians. Retrieved 3 August 2016.
  294. ^ Walther & Metzger (1994), 721.
  295. ^ Feilchenfeldt (2013), 278–279.
  296. ^ Weikop (2007), 208.
  297. ^ Naifeh & Smith (2011), 867.
  298. ^ Pomerans (1997), x.
  299. ^ "IMDb for Vincent Van Gogh". IMDb. from the original on 27 May 2019. Retrieved 9 May 2019.
  300. ^ Pomerans (1997), xii.
  301. ^ Day, James (23 April 1974). "Irving Stone interview". Day at Night. Archived from the original on 14 November 2021. Retrieved 2 August 2017.
  302. ^ Farr, Peppiatt & Yard (1999), 112.
  303. ^ Decker, Andrew (5 November 1998). "The Silent Boom". Artnet. Retrieved 14 September 2011.
  304. ^ Kimmelman, Michael (25 May 1993). "Annenberg Donates A van Gogh to the Met". The New York Times.
  305. ^ Boucher, Brian (5 May 2015). "Mysterious Asian Buyer Causes Sensation at Sotheby's $368 Million Impressionist Sale". Artnet. from the original on 7 August 2016. Retrieved 4 August 2016.
  306. ^ "(4457) van Gogh". Dictionary of Minor Planet Names. Springer. 2003. p. 383. doi:10.1007/978-3-540-29925-7_4402. ISBN 978-3-540-29925-7.
  307. ^ "Van Gogh's Sunflowers back on display after oil protesters threw soup on it". BBC News. 14 October 2022. Retrieved 15 October 2022.
  308. ^ "UK: Climate protesters throw soup on Van Gogh's 'Sunflowers'". AP NEWS. 14 October 2022. Retrieved 15 October 2022.
  309. ^ a b Rewald (1986), 253.
  310. ^ Rewald (1986), 252.
  311. ^ Van Gogh's Van Goghs: The Van Gogh Museum, National Gallery of Art, from the original on 29 May 2010, retrieved 23 April 2011
  312. ^ Pomerans (1997), xiii.
  313. ^ "Bezoekersrecords voor Van Gogh Museum en NEMO" [Record breaking number of visitors to the Van Gogh Museum and the NEMO Science Museum]. AT5 (in Dutch). 15 December 2015. from the original on 21 July 2016. Retrieved 4 August 2016.
  314. ^ Caines, Matthew (1 September 2015). "Van Gogh Museum chief: it's critical to diversify our income streams". The Guardian. from the original on 26 August 2016. Retrieved 4 August 2016.
  315. ^ Stryker, Mark. "Dia defends its right to Van Gogh – Nazi-era collector's heirs say it's theirs". www.lootedart.com. Archived from the original on 25 February 2021. Retrieved 25 February 2021.
  316. ^ "German Lost Art Foundation – Vincent Van Gogh".
  317. ^ "Nazi-Era Provenance Internet Portal". www.nepip.org. from the original on 26 April 2021. Retrieved 25 February 2021.

General and cited sources

  • Arnold, Wilfred Niels (1992). Vincent van Gogh: Chemicals, Crises, and Creativity. Birkhäuser. ISBN 978-3-7643-3616-5.
  • Arnold, Wilfred Niels (2004). "The illness of Vincent van Gogh". Journal of the History of the Neurosciences. 13 (1): 22–43. doi:10.1080/09647040490885475. PMID 15370335. S2CID 220462421. from the original on 23 October 2018. Retrieved 23 October 2018.
  • Blumer, Dietrich (2002). "The Illness of Vincent van Gogh". American Journal of Psychiatry. 159 (4): 519–526. doi:10.1176/appi.ajp.159.4.519. PMID 11925286. S2CID 43106568.
  • Callow, Philip (1990). Vincent van Gogh: A Life. Ivan R. Dee. ISBN 978-1-56663-134-1.
  • Channing, Laurence; Bradley, Barbara J. (2007). Monet to Dalí: Impressionist and Modern Masterworks from the Cleveland Museum of Art. Cleveland Museum of Art. ISBN 978-0-940717-90-9.
  • Cohen, Ben (2003). "A Tale of Two Ears". Journal of the Royal Society of Medicine. 96 (6): 305–306. doi:10.1177/014107680309600615. PMC 539517. PMID 12782701.
  • Davies, Christopher (2007). Divided by a Common Language: A Guide to British and American English. Houghton Mifflin Harcourt. ISBN 978-0-547-35028-8. from the original on 7 March 2017. Retrieved 20 October 2016.
  • Doiteau, Victor; Leroy, Edgard (1928). La Folie de Vincent Van Gogh (in French). Éditions Aesculape. OCLC 458125921.
  • Dorn, Roland (1990). Décoration: Vincent van Gogh's Werkreihe für das Gelbe Haus in Arles [Décoration: Vincent van Gogh's Series of Works for the Yellow House in Arles] (in German). Olms Verlag. ISBN 978-3-487-09098-6.
  • Dorn, Roland; Leeman, Fred (1990). "(exh. cat.)". In Költzsch, Georg-Wilhelm (ed.). Vincent van Gogh and the Modern Movement, 1890–1914. ISBN 978-3-923641-33-8. Other editions: ISBN 978-3-923641-31-4 (German); ISBN 978-90-6630-247-1(Dutch)
  • Dorn, Roland; Keyes, George (2000). "(exh. cat)". Van Gogh Face to Face: The Portraits. Thames & Hudson. ISBN 978-0-89558-153-2.
  • Dorn, Roland; Schröder, Albrecht; Sillevis, John, eds. (1996). Van Gogh und die Haager Schule. Bank Austria Kunstforum. ISBN 978-88-8118-072-1.
  • Druick, Douglas; Zegers, Pieter (2001). "(exh. cat)". Van Gogh and Gauguin: The Studio of the South. Thames & Hudson. ISBN 978-0-500-51054-4.
  • Edwards, Cliff (1989). Van Gogh and God: A Creative Spiritual Quest. Loyola University Press. ISBN 978-0-8294-0621-4.
  • Erickson, Kathleen Powers (1998). At Eternity's Gate: The Spiritual Vision of Vincent van Gogh. Eerdmans. ISBN 978-0-8028-4978-6.
  • Farr, Dennis; Peppiatt, Michael; Yard, Sally (1999). Francis Bacon: A Retrospective. Harry N. Abrams. ISBN 978-0-8109-2925-8.
  • Feilchenfeldt, Walter (2013). Vincent Van Gogh: The Years in France: Complete Paintings 1886–1890. Philip Wilson. ISBN 978-1-78130-019-0.
  • Fell, Derek (1997). The Impressionist Garden. Frances Lincoln. ISBN 978-0-7112-1148-3.
  • Fell, Derek (2015). Van Gogh's Women: His Love Affairs and Journey into Madness. Pavilion Books. ISBN 978-1-910232-42-2.
  • Gayford, Martin (2006). The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles. Penguin. ISBN 978-0-670-91497-5.
  • Geskó, Judit, ed. (2006). Van Gogh in Budapest. Vince Books. ISBN 978-963-7063-34-3.; ISBN 978-963-7063-33-6 (Hungarian)
  • Grant, Patrick (2014). The Letters of Vincent van Gogh: A Critical Study. Athabasca University Press. ISBN 978-1-927356-74-6. from the original on 7 March 2017. Retrieved 20 October 2016.
  • Hammacher, Abraham M. (1985). Vincent van Gogh: Genius and Disaster. Harry N. Abrams. ISBN 978-0-8109-8067-9.
  • Hayden, Deborah (2003). Pox: Genius, Madness and the Mysteries of Syphilis. Basic Books. ISBN 978-0-465-02881-8.
  • Hemphill, R. E. (1961). "The illness of Vincent van Gogh". Proceedings of the Royal Society of Medicine. 54 (12): 1083–1088. doi:10.1177/003591576105401206. PMC 1870504. PMID 13906376. S2CID 38810743.
  • Hughes, Robert (1990). Nothing If Not Critical. The Harvill Press. ISBN 978-0-14-016524-1.
  • Hughes, Robert (2002). The Portable Van Gogh. Universe. ISBN 978-0-7893-0803-0.
  • Hulsker, Jan (1980). The Complete Van Gogh, paintings, drawings, sketches. Phaidon. ISBN 978-0-7148-2028-6.
  • Hulsker, Jan (1990). Vincent and Theo Van Gogh: A Dual Biography. Fuller Publications. ISBN 978-0-940537-05-7.
  • Lubin, Albert J. (1972). Stranger on the Earth: A Psychological Biography of Vincent van Gogh. Holt, Rinehart and Winston. ISBN 978-0-03-091352-5.
  • McQuillan, Melissa (1989). Van Gogh. Thames and Hudson. ISBN 978-0-500-20232-6.
  • Naifeh, Steven W.; Smith, Gregory White (2011). Van Gogh: The Life. Random House. ISBN 978-0-375-50748-9.
  • Nemeczek, Alfred (1999). Van Gogh in Arles. Prestel Verlag. ISBN 978-3-7913-2230-8.
  • Perry, Isabella H. (1947). "Vincent van Gogh's illness: a case record". Bulletin of the History of Medicine. 21 (2): 146–172. PMID 20242549.
  • Pickvance, Ronald (1974). "(exh. cat)". English Influences on Vincent van Gogh, an exhibition organised by the Fine Art Department, University of Nottingham and the Arts Council of Great Britain, 1974-5. Arts Council. University of Nottingham, 1974/75.
  • Pickvance, Ronald (1984). "(exh. cat)". Van Gogh in Arles. Abrams. ISBN 978-0-87099-375-6. Metropolitan Museum of Art.
  • Pickvance, Ronald (1986). "(exh. cat)". Van Gogh in Saint-Rémy and Auvers. Abrams. ISBN 978-0-87099-477-7. Metropolitan Museum of Art.
  • Pomerans, Arnold (1997). The Letters of Vincent van Gogh. Penguin Classics. ISBN 978-0-14-044674-6.
  • Rewald, John (1978). Post-Impressionism: From van Gogh to Gauguin. Secker & Warburg. ISBN 978-0-436-41151-9.
  • Rewald, John (1986). Studies in Post-Impressionism. Abrams. ISBN 978-0-8109-1632-6.
  • Rosenblum, Robert (1975). Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko. Harper & Row. ISBN 978-0-06-430057-5.
  • Rovers, Eva (2007). "'He Is the Key and the Antithesis of so Much': Helene Kröller-Müller's Fascination with Vincent van Gogh". Simiolus: Netherlands Quarterly for the History of Art. 33 (4): 258–272. JSTOR 25608496.
  • Selz, Peter Howard (1968). German Expressionist Painting. University of California Press. ISBN 978-0-520-02515-8. from the original on 7 March 2017. Retrieved 20 October 2016.
  • Sund, Judy (1988). "The Sower and the Sheaf: Biblical Metaphor in the Art of Vincent van Gogh". The Art Bulletin. 70 (4): 660–676. doi:10.2307/3051107. JSTOR 3051107.
  • Spurling, Hilary (1998). The Unknown Matisse: A Life of Henri Matisse, Vol. 1, 1869–1908. Hamish Hamilton. ISBN 978-0-679-43428-3.
  • Sund, Judy (2002). Van Gogh. Phaidon. ISBN 978-0-7148-4084-0.
  • Sweetman, David (1990). Van Gogh: His Life and His Art. Touchstone. ISBN 978-0-671-74338-3.
  • Tralbaut, Marc Edo (1981) [1969]. Vincent van Gogh, le mal aimé (in French). Alpine Fine Arts. ISBN 978-0-933516-31-1.
  • Van der Veen, Wouter; Knapp, Peter (2010). Van Gogh in Auvers: His Last Days. Monacelli Press. ISBN 978-1-58093-301-8.
  • Van der Wolk, Johannes (1987). De schetsboeken van Vincent van Gogh [The Sketchbooks of Vincent van Gogh] (in Dutch). Meulenhoff/Landshoff. ISBN 978-90-290-8154-2.
  • Van Gogh, Vincent (2009). Leo Jansen; Hans Luijten; Nienke Bakker (eds.). Vincent van Gogh – The Letters. Van Gogh Museum & Huygens ING.
  • Van Heugten, Sjraar (1996). Vincent van Gogh: tekeningen 1: Vroege jaren 1880–1883 [Vincent van Gogh: Drawings 1: Early years 1880–1883] (in Dutch). V+K. ISBN 978-90-6611-501-9.
  • Van Uitert, Evert (1981). "Van Gogh's Concept of His Oeuvre". Simiolus: Netherlands Quarterly for the History of Art. 12 (4): 223–244. doi:10.2307/3780499. JSTOR 3780499.
  • van Uitert, Evert; van Tilborgh, Louis; van Heugten, Sjraar, eds. (1990). "(exh. cat)". Vincent van Gogh. Arnoldo Mondadori Arte de Luca. ISBN 978-88-242-0022-6.
  • Walther, Ingo; Metzger, Rainer (1994). Van Gogh: the Complete Paintings. Taschen. ISBN 978-3-8228-0291-5.
  • Weikop, Christian (2007). "Exhibition Reviews: Van Gogh and Expressionism. Amsterdam and New York". The Burlington Magazine. 149 (1248): 208–209. JSTOR 20074786.
  • Wilkie, Kenneth (2004). The Van Gogh File: The Myth and the Man. Souvenir Press. ISBN 978-0-285-63691-0.

External links

  • The Vincent van Gogh Gallery, the complete works and letters of Van Gogh
  • Vincent van Gogh The letters, the complete letters of Van Gogh (translated into English and annotated)
  • Vincent van Gogh, teaching resource on Van Gogh
  • Works by Vincent van Gogh at Project Gutenberg
  • Works by or about Vincent van Gogh at Internet Archive
  • Works by Vincent van Gogh at LibriVox (public domain audiobooks)  
  • Vincent van Gogh at IMDb  

January 19, 2024
vincent, gogh, gogh, redirects, here, other, uses, gogh, disambiguation, disambiguation, this, dutch, name, surname, gogh, gogh, vincent, willem, gogh, dutch, ˈvɪnsɛnt, ˈʋɪləɱ, vɑŋ, ˈɣɔx, note, march, 1853, july, 1890, dutch, post, impressionist, painter, amon. Van Gogh redirects here For other uses see Van Gogh disambiguation and Vincent van Gogh disambiguation In this Dutch name the surname is van Gogh not Gogh Vincent Willem van Gogh Dutch ˈvɪnsɛnt ˈʋɪleɱ vɑŋ ˈɣɔx note 1 30 March 1853 29 July 1890 was a Dutch Post Impressionist painter who is among the most famous and influential figures in the history of Western art In just over a decade he created approximately 2100 artworks including around 860 oil paintings most of them in the last two years of his life They include landscapes still lifes portraits and self portraits and are characterised by bold symbolic colours and dramatic impulsive and highly expressive brushwork that contributed to the foundations of modern art Only one of his paintings was known by name to have been sold during his lifetime Van Gogh became famous after his suicide at age 37 which followed years of poverty and mental illness Vincent van GoghSelf Portrait 1887 Art Institute of ChicagoBornVincent Willem van Gogh 1853 03 30 30 March 1853Zundert NetherlandsDied29 July 1890 1890 07 29 aged 37 Auvers sur Oise FranceCause of deathGunshot woundEducationRoyal Academy of Fine ArtsAcademie Royale des Beaux ArtsYears active1881 1890Notable workSunflowers 1887 Bedroom in Arles 1888 The Starry Night 1889 Wheatfield with Crows 1890 Sorrowing Old Man 1890 MovementPost ImpressionismFamilyTheodorus van Gogh brother SignatureSunflowers F 458 repetition of the 4th version yellow background August 1889 1 Van Gogh Museum AmsterdamWheatfield with Crows 1890 Van Gogh Museum AmsterdamBorn into an upper middle class family Van Gogh drew as a child and was serious quiet and thoughtful but showed signs of mental instability As a young man he worked as an art dealer often travelling but became depressed after he was transferred to London He turned to religion and spent time as a missionary in southern Belgium Later he drifted in ill health and solitude He was keenly aware of modernist trends in art and while back with his parents took up painting in 1881 His younger brother Theo supported him financially and the two of them kept up a long correspondence by letter Van Gogh s early works consisted of mostly still lifes and depictions of peasant labourers In 1886 he moved to Paris where he met members of the artistic avant garde including Emile Bernard and Paul Gauguin who were seeking new paths beyond Impressionism Frustrated in Paris and inspired by a growing spirit of artistic change and collaboration Van Gogh moved to Arles in south of France in February 1888 with the goal of establishing an artistic retreat and commune Once there Van Gogh s art changed His paintings grew brighter and he turned his attention to the natural world depicting local olive groves wheat fields and sunflowers Van Gogh invited Gauguin to join him in Arles and eagerly anticipated Gauguin s arrival in the fall of 1888 Van Gogh suffered from psychotic episodes and delusions Though he worried about his mental stability he often neglected his physical health did not eat properly and drank heavily His friendship with Gauguin ended after a confrontation with a razor when in a rage he severed part of his own left ear He spent time in psychiatric hospitals including a period at Saint Remy After he discharged himself and moved to the Auberge Ravoux in Auvers sur Oise near Paris he came under the care of the homeopathic doctor Paul Gachet His depression persisted and on 27 July 1890 Van Gogh is believed to have shot himself in the chest with a revolver dying from his injuries two days later Van Gogh s art gained critical recognition after his death and his life story captured public imagination as an emblem of misunderstood genius 6 due in large part to the efforts of his widowed sister in law Johanna van Gogh Bonger 7 His bold use of color expressive line and thick application of paint inspired avant garde artistic groups like the Fauves and German Expressionists in the early 20th century Van Gogh s work gained widespread critical and commercial success in the following decades and he has become a lasting icon of the romantic ideal of the tortured artist Today Van Gogh s works are among the world s most expensive paintings to have ever sold and his legacy is honoured by a museum in his name the Van Gogh Museum in Amsterdam which holds the world s largest collection of his paintings and drawings Contents 1 Letters 2 Life 2 1 Early years 2 2 Etten Drenthe and The Hague 2 3 Emerging artist 2 3 1 Nuenen and Antwerp 1883 1886 2 3 2 Paris 1886 1888 2 4 Artistic breakthrough 2 4 1 Arles 1888 89 2 4 2 Gauguin s visit 1888 2 4 3 Hospital in Arles December 1888 2 4 4 Saint Remy May 1889 May 1890 2 4 5 1890 Exhibitions and recognition 2 4 6 Auvers sur Oise May July 1890 2 5 Death 3 Style and works 3 1 Artistic development 3 2 Major series 3 2 1 Portraits 3 2 2 Self portraits 3 2 3 Flowers 3 2 4 Cypresses and olives 3 2 5 Orchards 3 2 6 Wheat fields 4 Reputation and legacy 4 1 Van Gogh Museum 5 Nazi looted art 6 References 6 1 Explanatory footnotes 6 2 Citations 6 3 General and cited sources 7 External linksLettersSee also The Letters of Vincent van Gogh The most comprehensive primary source on Van Gogh is his correspondence with younger brother Theo Their lifelong friendship and most of what is known of Vincent s thoughts and theories of art are recorded in the hundreds of letters they exchanged from 1872 until 1890 8 Theo van Gogh was an art dealer and provided his brother with financial and emotional support as well as access to influential people on the contemporary art scene 9 Theo kept all of Vincent s letters to him 10 but Vincent kept only a few of the letters he received After both had died Theo s widow Jo Bonger van Gogh arranged for the publication of some of their letters A few appeared in 1906 and 1913 the majority were published in 1914 11 12 Vincent s letters are eloquent and expressive have been described as having a diary like intimacy 9 and read in parts like autobiography 9 Translator Arnold Pomerans wrote that their publication adds a fresh dimension to the understanding of Van Gogh s artistic achievement an understanding granted to us by virtually no other painter 13 nbsp nbsp Vincent van Gogh left in 1873 when he worked at the Goupil amp Cie gallery in The Hague 14 His brother Theo pictured right in 1878 was a life long supporter and friend There are more than 600 letters from Vincent to Theo and around 40 from Theo to Vincent There are 22 to his sister Wil 58 to the painter Anthon van Rappard 22 to Emile Bernard as well as individual letters to Paul Signac Paul Gauguin and the critic Albert Aurier Some are illustrated with sketches 9 Many are undated but art historians have been able to place most in chronological order Problems in transcription and dating remain mainly with those posted from Arles While there Vincent wrote around 200 letters in Dutch French and English 15 There is a gap in the record when he lived in Paris as the brothers lived together and had no need to correspond 16 The highly paid contemporary artist Jules Breton was frequently mentioned in Vincent s letters In 1875 letters to Theo Vincent mentions he saw Breton discusses the Breton paintings he saw at a Salon and discusses sending one of Breton s books but only on the condition that it be returned 17 18 In a March 1884 letter to Rappard he discusses one of Breton s poems that had inspired one of his own paintings 19 In 1885 he describes Breton s famous work The Song of the Lark as being fine 20 In March 1880 roughly midway between these letters Van Gogh set out on an 80 kilometre trip on foot to meet with Breton in the village of Courrieres however he was apparently intimidated by Breton s success and or the high wall around his estate He turned around and returned without making his presence known 21 22 23 It appears Breton was unaware of Van Gogh or his attempted visit There are no known letters between the two artists and Van Gogh is not one of the contemporary artists discussed by Breton in his 1891 autobiography Life of an Artist LifeSee also Vincent van Gogh chronology Early years See also Van Gogh s family in his art Vincent Willem van Gogh was born on 30 March 1853 in Groot Zundert in the predominantly Catholic province of North Brabant in the Netherlands 24 He was the oldest surviving child of Theodorus van Gogh 1822 1885 a minister of the Dutch Reformed Church and his wife Anna Cornelia Carbentus 1819 1907 Van Gogh was given the name of his grandfather and of a brother stillborn exactly a year before his birth note 2 Vincent was a common name in the Van Gogh family The name had been borne by his grandfather the prominent art dealer Vincent 1789 1874 and a theology graduate at the University of Leiden in 1811 This Vincent had six sons three of whom became art dealers and may have been named after his own great uncle a sculptor 1729 1802 26 Van Gogh s mother came from a prosperous family in The Hague 27 and his father was the youngest son of a minister 28 The two met when Anna s younger sister Cornelia married Theodorus s older brother Vincent Cent Van Gogh s parents married in May 1851 and moved to Zundert 29 His brother Theo was born on 1 May 1857 There was another brother Cor and three sisters Elisabeth Anna and Willemina known as Wil In later life Van Gogh remained in touch only with Willemina and Theo 30 Van Gogh s mother was a rigid and religious woman who emphasized the importance of family to the point of claustrophobia for those around her 31 Theodorus s salary as a minister was modest but the Church also supplied the family with a house a maid two cooks a gardener a carriage and horse his mother Anna instilled in the children a duty to uphold the family s high social position 32 Van Gogh was a serious and thoughtful child 33 He was taught at home by his mother and a governess and in 1860 was sent to the village school In 1864 he was placed in a boarding school at Zevenbergen 34 where he felt abandoned and he campaigned to come home Instead in 1866 his parents sent him to the middle school in Tilburg where he was also deeply unhappy 35 His interest in art began at a young age He was encouraged to draw as a child by his mother 36 and his early drawings are expressive 34 but do not approach the intensity of his later work 37 Constant Cornelis Huijsmans who had been a successful artist in Paris taught the students at Tilburg His philosophy was to reject technique in favour of capturing the impressions of things particularly nature or common objects Van Gogh s profound unhappiness seems to have overshadowed the lessons which had little effect 38 In March 1868 he abruptly returned home He later wrote that his youth was austere and cold and sterile 39 In July 1869 Van Gogh s uncle Cent obtained a position for him at the art dealers Goupil amp Cie in The Hague 40 After completing his training in 1873 he was transferred to Goupil s London branch on Southampton Street and took lodgings at 87 Hackford Road Stockwell 41 This was a happy time for Van Gogh he was successful at work and at 20 was earning more than his father Theo s wife Jo Van Gogh Bonger later remarked that this was the best year of Vincent s life He became infatuated with his landlady s daughter Eugenie Loyer but she rejected him after confessing his feelings she was secretly engaged to a former lodger He grew more isolated and religiously fervent His father and uncle arranged a transfer to Paris in 1875 where he became resentful of issues such as the degree to which the art dealers commodified art and he was dismissed a year later 42 nbsp Van Gogh s home in Cuesmes while there he decided to become an artistIn April 1876 he returned to England to take unpaid work as a supply teacher in a small boarding school in Ramsgate When the proprietor moved to Isleworth in Middlesex Van Gogh went with him 43 44 The arrangement was not successful he left to become a Methodist minister s assistant 45 His parents had meanwhile moved to Etten 46 in 1876 he returned home at Christmas for six months and took work at a bookshop in Dordrecht He was unhappy in the position and spent his time doodling or translating passages from the Bible into English French and German 47 He immersed himself in Christianity and became increasingly pious and monastic 48 According to his flatmate of the time Paulus van Gorlitz Van Gogh ate frugally avoiding meat 49 To support his religious conviction and his desire to become a pastor in 1877 the family sent him to live with his uncle Johannes Stricker a respected theologian in Amsterdam 50 Van Gogh prepared for the University of Amsterdam theology entrance examination 51 he failed the exam and left his uncle s house in July 1878 He undertook but also failed a three month course at a Protestant missionary school in Laken near Brussels 52 In January 1879 he took up a post as a missionary at Petit Wasmes 53 in the working class coal mining district of Borinage in Belgium To show support for his impoverished congregation he gave up his comfortable lodgings at a bakery to a homeless person and moved to a small hut where he slept on straw 54 His humble living conditions did not endear him to church authorities who dismissed him for undermining the dignity of the priesthood He then walked the 75 kilometres 47 mi to Brussels 55 returned briefly to Cuesmes in the Borinage but he gave in to pressure from his parents to return home to Etten He stayed there until around March 1880 note 3 which caused concern and frustration for his parents His father was especially frustrated and advised that his son be committed to the lunatic asylum in Geel 57 58 note 4 Van Gogh returned to Cuesmes in August 1880 where he lodged with a miner until October 60 He became interested in the people and scenes around him and he recorded them in drawings after Theo s suggestion that he take up art in earnest He traveled to Brussels later in the year to follow Theo s recommendation that he study with the Dutch artist Willem Roelofs who persuaded him in spite of his dislike of formal schools of art to attend the Academie Royale des Beaux Arts He registered at the Academie in November 1880 where he studied anatomy and the standard rules of modelling and perspective 61 Etten Drenthe and The Hague See also Early works of Vincent van Gogh nbsp Kee Vos Stricker with her son Jan c 1879 80Van Gogh returned to Etten in April 1881 for an extended stay with his parents 62 He continued to draw often using his neighbours as subjects In August 1881 his recently widowed cousin Cornelia Kee Vos Stricker daughter of his mother s older sister Willemina and Johannes Stricker arrived for a visit He was thrilled and took long walks with her Kee was seven years older than he was and had an eight year old son Van Gogh surprised everyone by declaring his love to her and proposing marriage 63 She refused with the words No nay never nooit neen nimmer 64 After Kee returned to Amsterdam Van Gogh went to The Hague to try to sell paintings and to meet with his second cousin Anton Mauve Mauve was the successful artist Van Gogh longed to be 65 Mauve invited him to return in a few months and suggested he spend the intervening time working in charcoal and pastels Van Gogh returned to Etten and followed this advice 65 Late in November 1881 Van Gogh wrote a letter to Johannes Stricker one which he described to Theo as an attack 66 Within days he left for Amsterdam 67 Kee would not meet him and her parents wrote that his persistence is disgusting 68 In despair 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 68 69 He did not recall the event well but later assumed that his uncle had blown out the flame Kee s father made it clear that her refusal should be heeded and that the two would not marry largely because of Van Gogh s inability to support himself 70 Mauve took Van Gogh on as a student and introduced him to watercolour which he worked on for the next month before returning home for Christmas 71 He quarrelled with his father refusing to attend church and left for The Hague note 5 72 In January 1882 Mauve introduced him to painting in oil and lent him money to set up a studio 73 74 Within a month Van Gogh and Mauve fell out possibly over the viability of drawing from plaster casts 75 Van Gogh could afford to hire only people from the street as models a practice of which Mauve seems to have disapproved 76 In June Van Gogh suffered a bout of gonorrhoea and spent three weeks in hospital 77 Soon after he first painted in oils 78 bought with money borrowed from Theo He liked the medium and he spread the paint liberally scraping from the canvas and working back with the brush He wrote that he was surprised at how good the results were 79 nbsp Rooftops View from the Atelier The Hague 1882 private collectionBy March 1882 Mauve appeared to have gone cold towards Van Gogh and he stopped replying to his letters 80 He had learned of Van Gogh s new domestic arrangement with an alcoholic prostitute Clasina Maria Sien Hoornik 1850 1904 and her young daughter 81 Van Gogh had met Sien towards the end of January 1882 when she had a five year old daughter and was pregnant She had previously borne two children who died but Van Gogh was unaware of this 82 On 2 July she gave birth to a baby boy Willem 83 When Van Gogh s father discovered the details of their relationship he put pressure on his son to abandon Sien and her two children Vincent at first defied him 84 and considered moving the family out of the city but in late 1883 he left Sien and the children 85 Poverty may have pushed Sien back into prostitution the home became less happy and Van Gogh may have felt family life was irreconcilable with his artistic development Sien gave her daughter to her mother and baby Willem to her brother 86 Willem remembered visiting Rotterdam when he was about 12 when an uncle tried to persuade Sien to marry to legitimise the child 87 He believed Van Gogh was his father but the timing of his birth makes this unlikely 88 Sien drowned herself in the River Scheldt in 1904 89 In September 1883 Van Gogh moved to Drenthe in the northern Netherlands In December driven by loneliness he went to live with his parents then in Nuenen North Brabant 89 Emerging artist Nuenen and Antwerp 1883 1886 See also Peasant Character Studies Van Gogh series Still life paintings by Vincent van Gogh Netherlands and List of drawings by Vincent van Gogh In Nuenen Van Gogh focused on painting and drawing Working outside and very quickly he completed sketches and paintings of weavers and their cottages Van Gogh also completed The Parsonage Garden at Nuenen which was stolen from the Singer Laren in March 2020 90 91 From August 1884 Margot Begemann a neighbour s daughter ten years his senior joined him on his forays she fell in love and he reciprocated though less enthusiastically They wanted to marry but neither side of their families were in favour Margot was distraught and took an overdose of strychnine but survived after Van Gogh rushed her to a nearby hospital 83 On 26 March 1885 his father died of a heart attack 92 Van Gogh painted several groups of still lifes in 1885 93 During his two year stay in Nuenen he completed numerous drawings and watercolours and nearly 200 oil paintings His palette consisted mainly of sombre earth tones particularly dark brown and showed no sign of the vivid colours that distinguished his later work 94 There was interest from a dealer in Paris early in 1885 95 Theo asked Vincent if he had paintings ready to exhibit 96 In May Van Gogh responded with his first major work The Potato Eaters and a series of peasant character studies which were the culmination of several years of work 97 When he complained that Theo was not making enough effort to sell his paintings in Paris his brother responded that they were too dark and not in keeping with the bright style of Impressionism 94 In August his work was publicly exhibited for the first time in the shop windows of the dealer Leurs in The Hague One of his young peasant sitters became pregnant in September 1885 Van Gogh was accused of forcing himself upon her and the village priest forbade parishioners to model for him 98 nbsp Still Life with Open Bible Extinguished Candle and Novel also Still Life with Bible 1885 Van Gogh Museum Amsterdam nbsp Skull of a Skeleton with Burning Cigarette 1885 86 Van Gogh Museum Amsterdam nbsp Peasant Woman Digging or Woman with a Spade Seen from Behind 1885 Art Gallery of Ontario Toronto nbsp Tete de paysanne a la coiffe blanche circa 1884 Private collection He moved to Antwerp that November and rented a room above a paint dealer s shop in the rue des Images Lange Beeldekensstraat 99 He lived in poverty and ate poorly preferring to spend the money Theo sent on painting materials and models Bread coffee and tobacco became his staple diet In February 1886 he wrote to Theo that he could only remember eating six hot meals since the previous May His teeth became loose and painful 100 In Antwerp he applied himself to the study of colour theory and spent time in museums particularly studying the work of Peter Paul Rubens and broadened his palette to include carmine cobalt blue and emerald green Van Gogh bought Japanese ukiyo e woodcuts in the docklands later incorporating elements of their style into the background of some of his paintings 101 He was drinking heavily again 102 and was hospitalised between February and March 1886 103 when he was possibly also treated for syphilis 104 note 6 nbsp Farm with Stacks of Peat 1883 nbsp The Potato Eaters 1885 Van Gogh Museum Amsterdam After his recovery despite his antipathy towards 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 He became ill and run down by overwork poor diet and excessive smoking 107 He started to attend drawing classes after plaster models at the Antwerp Academy on 18 January 1886 He quickly got into trouble with Charles Verlat the director of the academy and teacher of a painting class because of his unconventional painting style Van Gogh had also clashed with the instructor of the drawing class Franz Vinck Van Gogh finally started to attend the drawing classes after antique plaster models given by Eugene Siberdt Soon Siberdt and Van Gogh came into conflict when the latter did not comply with Siberdt s requirement that drawings express the contour and concentrate on the line When Van Gogh was required to draw the Venus de Milo during a drawing class he produced the limbless naked torso of a Flemish peasant woman Siberdt regarded this as defiance against his artistic guidance and made corrections to Van Gogh s drawing with his crayon so vigorously that he tore the paper Van Gogh then flew into a violent rage and shouted at Siberdt You clearly do not know what a young woman is like God damn it A woman must have hips buttocks a pelvis in which she can carry a baby According to some accounts this was the last time Van Gogh attended classes at the academy and he left later for Paris 108 On 31 March 1886 which was about a month after the confrontation with Siberdt the teachers of the academy decided that 17 students including Van Gogh had to repeat a year The story that Van Gogh was expelled from the academy by Siberdt is therefore unfounded 109 Paris 1886 1888 See also Japonaiserie Van Gogh and Still life paintings by Vincent van Gogh Paris Van Gogh moved to Paris in March 1886 where he shared Theo s rue Laval apartment in Montmartre and studied at Fernand Cormon s studio In June the brothers took a larger flat at 54 rue Lepic 110 In Paris Vincent painted portraits of friends and acquaintances still life paintings views of Le Moulin de la Galette scenes in Montmartre Asnieres and along the Seine In 1885 in Antwerp he had become interested in Japanese ukiyo e woodblock prints and had used them to decorate the walls of his studio while in Paris he collected hundreds of them He tried his hand at Japonaiserie tracing a figure from a reproduction on the cover of the magazine Paris Illustre The Courtesan or Oiran 1887 after Keisai Eisen which he then graphically enlarged in a painting 111 After seeing the portrait of Adolphe Monticelli at the Galerie Delareybarette Van Gogh adopted a brighter palette and a bolder attack particularly in paintings such as his Seascape at Saintes Maries 1888 112 113 Two years later Vincent and Theo paid for the publication of a book on Monticelli paintings and Vincent bought some of Monticelli s works to add to his collection 114 Van Gogh learned about Fernand Cormon s atelier from Theo 115 He worked at the studio in April and May 1886 116 where he frequented the circle of the Australian artist John Russell who painted his portrait in 1886 117 Van Gogh also met fellow students Emile Bernard Louis Anquetin and Henri de Toulouse Lautrec who painted a portrait of him in pastel They met at Julien Pere Tanguy s paint shop 116 which was at that time the only place where Paul Cezanne s paintings were displayed In 1886 two large exhibitions were staged there showing Pointillism and Neo impressionism for the first time and bringing attention to Georges Seurat and Paul Signac Theo kept a stock of Impressionist paintings in his gallery on boulevard Montmartre but Van Gogh was slow to acknowledge the new developments in art 118 Conflicts arose between the brothers At the end of 1886 Theo found living with Vincent to be almost unbearable 116 By early 1887 they were again at peace and Vincent had moved to Asnieres a northwestern suburb of Paris where he got to know Signac He adopted elements of Pointillism a technique in which a multitude of small coloured dots are applied to the canvas so that when seen from a distance they create an optical blend of hues The style stresses the ability of complementary colours including blue and orange to form vibrant contrasts 96 116 nbsp Le Moulin de Blute Fin 1886 from the Le Moulin de la Galette and Montmartre series Bridgestone Museum of Art Tokyo F273 nbsp Courtesan after Eisen 1887 Van Gogh Museum Amsterdam nbsp Portrait of Pere Tanguy 1887 Musee Rodin ParisWhile in Asnieres Van Gogh painted parks restaurants and the Seine including Bridges across the Seine at Asnieres In November 1887 Theo and Vincent befriended Paul Gauguin who had just arrived in Paris 119 Towards the end of the year Vincent arranged an exhibition alongside Bernard Anquetin and probably Toulouse Lautrec at the Grand Bouillon Restaurant du Chalet 43 avenue de Clichy Montmartre In a contemporary account Bernard wrote that the exhibition was ahead of anything else in Paris 120 There Bernard and Anquetin sold their first paintings and Van Gogh exchanged work with Gauguin Discussions on art artists and their social situations started during this exhibition continued and expanded to include visitors to the show like Camille Pissarro and his son Lucien Signac and Seurat In February 1888 feeling worn out from life in Paris Van Gogh left having painted more than 200 paintings during his two years there Hours before his departure accompanied by Theo he paid his first and only visit to Seurat in his studio 121 Artistic breakthrough Arles 1888 89 See also Decoration for the Yellow House Langlois Bridge at Arles and Saintes Maries Van Gogh series nbsp The Yellow House 1888 Van Gogh Museum AmsterdamIll from drink and suffering from smoker s cough in February 1888 Van Gogh sought refuge in Arles 15 He seems to have moved with thoughts of founding an art colony The Danish artist Christian Mourier Petersen became his companion for two months and at first Arles appeared exotic In a letter he described it as a foreign country The Zouaves the brothels the adorable little Arlesienne going to her First Communion the priest in his surplice who looks like a dangerous rhinoceros the people drinking absinthe all seem to me creatures from another world 122 The time in Arles became one of Van Gogh s more prolific periods he completed 200 paintings and more than 100 drawings and watercolours 123 He was enchanted by the local countryside and light his works from this period are rich in yellow ultramarine and mauve They include harvests wheat fields and general rural landmarks from the area including The Old Mill 1888 one of seven canvases sent to Pont Aven on 4 October 1888 in an exchange of works with Paul Gauguin Emile Bernard Charles Laval and others 124 The portrayals of Arles are informed by his Dutch upbringing the patchworks of fields and avenues are flat and lacking perspective but excel in their use of colour 125 In March 1888 he painted landscapes using a gridded perspective frame three of the works were shown at the annual exhibition of the Societe des Artistes Independants In April he was visited by the American artist Dodge MacKnight who was living nearby at Fontvieille 126 127 On 1 May 1888 for 15 francs per month he signed a lease for the eastern wing of the Yellow House at 2 place Lamartine The rooms were unfurnished and had been uninhabited for months 128 On 7 May Van Gogh moved from the Hotel Carrel to the Cafe de la Gare 129 having befriended the proprietors Joseph and Marie Ginoux The Yellow House had to be furnished before he could fully move in but he was able to use it as a studio 130 He wanted a gallery to display his work and started a series of paintings that eventually included Van Gogh s Chair 1888 Bedroom in Arles 1888 The Night Cafe 1888 Cafe Terrace at Night September 1888 Starry Night Over the Rhone 1888 and Still Life Vase with Twelve Sunflowers 1888 all intended for the decoration for the Yellow House 131 Van Gogh wrote that with The Night Cafe he tried to express the idea that the cafe is a place where one can ruin oneself go mad or commit a crime 132 When he visited Saintes Maries de la Mer in June he gave lessons to a Zouave second lieutenant Paul Eugene Milliet 133 and painted boats on the sea and the village 134 MacKnight introduced Van Gogh to Eugene Boch a Belgian painter who sometimes stayed in Fontvieille and the two exchanged visits in July 133 nbsp The Sower with Setting Sun 1888 Van Gogh Museum Amsterdam nbsp Fishing Boats on the Beach at Saintes Maries June 1888 Van Gogh Museum Amsterdam nbsp Bedroom in Arles 1888 Van Gogh Museum Amsterdam nbsp The Old Mill 1888 Albright Knox Art Gallery Buffalo New YorkGauguin s visit 1888 See also Sunflowers Van Gogh series nbsp Paul Gauguin The Painter of Sunflowers Portrait of Vincent van Gogh 1888 Van Gogh Museum AmsterdamWhen Gauguin agreed to visit Arles in 1888 Van Gogh hoped for friendship and to realize his idea of an artists collective Van Gogh prepared for Gauguin s arrival by painting four versions of Sunflowers in one week 135 In the hope of living in a studio of our own with Gauguin he wrote in a letter to Theo I d like to do a decoration for the studio Nothing but large Sunflowers 136 When Boch visited again Van Gogh painted a portrait of him as well as the study The Poet Against a Starry Sky 137 note 7 In preparation for Gauguin s visit Van Gogh bought two beds on advice from the station s postal supervisor Joseph Roulin whose portrait he painted On 17 September he spent his first night in the still sparsely furnished Yellow House 139 When Gauguin consented to work and live in Arles with him Van Gogh started to work on the Decoration for the Yellow House probably the most ambitious effort he ever undertook 140 He completed two chair paintings Van Gogh s Chair and Gauguin s Chair 141 After much pleading from Van Gogh Gauguin arrived in Arles on 23 October and in November the two painted together Gauguin depicted Van Gogh in his The Painter of Sunflowers Van Gogh painted pictures from memory following Gauguin s suggestion Among these imaginative paintings is Memory of the Garden at Etten 142 note 8 Their first joint outdoor venture was at the Alyscamps when they produced the pendants Les Alyscamps 143 The single painting Gauguin completed during his visit was his portrait of Van Gogh 144 Van Gogh and Gauguin visited Montpellier in December 1888 where they saw works by Courbet and Delacroix in the Musee Fabre 145 Their relationship began to deteriorate Van Gogh admired Gauguin and wanted to be treated as his equal but Gauguin was arrogant and domineering which frustrated Van Gogh They often quarrelled Van Gogh increasingly feared that Gauguin was going to desert him and the situation which Van Gogh described as one of excessive tension rapidly headed towards crisis point 146 nbsp The Night Cafe 1888 Yale University Art Gallery New Haven Connecticut nbsp Cafe Terrace at Night 1888 Kroller Muller Museum Otterlo nbsp The Red Vineyard November 1888 Pushkin Museum Moscow Sold to Anna Boch 1890 nbsp Van Gogh s Chair 1888 National Gallery London nbsp Paul Gauguin s Armchair 1888 Van Gogh Museum AmsterdamHospital in Arles December 1888 See also Hospital in Arles nbsp Local newspaper report dated 30 December 1888 recording van Gogh s self mutilation 147 nbsp Portrait of Felix Rey January 1889 Pushkin Museum note written by Dr Rey for novelist Irving Stone with sketches of the damage to van Gogh s earThe exact sequence that led to the mutilation of van Gogh s ear is not known Gauguin said fifteen years later that the night followed several instances of physically threatening behaviour 148 Their relationship was complex and Theo may have owed money to Gauguin who suspected the brothers were exploiting him financially 149 It seems likely that Vincent realised that Gauguin was planning to leave 149 The following days saw heavy rain leading to the two men being shut in the Yellow House 150 Gauguin recalled that Van Gogh followed him after he left for a walk and rushed towards me an open razor in his hand 150 This account is uncorroborated 151 Gauguin was almost certainly absent from the Yellow House that night most likely staying in a hotel 150 After an altercation on the evening of 23 December 1888 152 Van Gogh returned to his room where he seemingly heard voices and either wholly or in part severed his left ear with a razor note 9 causing severe bleeding 153 He bandaged the wound wrapped the ear in paper and delivered the package to a woman at a brothel Van Gogh and Gauguin both frequented 153 Van Gogh was found unconscious the next morning by a policeman and taken to hospital 156 157 where he was treated by Felix Rey a young doctor still in training The ear was brought to the hospital but Rey did not attempt to reattach it as too much time had passed 150 Van Gogh researcher and art historian Bernadette Murphy discovered the true identity of the woman named Gabrielle who died in Arles at the age of 80 in 1952 and whose descendants still lived as of 2020 just outside Arles Gabrielle known in her youth as Gaby was a 17 year old cleaning girl at the brothel and other local establishments at the time Van Gogh presented her with his ear 152 158 159 Van Gogh had no recollection of the event suggesting that he may have suffered an acute mental breakdown 160 The hospital diagnosis was acute mania with generalised delirium 161 and within a few days the local police ordered that he be placed in hospital care 162 163 Gauguin immediately notified Theo who on 24 December had proposed marriage to his old friend Andries Bonger s sister Johanna 164 That evening Theo rushed to the station to board a night train to Arles He arrived on Christmas Day and comforted Vincent who seemed to be semi lucid That evening he left Arles for the return trip to Paris 165 During the first days of his treatment Van Gogh repeatedly and unsuccessfully asked for Gauguin who asked a policeman attending the case to be kind enough Monsieur to awaken this man with great care and if he asks for me tell him I have left for Paris the sight of me might prove fatal for him 166 Gauguin fled Arles never to see Van Gogh again They continued to correspond and in 1890 Gauguin proposed they form a studio in Antwerp Meanwhile other visitors to the hospital included Marie Ginoux and Roulin 167 Despite a pessimistic diagnosis Van Gogh recovered and returned to the Yellow House on 7 January 1889 168 He spent the following month between hospital and home suffering from hallucinations and delusions of poisoning 169 In March the police closed his house after a petition by 30 townspeople including the Ginoux family who described him as le fou roux the redheaded madman 162 Van Gogh returned to hospital Paul Signac visited him twice in March 170 in April Van Gogh moved into rooms owned by Dr Rey after floods damaged paintings in his own home 171 Two months later he left Arles and voluntarily entered an asylum in Saint Remy de Provence 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 172 Van Gogh gave his 1889 Portrait of Doctor Felix Rey to Dr Rey The physician was not fond of the painting and used it to repair a chicken coop then gave it away 173 In 2016 the portrait was housed at the Pushkin Museum of Fine Arts and estimated to be worth over 50 million 174 nbsp Self portrait with Bandaged Ear and Pipe 1889 private collection nbsp The Courtyard of the Hospital at Arles 1889 Oskar Reinhart Collection Am Romerholz Winterthur Switzerland nbsp Self portrait with Bandaged Ear 1889 Courtauld Institute of Art London nbsp Ward in the Hospital in Arles 1889 Oskar Reinhart Collection Am Romerholz Winterthur Switzerland Saint Remy May 1889 May 1890 Main article Saint Paul Asylum Saint Remy Van Gogh series nbsp The Starry Night June 1889 Museum of Modern Art New YorkVan Gogh entered the Saint Paul de Mausole asylum on 8 May 1889 accompanied by his caregiver Frederic Salles a Protestant clergyman Saint Paul was a former monastery in Saint Remy located less than 30 kilometres 19 mi from Arles and it was run by a former naval doctor Theophile Peyron Van Gogh had two cells with barred windows one of which he used as a studio 175 The clinic and its garden became the main subjects of his paintings He made several studies of the hospital s interiors such as Vestibule of the Asylum and Saint Remy September 1889 and its gardens such as Lilacs May 1889 Some of his works from this time are characterised by swirls such as The Starry Night He was allowed short supervised walks during which time he painted cypresses and olive trees including Valley with Ploughman Seen from Above Olive Trees with the Alpilles in the Background 1889 Cypresses 1889 Cornfield with Cypresses 1889 Country road in Provence by Night 1890 In September 1889 he produced two further versions of Bedroom in Arles and The Gardener 176 Limited access to life outside the clinic resulted in a shortage of subject matter Van Gogh instead worked on interpretations of other artist s paintings such as Millet s The Sower and Noonday Rest and variations on his own earlier work Van Gogh was an admirer of the Realism of Jules Breton Gustave Courbet and Millet 177 and he compared his copies to a musician s interpreting Beethoven 178 His Prisoners Round after Gustave Dore 1890 was painted after an engraving by Gustave Dore 1832 1883 Tralbaut suggests that the face of the prisoner in the centre of the painting looking towards the viewer is Van Gogh himself 179 Jan Hulsker discounts this 180 Between February and April 1890 Van Gogh suffered a severe relapse Depressed and unable to bring himself to write he was still able to paint and draw a little during this time 181 and he later wrote to Theo that he had made a few small canvases from memory reminisces of the North 182 Among these was Two Peasant Women Digging in a Snow Covered Field at Sunset Hulsker believes that this small group of paintings formed the nucleus of many drawings and study sheets depicting landscapes and figures that Van Gogh worked on during this time He comments that this short period was the only time that Van Gogh s illness had a significant effect on his work 183 Van Gogh asked his mother and his brother to send him drawings and rough work he had done in the early 1880s so he could work on new paintings from his old sketches 184 Belonging to this period is Sorrowing Old Man At Eternity s Gate a colour study Hulsker describes as another unmistakable remembrance of times long past 185 186 His late paintings show an artist at the height of his abilities according to the art critic Robert Hughes longing for concision and grace 122 After the birth of his nephew Van Gogh wrote I started right away to make a picture for him to hang in their bedroom branches of white almond blossom against a blue sky 187 nbsp Prisoners Round after Gustave Dore 1890 Pushkin Museum Moscow nbsp The Sower after Jean Francois Millet 1888 Kroller Muller Museum Otterlo nbsp Two Peasant Women Digging in a Snow Covered Field at Sunset after Jean Francois Millet 1890 Foundation E G Buhrle Collection Zurich Switzerland nbsp Sorrowing Old Man At Eternity s Gate 1890 Kroller Muller Museum Otterlo 185 1890 Exhibitions and recognition See also Vincent van Gogh s display at Les XX 1890Albert Aurier praised his work in the Mercure de France in January 1890 and described him as a genius 188 In February Van Gogh painted five versions of L Arlesienne Madame Ginoux based on a charcoal sketch Gauguin had produced when she sat for both artists in November 1888 189 note 10 Also in February Van Gogh was invited by Les XX a society of avant garde painters in Brussels to participate in their annual exhibition At the opening dinner a Les XX member Henry de Groux insulted Van Gogh s work Toulouse Lautrec demanded satisfaction and Signac declared he would continue to fight for Van Gogh s honour if Lautrec surrendered De Groux apologised for the slight and left the group From 20 March to 27 April 1890 Van Gogh was included in the sixth exhibition of the Societe des Artistes Independants in the Pavillon de la Ville de Paris on the Champs Elysees Van Gogh exhibited ten paintings 190 While Van Gogh s exhibit was on display with the Artistes Independants in Paris Claude Monet said that his work was the best in the show 191 Auvers sur Oise May July 1890 See also Houses at Auvers Auvers size 30 canvases and Double squares and Squares nbsp Les Vessenots a Auvers 1890 Thyssen Bornemisza Museum Madrid painted six weeks before the artist s deathIn May 1890 Van Gogh left the clinic in Saint Remy to move nearer to both Dr Paul Gachet in the Paris suburb of Auvers sur Oise and to Theo Gachet was an amateur painter and had treated several other artists Camille Pissarro had recommended him Van Gogh s first impression was that Gachet was iller than I am it seemed to me or let s say just as much 192 The painter Charles Daubigny moved to Auvers in 1861 and in turn drew other artists there including Camille Corot and Honore Daumier In July 1890 Van Gogh completed two paintings of Daubigny s Garden one of which is likely his final work 193 nbsp The Church at Auvers 1890 Musee d Orsay ParisDuring his last weeks at Saint Remy his thoughts returned to memories of the North 182 and several of the approximately 70 oils painted during as many days in Auvers sur Oise are reminiscent of northern scenes 194 In June 1890 he painted several portraits of his doctor including Portrait of Dr Gachet and his only etching In each the emphasis is on Gachet s melancholic disposition 195 There are other paintings which are probably unfinished including Thatched Cottages by a Hill 193 In July Van Gogh wrote that he had become absorbed in the immense plain against the hills boundless as the sea delicate yellow 196 He had first become captivated by the fields in May when the wheat was young and green In July he described to Theo vast fields of wheat under turbulent skies 197 He wrote that they represented his sadness and extreme loneliness and that the canvases will tell you what I cannot say in words that is how healthy and invigorating I find the countryside 198 Wheatfield with Crows although not his last oil work is from July 1890 and Hulsker discusses it as being associated with melancholy and extreme loneliness 199 Hulsker identifies seven oil paintings from Auvers that follow the completion of Wheatfield with Crows 200 Death Main articles Death of Vincent van Gogh Auberge Ravoux and Vincent van Gogh s health nbsp Article on Van Gogh s death from L Echo Pontoisien 7 August 1890On 27 July 1890 aged 37 Van Gogh shot himself in the chest with a revolver 201 The shooting may have taken place in the wheat field in which he had been painting or in a local barn 202 The bullet was deflected by a rib and passed through his chest without doing apparent damage to internal organs possibly stopped by his spine He was able to walk back to the Auberge Ravoux where he was attended to by two doctors One of them Dr Gachet served as a war surgeon in 1870 and had extensive knowledge of gunshots Vincent was possibly attended to during the night by Dr Gachet s son Paul Louis Gachet and the innkeeper Arthur Ravoux The following morning Theo rushed to his brother s side finding him in good spirits But within hours Vincent s health began to fail suffering from an infection resulting from the wound He died in the early hours of 29 July According to Theo Vincent s last words were The sadness will last forever 203 204 205 206 nbsp Vincent and Theo s graves at Auvers sur Oise CemeteryVan Gogh was buried on 30 July in the municipal cemetery of Auvers sur Oise The funeral was attended by Theo van Gogh Andries Bonger Charles Laval Lucien Pissarro Emile Bernard Julien Tanguy and Paul Gachet among twenty family members friends and locals Theo suffered from syphilis and his health began to decline further after his brother s death Weak and unable to come to terms with Vincent s absence he died on 25 January 1891 at Den Dolder and was buried in Utrecht 207 In 1914 Johanna van Gogh Bonger had Theo s body exhumed and moved from Utrecht to be re buried alongside Vincent s at Auvers sur Oise 208 There have been numerous debates as to the nature of Van Gogh s illness and its effect on his work and many retrospective diagnoses have been proposed The consensus is that Van Gogh had an episodic condition with periods of normal functioning 209 Perry was the first to suggest bipolar disorder in 1947 210 and this has been supported by the psychiatrists Hemphill and Blumer 211 212 Biochemist Wilfred Arnold has countered that the symptoms are more consistent with acute intermittent porphyria noting that the popular link between bipolar disorder and creativity might be spurious 209 Temporal lobe epilepsy with bouts of depression has also been suggested 212 Whatever the diagnosis his condition was likely worsened by malnutrition overwork insomnia and alcohol 212 Style and worksArtistic development nbsp Starry Night Over the Rhone 1888 Musee d Orsay ParisVan Gogh drew and painted with watercolours while at school but only a few examples survive and the authorship of some has been challenged 213 When he took up art as an adult he began at an elementary level In early 1882 his uncle Cornelis Marinus owner of a well known gallery of contemporary art in Amsterdam asked for drawings of The Hague Van Gogh s work did not live up to expectations Marinus offered a second commission specifying the subject matter in detail but was again disappointed with the result Van Gogh persevered he experimented with lighting in his studio using variable shutters and different drawing materials For more than a year he worked on single figures highly elaborate studies in black and white note 11 which at the time gained him only criticism Later they were recognised as early masterpieces 215 In August 1882 Theo gave Vincent money to buy materials for working en plein air Vincent wrote that he could now go on painting with new vigour 216 From early 1883 he worked on multi figure compositions 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 Van Gogh turned to well known Hague School artists like Weissenbruch and Blommers and he received technical advice from them as well as from painters like De Bock and Van der Weele both of the Hague School s second generation 217 He moved to Nuenen after a short period of time in Drenthe and began work on several large paintings but destroyed most of them The Potato Eaters and its companion pieces are the only ones to have survived 217 Following a visit to the Rijksmuseum Van Gogh wrote of his admiration for the quick economical brushwork of the Dutch Masters especially Rembrandt and Frans Hals 218 note 12 He was aware many of his faults were due to lack of experience and technical expertise 217 so in November 1885 he travelled to Antwerp and later Paris to learn and develop his skills 219 nbsp Olive Trees with the Alpilles in the Background 1889 Museum of Modern Art New YorkTheo criticised The Potato Eaters for its dark palette which he thought unsuitable for a modern style 220 During Van Gogh s stay in Paris between 1886 and 1887 he tried to master a new lighter palette His Portrait of Pere Tanguy 1887 shows his success with the brighter palette and is evidence of an evolving personal style 221 Charles Blanc s treatise on colour interested him greatly and led him to work with complementary colours Van Gogh came to believe that the effect of colour went beyond the descriptive he said that colour expresses something in itself 222 223 According to Hughes Van Gogh perceived colour as having a psychological and moral weight as exemplified in the garish reds and greens of The Night Cafe a work he wanted to express the terrible passions of humanity 224 Yellow meant the most to him because it symbolised emotional truth He used yellow as a symbol for sunlight life and God 225 Van Gogh strove to be a painter of rural life and nature 226 during his first summer in Arles he used his new palette to paint landscapes and traditional rural life 227 His belief that a power existed behind the natural led him to try to capture a sense of that power or the essence of nature in his art sometimes through the use of symbols 228 His renditions of the sower at first copied from Jean Francois Millet reflect the influence of Thomas Carlyle and Friedrich Nietzsche s thoughts on the heroism of physical labour 229 as well as Van Gogh s religious beliefs the sower as Christ sowing life beneath the hot sun 230 These were themes and motifs he returned to often to rework and develop 231 His paintings of flowers are filled with symbolism but rather than use traditional Christian iconography he made up his own where life is lived under the sun and work is an allegory of life 232 In Arles having gained confidence after painting spring blossoms and learning to capture bright sunlight he was ready to paint The Sower 222 nbsp Memory of the Garden at Etten 1888 Hermitage Museum St PetersburgVan Gogh stayed within what he called the guise of reality 233 and was critical of overly stylised works 234 He wrote afterwards that the abstraction of Starry Night had gone too far and that reality had receded too far in the background 234 Hughes describes it as a moment of extreme visionary ecstasy the stars are in a great whirl reminiscent of Hokusai s Great Wave the movement in the heaven above is reflected by the movement of the cypress on the earth below and the painter s vision is translated into a thick emphatic plasma of paint 235 Between 1885 and his death in 1890 Van Gogh appears to have been building an oeuvre 236 a collection that reflected his personal vision and could be commercially successful He was influenced by Blanc s definition of style that a true painting required optimal use of colour perspective and brushstrokes Van Gogh applied the word purposeful to paintings he thought he had mastered as opposed to those he thought of as studies 237 He painted many series of studies 233 most of which were still lifes many executed as colour experiments or as gifts to friends 238 The work in Arles contributed considerably to his oeuvre those he thought the most important from that time were The Sower Night Cafe Memory of the Garden in Etten and Starry Night With their broad brushstrokes inventive perspectives colours contours and designs these paintings represent the style he sought 234 Major series Main article List of works by Vincent van Gogh nbsp L Arlesienne Madame Ginoux with Books November 1888 Metropolitan Museum of Art New YorkVan Gogh s stylistic developments are usually linked to the periods he spent living in different places across Europe He was inclined to immerse himself in local cultures and lighting conditions although he maintained a highly individual visual outlook throughout His evolution as an artist was slow and he was aware of his painterly limitations He moved home often perhaps to expose himself to new visual stimuli and through exposure develop his technical skill 239 Art historian Melissa McQuillan believes the moves also reflect later stylistic changes and that Van Gogh used the moves to avoid conflict and as a coping mechanism for when the idealistic artist was faced with the realities of his then current situation 240 Portraits See also Portraits by Vincent van Gogh Paintings of Children Van Gogh series and Van Gogh s family in his art Van Gogh said portaiture was his greatest interest What I m most passionate about much much more than all the rest in my profession he wrote in 1890 is the portrait the modern portrait 241 It is the only thing in painting that moves me deeply and that gives me a sense of the infinite 238 242 He wrote to his sister that he wished to paint portraits that would endure and that he would use colour to capture their emotions and character rather than aiming for photographic realism 243 Those closest to Van Gogh are mostly absent from his portraits he rarely painted Theo Van Rappard or Bernard The portraits of his mother were from photographs 244 Van Gogh painted Arles postmaster Joseph Roulin and his family repeatedly In five versions of La Berceuse The Lullaby Van Gogh painted Augustine Roulin quietly holding a rope that rocks the unseen cradle of her infant daughter Van Gogh had planned for it to be the central image of a triptych flanked by paintings of sunflowers 245 nbsp Portrait of Artist s Mother October 1888 Norton Simon Museum of Art Pasadena California nbsp Eugene Boch The Poet Against a Starry Sky 1888 Musee d Orsay Paris nbsp Portrait of the Postman Joseph Roulin 1841 1903 early August 1888 Museum of Fine Arts Boston nbsp La Berceuse Augustine Roulin 1889 Museum of Fine Arts BostonSelf portraits Main article Portraits of Vincent van Gogh Self portraits nbsp Self Portrait September 1889 Musee d OrsayVan Gogh created more than 43 self portraits between 1885 and 1889 246 note 13 They were usually completed in series such as those painted in Paris in mid 1887 and continued until shortly before his death 247 Generally the portraits were studies created during periods when he was reluctant to mix with others or when he lacked models and so painted himself 238 248 The self portraits reflect a high degree of self scrutiny 249 Often they were intended to mark important periods in his life for example the mid 1887 Paris series were painted at the point where he became aware of Claude Monet Paul Cezanne and Signac 250 In Self Portrait with Grey Felt Hat heavy strains of paint spread outwards across the canvas It is one of his most renowned self portraits of that period with its highly organized rhythmic brushstrokes and the novel halo derived from the Neo impressionist repertoire was what Van Gogh himself called a purposeful canvas 251 They contain a wide array of physiognomical representations 246 Van Gogh s mental and physical condition is usually apparent he may appear unkempt unshaven or with a neglected beard with deeply sunken eyes a weak jaw or having lost teeth Some show him with full lips a long face or prominent skull or sharpened alert features His hair is sometimes depicted in a vibrant reddish hue and at other times ash colored 246 Van Gogh s self portraits vary stylistically In those painted after December 1888 the strong contrast of vivid colors highlight the haggard pallor of his skin 248 Some depict the artist with a beard others without He can be seen with bandages in portraits executed just after he mutilated his ear In only a few does he depict himself as a painter 246 Those painted in Saint Remy show the head from the right the side opposite his damaged ear as he painted himself reflected in his mirror 252 253 nbsp Self Portrait with Grey Felt Hat Winter 1887 88 Van Gogh Museum Amsterdam nbsp Self Portrait with Straw Hat Paris Winter 1887 88 Metropolitan Museum of Art New York nbsp Self Portrait 1889 National Gallery of Art Washington D C His Saint Remy self portraits show the unmutilated ear as reflected in the mirror nbsp Self Portrait Without Beard c September 1889 may have been Van Gogh s last self portrait which he gifted to his mother on her birthday 254 255 Flowers See also Sunflowers Van Gogh series and Almond Blossoms nbsp Still Life Vase with Fourteen Sunflowers August 1888 National Gallery LondonVan Gogh painted several landscapes with flowers including roses lilacs irises and sunflowers Some reflect his interests in the language of colour and also in Japanese ukiyo e 256 There are two series of dying sunflowers The first was painted in Paris in 1887 and shows flowers lying on the ground The second set was completed a year later in Arles and is of bouquets in a vase positioned in early morning light 257 Both are built from thickly layered paintwork which according to the London National Gallery evoke the texture of the seed heads 258 In these series Van Gogh was not preoccupied by his usual interest in filling his paintings with subjectivity and emotion rather the two series are intended to display his technical skill and working methods to Gauguin 144 who was about to visit The 1888 paintings were created during a rare period of optimism for the artist Vincent wrote to Theo in August 1888 I m painting with the gusto of a Marseillais eating bouillabaisse which won t surprise you when it s a question of painting large sunflowers If I carry out this plan there ll be a dozen or so panels The whole thing will therefore be a symphony in blue and yellow I work on it all these mornings from sunrise Because the flowers wilt quickly and it s a matter of doing the whole thing in one go 259 The sunflowers were painted to decorate the walls in anticipation of Gauguin s visit and Van Gogh placed individual works around the Yellow House s guest room in Arles Gauguin was deeply impressed and later acquired two of the Paris versions 144 After Gauguin s departure Van Gogh imagined the two major versions of the sunflowers as wings of the Berceuse Triptych and included them in his Les XX in Brussels exhibit Today the major pieces of the series are among his best known celebrated for the sickly connotations of the colour yellow and its tie in with the Yellow House the expressionism of the brush strokes and their contrast against often dark backgrounds 260 nbsp Still Life Vase with Twelve Sunflowers August 1888 Neue Pinakothek Munich nbsp Irises May 1889 J Paul Getty Museum Los Angeles nbsp Almond Blossom February 1890 Van Gogh Museum Amsterdam nbsp Still Life Vase with Irises Against a Yellow Background May 1890 Van Gogh Museum Amsterdam 261 Cypresses and olives See also Olive Trees Van Gogh series nbsp Road with Cypress and Star May 1890 Kroller Muller Museum OtterloFifteen canvases depict cypresses a tree he became fascinated with in Arles 262 He brought life to the trees which were traditionally seen as emblematic of death 228 The series of cypresses he began in Arles featured the trees in the distance as windbreaks in fields when he was at Saint Remy he brought them to the foreground 263 Vincent wrote to Theo in May 1889 Cypresses still preoccupy me I should like to do something with them like my canvases of sunflowers he went on to say They are beautiful in line and proportion like an Egyptian obelisk 264 In mid 1889 and at his sister Wil s request Van Gogh painted several smaller versions of Wheat Field with Cypresses 265 The works are characterised by swirls and densely painted impasto and include The Starry Night in which cypresses dominate the foreground 262 In addition to this other notable works on cypresses include Cypresses 1889 Cypresses with Two Figures 1889 90 and Road with Cypress and Star 1890 266 During the last six or seven months of the year 1889 he had also created at least fifteen paintings of olive trees a subject which he considered as demanding and compelling 267 Among these works are Olive Trees with the Alpilles in the Background 1889 about which in a letter to his brother Van Gogh wrote At last I have a landscape with olives 266 While in Saint Remy Van Gogh spent time outside the asylum where he painted trees in the olive groves In these works natural life is rendered as gnarled and arthritic as if a personification of the natural world which are according to Hughes filled with a continuous field of energy of which nature is a manifestation 228 nbsp Cypresses in Starry Night a reed pen drawing executed by Van Gogh after the painting in 1889 nbsp Cypresses and Two Women February 1890 Kroller Muller Museum Otterlo Netherlands nbsp Wheat Field with Cypresses September 1889 Metropolitan Museum of Art New York nbsp Cypresses 1889 Metropolitan Museum of Art New YorkOrchards See also Flowering Orchards The Flowering Orchards also the Orchards in Blossom are among the first groups of work completed after Van Gogh s arrival in Arles in February 1888 The 14 paintings are optimistic joyous and visually expressive of the burgeoning spring They are delicately sensitive and unpopulated He painted swiftly and although he brought to this series a version of Impressionism a strong sense of personal style began to emerge during this period The transience of the blossoming trees and the passing of the season seemed to align with his sense of impermanence and belief in a new beginning in Arles During the blossoming of the trees that spring he found a world of motifs that could not have been more Japanese 268 Vincent wrote to Theo on 21 April 1888 that he had 10 orchards and one big painting of a cherry tree which I ve spoiled 269 During this period Van Gogh mastered the use of light by subjugating shadows and painting the trees as if they are the source of light almost in a sacred manner 268 Early the following year he painted another smaller group of orchards including View of Arles Flowering Orchards 270 Van Gogh was enthralled by the landscape and vegetation of the south of France and often visited the farm gardens near Arles In the vivid light of the Mediterranean climate his palette significantly brightened 271 nbsp Pink Peach Tree in Blossom Reminiscence of Mauve watercolour March 1888 Kroller Muller Museum nbsp The Pink Orchard also Orchard with Blossoming Apricot Trees March 1888 Van Gogh Museum Amsterdam nbsp Orchard in Blossom Bordered by Cypresses April 1888 Kroller Muller Museum Otterlo Netherlands nbsp View of Arles Flowering Orchards April 1889 Neue Pinakothek MunichWheat fields See also Wheat Fields Van Gogh series and The Wheat Field nbsp Wheatfield Under Thunderclouds 1890 Van Gogh Museum Amsterdam NetherlandsVan Gogh made several painting excursions during visits to the landscape around Arles He made paintings of 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 124 At various points Van Gogh painted the view from his window at The Hague Antwerp and Paris These works culminated in The Wheat Field series which depicted the view from his cells in the asylum at Saint Remy 272 Many of the late paintings are sombre but essentially optimistic and right up to the time of Van Gogh s death reflect his desire to return to lucid mental health Yet some of his final works reflect his deepening concerns 273 274 Writing in July 1890 from Auvers Van Gogh said that he had become absorbed in the immense plain against the hills boundless as the sea delicate yellow 196 Van Gogh was captivated by the fields in May when the wheat was young and green His Wheatfields at Auvers with White House shows a more subdued palette of yellows and blues which creates a sense of idyllic harmony 275 About 10 July 1890 Van Gogh wrote to Theo of vast fields of wheat under troubled skies 276 Wheatfield with Crows shows the artist s state of mind in his final days Hulsker describes the work as a doom filled painting with threatening skies and ill omened crows 199 Its dark palette and heavy brushstrokes convey a sense of menace 277 nbsp Enclosed Wheat Field with Rising Sun May 1889 Kroller Muller Museum Otterlo Netherlands nbsp Rain or Enclosed Wheat Field in the Rain November 1889 Philadelphia Museum of Art Philadelphia nbsp Wheat Fields early June 1889 Kroller Muller Museum Otterlo nbsp Wheat Field at Auvers with White House June 1890 The Phillips Collection Washington D C Reputation and legacyMain article Posthumous fame of Vincent van Gogh nbsp Johanna van Gogh Bonger 1889After Van Gogh s first exhibitions in the late 1880s his reputation grew steadily among artists art critics dealers and collectors 278 In 1887 Andre Antoine hung Van Gogh s alongside works of Georges Seurat and Paul Signac at the Theatre Libre in Paris some were acquired by Julien Tanguy 279 In 1889 his work was described in the journal Le Moderniste Illustre by Albert Aurier as characterised by fire intensity sunshine 280 Ten paintings were shown at the Societe des Artistes Independants in Brussels in January 1890 281 French president Marie Francois Sadi Carnot was said to have been impressed by Van Gogh s work 282 After Van Gogh s death memorial exhibitions were held in Brussels Paris The Hague and Antwerp His work was shown in several high profile exhibitions including six works at Les XX in 1891 there was a retrospective exhibition in Brussels 281 In 1892 Octave Mirbeau wrote that Van Gogh s suicide was an infinitely sadder loss for art even though the populace has not crowded to a magnificent funeral and poor Vincent van Gogh whose demise means the extinction of a beautiful flame of genius has gone to his death as obscure and neglected as he lived 279 Theo died in January 1891 removing Vincent s most vocal and well connected champion 283 Theo s widow Johanna van Gogh Bonger was a Dutchwoman in her twenties who had not known either her husband or her brother in law very long and who suddenly had to take care of several hundreds of paintings letters and drawings as well as her infant son Vincent Willem van Gogh 278 note 14 Gauguin was not inclined to offer assistance in promoting Van Gogh s reputation and Johanna s brother Andries Bonger also seemed lukewarm about his work 278 Aurier one of Van Gogh s earliest supporters among the critics died of typhoid fever in 1892 at the age of 27 285 nbsp Painter on the Road to Tarascon August 1888 destroyed by fire in the Second World War In 1892 Emile Bernard organised a small solo show of Van Gogh s paintings in Paris and Julien Tanguy exhibited his Van Gogh paintings with several consigned from Johanna van Gogh Bonger In April 1894 the Durand Ruel Gallery in Paris agreed to take 10 paintings on consignment from Van Gogh s estate 285 In 1896 the Fauvist painter Henri Matisse then an unknown art student visited John Russell on Belle Ile off Brittany 286 287 Russell had been a close friend of Van Gogh he introduced Matisse to the Dutchman s work and gave him a Van Gogh drawing Influenced by Van Gogh Matisse abandoned his earth coloured palette for bright colours 287 288 In Paris in 1901 a large Van Gogh retrospective was held at the Bernheim Jeune Gallery which excited Andre Derain and Maurice de Vlaminck and contributed to the emergence of Fauvism 285 Important group exhibitions took place with the Sonderbund artists in Cologne in 1912 the Armory Show New York in 1913 and Berlin in 1914 289 Henk Bremmer was instrumental in teaching and talking about Van Gogh 290 and introduced Helene Kroller Muller to Van Gogh s art she became an avid collector of his work 291 The early figures in German Expressionism such as Emil Nolde acknowledged a debt to Van Gogh s work 292 Bremmer assisted Jacob Baart de la Faille whose catalogue raisonne L Oeuvre de Vincent van Gogh appeared in 1928 293 note 15 Van Gogh s fame reached its first peak in Austria and Germany before World War I 296 helped by the publication of his letters in three volumes in 1914 297 His letters are expressive and literate and have been described as among the foremost 19th century writings of their kind 9 These began a compelling mythology of Van Gogh as an intense and dedicated painter who suffered for his art and died young 298 In 1934 the novelist Irving Stone wrote a biographical novel of Van Gogh s life titled Lust for Life based on Van Gogh s letters to Theo 299 This novel and the 1956 film further enhanced his fame especially in the United States where Stone surmised only a few hundred people had heard of Van Gogh prior to his surprise best selling book 300 301 In 1957 Francis Bacon 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 the Second World War Bacon was inspired by an image he described as haunting and regarded Van Gogh as an alienated outsider a position which resonated with him Bacon identified with Van Gogh s theories of art and quoted lines written to Theo R eal painters do not paint things as they are T hey paint them as they themselves feel them to be 302 Van Gogh s works are among the world s most expensive paintings Those sold for over US 100 million today s equivalent include Portrait of Dr Gachet 303 Portrait of Joseph Roulin and Irises The Metropolitan Museum of Art acquired a copy of Wheat Field with Cypresses in 1993 for US 57 million by using funds donated by publisher diplomat and philanthropist Walter Annenberg 304 In 2015 L Allee des Alyscamps sold for US 66 3 million at Sotheby s New York exceeding its reserve of US 40 million 305 Minor planet 4457 van Gogh is named in his honour 306 In October 2022 two activists protesting the effects of the fossil fuel industry on climate change threw a can of tomato soup on Van Gogh s Sunflowers in the National Gallery London and then glued their hands to the gallery wall As the painting was covered by glass it was not damaged 307 308 Van Gogh Museum Main article Van Gogh Museum nbsp The Van Gogh Museum AmsterdamVan Gogh s nephew and namesake Vincent Willem van Gogh 1890 1978 309 inherited the estate after his mother s death in 1925 During the early 1950s he arranged for the publication of a complete edition of the letters presented in four volumes and several languages He then began negotiations with the Dutch government to subsidise a foundation to purchase and house the entire collection 310 Theo s son participated in planning the project in the hope that the works would be exhibited under the best possible conditions The project began in 1963 architect Gerrit Rietveld was commissioned to design it and after his death in 1964 Kisho Kurokawa took charge 311 Work progressed throughout the 1960s with 1972 as the target for its grand opening 309 The Van Gogh Museum opened in the Museumplein in Amsterdam in 1973 312 It became the second most popular museum in the Netherlands after the Rijksmuseum regularly receiving more than 1 5 million visitors a year In 2015 it had a record 1 9 million 313 Eighty five percent of the visitors come from other countries 314 Nazi looted artMain article Nazi looting of artworks by Vincent van Gogh During the Nazi period 1933 1945 a great number of artworks by Van Gogh changed hands many of them looted from Jewish collectors who were forced into exile or murdered Some of these works have disappeared into private collections Others have since resurfaced in museums or at auction or have been reclaimed often in high profile lawsuits by their former owners 315 The German Lost Art Foundation still lists dozens of missing van Goghs 316 and the American Alliance of Museums lists 73 van Goghs on the Nazi Era Provenance Internet Portal 317 ReferencesExplanatory footnotes The pronunciation of Van Gogh varies in both English and Dutch Especially in British English it is ˌ v ae n ˈ ɡ ɒ x 2 or sometimes ˌ v ae n ˈ ɡ ɒ f VAN GOF 3 American dictionaries list ˌ v ae n ˈ ɡ oʊ VAN GOH with a silent gh as the most common pronunciation 4 In the dialect of Holland it is ˈvɪnsɛnt fɑŋˈ xɔx with a voiceless v and g He grew up in Brabant and used Brabant dialect in his writing his own pronunciation was thus likely vɑɲ ˈʝɔc with a voiced v and palatalised g and gh In France where much of his work was produced it is vɑ ɡɔɡ e 5 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 25 Hulsker suggests that Van Gogh returned to the Borinage and then back to Etten in this period 56 See Jan Hulsker s speech The Borinage Episode and the Misrepresentation of Vincent van Gogh Van Gogh Symposium 10 11 May 1990 59 At Christmas I had a rather violent argument with Pa and feelings ran so high that Pa said it would be better if I left home Well it was said so decidedly that I actually left the same day The only evidence for this is from interviews with the grandson of the doctor 105 For an overall review see Naifeh and Smith 106 Boch s sister Anna 1848 1936 also an artist purchased The Red Vineyard in 1890 138 Van Gogh 2009 Letter 719 Vincent to Theo van Gogh Arles Sunday 11 or Monday 12 November 1888 I ve been working on two canvases A reminiscence of our garden at Etten with cabbages cypresses dahlias and figures Gauguin gives me courage to imagine and the things of the imagination do indeed take on a more mysterious character Theo and his wife Gachet and his son and Signac who saw Van Gogh after the bandages were removed maintained that only the earlobe had been removed 153 According to Doiteau and Leroy the diagonal cut removed the lobe and probably a little more 154 The policeman and Rey both claimed Van Gogh severed the entire outer ear 153 Rey repeated his account in 1930 writing a note for novelist Irving Stone and including a sketch of the line of the incision 155 The version intended for Ginoux is lost It was an attempt to deliver this painting to her in Arles that precipitated his February relapse 181 Artists working in black and white e g for illustrated papers like The Graphic or The Illustrated London News were among Van Gogh s favourites 214 Van Gogh 2009 Letter 535To Theo van Gogh Nuenen on or about Tuesday 13 October 1885 What particularly struck me when I saw the old Dutch paintings again is that they were usually painted quickly That these great masters like Hals Rembrandt Ruisdael so many others as far as possible just put it straight down and didn t come back to it so very much And this too please that if it worked they left it alone Above all I admired hands by Rembrandt and Hals hands that lived but were not finished in the sense that people want to enforce nowadays In the winter I m going to explore various things regarding manner that I noticed in the old paintings I saw a great deal that I needed But this above all things what they call dashing off you see that s what the old Dutch painters did famously That dashing off with a few brushstrokes they won t hear of it now but how true the results are Rembrandt is one of the few major painters to exceed this volume of self portraits producing over 50 but he did so over a forty year period 246 Her husband had been the sole support of the family and Johanna was left with only an apartment in Paris a few items of furniture and her brother in law s paintings which at the time were looked upon as having no value at all 284 In de la Faille s 1928 catalogue each of Van Gogh s works was assigned a number These numbers preceded by the letter F are frequently used when referring to a particular painting or drawing 294 Not all the works listed in the original catalogue are now believed to be authentic works of Van Gogh 295 Citations Sunflowers Van Gogh Museum vangoghmuseum nl Archived from the original on 29 October 2016 Retrieved 21 September 2016 BBC Magazine Monitor How to Say Van Gogh BBC 22 January 2010 Archived from the original on 26 September 2016 Retrieved 10 September 2016 Sweetman 1990 7 Davies 2007 p 83 Veltkamp Paul Pronunciation of the Name Van Gogh vggallery com Archived from the original on 22 September 2015 McQuillan 1989 9 The Woman Who Made Vincent van Gogh The New York Times 14 April 2021 Retrieved 12 September 2023 Van Gogh 2009 Van Gogh The Letters a b c d e McQuillan 1989 19 Pomerans 1997 xv Rewald 1986 248 Pomerans 1997 ix xv Pomerans 1997 ix Pickvance 1986 129 Tralbaut 1981 39 a b Hughes 1990 143 Pomerans 1997 i xxvi Vincent van Gogh to Theo van Gogh 9 December 1875 www webexhibits org Archived from the original on 3 March 2021 Retrieved 1 January 2021 034 034 27 To Theo van Gogh Paris Monday 31 May 1875 Vincent van Gogh Letters www vangoghletters org Archived from the original on 2 June 2021 Retrieved 1 January 2021 The Poem That Inspired a Van Gogh Painting Written in His Hand The Raab Collection Archived from the original on 17 April 2016 Retrieved 1 January 2021 500 503 406 To Theo van Gogh Nuenen Monday 4 and Tuesday 5 May 1885 Vincent van Gogh Letters www vangoghletters org Archived from the original on 16 January 2021 Retrieved 1 January 2021 Route Van Gogh Vincent van Gogh in Borinage Belgium Van Gogh Route Archived from the original on 27 March 2021 Retrieved 1 January 2021 hoakley 6 April 2017 Jules Breton s Eternal Harvest 4 1877 1889 The Eclectic Light Company Archived from the original on 15 January 2021 Retrieved 1 January 2021 AN ARTIST IS BORN AwesomeStories com Archived from the original on 30 October 2020 Retrieved 1 January 2021 Pomerans 1997 1 Lubin 1972 82 84 Erickson 1998 9 Naifeh amp Smith 2011 14 16 Naifeh amp Smith 2011 59 Naifeh amp Smith 2011 18 Walther amp Metzger 1994 16 Naifeh amp Smith 2011 23 25 Naifeh amp Smith 2011 31 32 Sweetman 1990 13 a b Tralbaut 1981 25 35 Naifeh amp Smith 2011 45 49 Naifeh amp Smith 2011 36 50 Hulsker 1980 8 9 Naifeh amp Smith 2011 48 Van Gogh 2009 Letter 403 Vincent to Theo van Gogh Nieuw Amsterdam on or about Monday 5 November 1883 Walther amp Metzger 1994 20 Van Gogh 2009 Letter 007 Vincent to Theo van Gogh The Hague Monday 5 May 1873 Tralbaut 1981 35 47 Pomerans 1997 xxvii Van Gogh 2009 Letter 088 Vincent to Theo van Gogh Isleworth Friday 18 August 1876 Tralbaut 1981 47 56 Naifeh amp Smith 2011 113 Callow 1990 54 Naifeh amp Smith 2011 146 147 Sweetman 1990 175 McQuillan 1989 26 Erickson 1998 23 Grant 2014 p 9 Hulsker 1990 60 62 73 Sweetman 1990 101 Fell 2015 17 Callow 1990 72 Gesko 2006 48 Naifeh amp Smith 2011 209 210 488 489 Van Gogh 2009 Letter 186 Vincent to Theo van Gogh Etten Friday 18 November 1881 Erickson 1998 67 68 Van Gogh 2009 Letter 156 Vincent to Theo van Gogh Cuesmes Friday 20 August 1880 Tralbaut 1981 67 71 Pomerans 1997 83 Sweetman 1990 145 Van Gogh 2009 Letter 179 Vincent to Theo van Gogh Etten Thursday 3 November 1881 a b Naifeh amp Smith 2011 239 240 Van Gogh 2009 Letter 189 Vincent to Theo van Gogh Etten Wednesday 23 November 1881 Van Gogh 2009 Letter 193 Vincent to Theo van Gogh Etten on or about Friday 23 December 1881 describing the visit in more detail a b Van Gogh 2009 Letter 228 Vincent to Theo van Gogh The Hague on or about Tuesday 16 May 1882 Sweetman 1990 147 Gayford 2006 125 Naifeh amp Smith 2011 250 252 Van Gogh 2009 Letter 194 Vincent to Theo van Gogh The Hague Thursday 29 December 1881 Van Gogh 2009 Letter 196 Vincent to Theo van Gogh The Hague on or about Tuesday 3 January 1882 Walther amp Metzger 1994 64 Van Gogh 2009 Letter 219 Naifeh amp Smith 2011 258 Van Gogh 2009 Letter 237 Vincent to Theo van Gogh The Hague on or about Thursday 8 June 1882 Tralbaut 1981 110 Naifeh amp Smith 2011 306 Tralbaut 1981 96 103 Callow 1990 116 cites the work of Hulsker Callow 1990 123 124 Van Gogh 2009 Letter 224 Vincent to Theo van Gogh The Hague on or about Sunday 7 May 1882 Callow 1990 116 117 citing the research of Jan Hulsker the two dead children were born in 1874 and 1879 a b Tralbaut 1981 107 Callow 1990 132 Tralbaut 1981 102 104 112 Arnold 1992 38 Tralbaut 1981 113 Wilkie 2004 185 Tralbaut 1981 101 107 a b Tralbaut 1981 111 122 Opportunistic Thieves Just Stole a Prized Van Gogh Landscape From a Locked Down Dutch Museum Under Cover of Night artnet News 30 March 2020 Archived from the original on 31 March 2020 Retrieved 30 March 2020 Sweetman 1990 174 Tralbaut 1981 154 Hulsker 1980 196 205 a b Tralbaut 1981 123 160 Naifeh amp Smith 2011 436 a b van Uitert van Tilborgh amp van Heugten 1990 29 McQuillan 1989 127 Walther amp Metzger 1994 709 Callow 1990 181 Callow 1990 184 Hammacher 1985 84 Callow 1990 253 Naifeh amp Smith 2011 477 Arnold 1992 77 Tralbaut 1981 177 178 Naifeh amp Smith 2011 477 n 199 Tralbaut 1981 173 Naifeh amp Smith 2011 448 489 romantiek Jan Lampo Archived from the original on 6 February 2017 Tralbaut 1981 187 192 Pickvance 1984 38 39 Sweetman 1990 135 Van Gogh 2009 Letter 853 Vincent to Albert Aurier Saint Remy de Provence Sunday 9 or Monday 10 February 1890 Naifeh amp Smith 2011 520 522 Naifeh amp Smith 2011 702 a b c d Walther amp Metzger 1994 710 Pickvance 1986 62 63 Tralbaut 1981 212 213 Druick amp Zegers 2001 81 Gayford 2006 50 Hulsker 1990 256 Van Gogh 2009 Letter 640 Vincent to Theo van Gogh Arles Sunday 15 July 1888 Letter 695 Vincent to Paul Gauguin Arles Wednesday 3 October 1888 a b Hughes 1990 144 Pickvance 1984 11 a b Pickvance 1984 177 Hughes 1990 143 144 Pickvance 1986 129 Pomerans 1997 348 Nemeczek 1999 59 61 Gayford 2006 16 Callow 1990 219 Pickvance 1984 175 176 Tralbaut 1981 266 a b Pomerans 1997 356 360 Fishing Boats on the Beach at Saintes Maries de la Mer 1888 Permanent Collection Van Gogh Museum Retrieved 23 February 2016 Sunflowers philamuseum org Retrieved 22 October 2022 666 670 526 To Theo van Gogh Arles Tuesday 21 or Wednesday 22 August 1888 Vincent van Gogh Letters vangoghletters org Retrieved 22 October 2022 Hulsker 1980 356 Pickvance 1984 168 169 206 Hulsker 1980 356 Pickvance 1984 168 169 206 Van Gogh 2009 Letter 677 Vincent to Theo van Gogh Arles Sunday 9 September 1888 Letter 681 Vincent to Theo van Gogh Arles Sunday 16 September 1888 Gayford 2006 18 Nemeczek 1999 61 Dorn 1990 Pickvance 1984 234 235 Hulsker 1980 374 376 Gayford 2006 61 a b c Walther amp Metzger 1994 411 Pickvance 1984 195 Gayford 2006 274 277 Hulsker 1980 380 382 McQuillan 1989 66 a b Druick amp Zegers 2001 266 a b c d Sweetman 1990 290 Sweetman 1990 1 a b What actually happened to Vincent van Gogh s ear Here are 3 things you should know UC Berkeley Library News Archived from the original on 26 October 2020 Retrieved 6 September 2020 a b c d Rewald 1978 243 248 Doiteau amp Leroy 1928 Cain Abigail 26 July 2016 How One Art History Teacher Solved Two of the Biggest Mysteries about Van Gogh artsy net Archived from the original on 21 February 2019 Retrieved 21 February 2019 Sund 2002 235 Gayford 2006 277 BBC The Mystery of Van Goghs Ear Archived from the original on 6 September 2020 Retrieved 6 September 2020 via www youtube com Adams James 14 July 2016 Historian Bernadette Murphy on digging into the Van Gogh ear mystery The Globe and Mail Archived from the original on 30 October 2020 Retrieved 6 September 2020 Naifeh amp Smith 2011 707 708 Naifeh amp Smith 2011 249 a b Van Gogh 2009 Concordance lists bibliography Documentation Sund 2002 237 Rewald 1986 37 Naifeh amp Smith 2011 704 705 Gayford 2006 284 Pickvance 1986 62 Naifeh amp Smith 2011 713 Sweetman 1990 298 300 Sweetman 1990 300 Pickvance 1986 239 242 Tralbaut 1981 265 273 Hughes 1990 145 Cluskey Peter 12 July 2016 Gun used by Vincent van Gogh to kill himself goes on display The Irish Times Archived from the original on 23 October 2016 Retrieved 22 October 2016 Portrait of Doctor Felix Rey Oil Painting Reproduction 1889 van gogh studio in Dutch Archived from the original on 23 October 2016 Retrieved 22 October 2016 Callow 1990 246 Pickvance 1984 102 103 van Uitert van Tilborgh amp van Heugten 1990 23 Pickvance 1986 154 157 Tralbaut 1981 286 Hulsker 1990 434 a b Hulsker 1990 440 a b Van Gogh 2009 letter 863 Theo van Gogh to Vincent Saint Remy de Provence Tuesday 29 April 1890 Hulsker 1990 390 404 Rewald 1978 326 329 a b Naifeh amp Smith 2011 820 Hulsker 1990 390 404 Tralbaut 1981 287 Tralbaut 1981 293 Pickvance 1986 Appendix III 310 315 Aurier s original 1890 review in French with parallel English translation Pickvance 1986 175 177 854 855 626 To Theo van Gogh Saint Remy de Provence Wednesday 12 February 1890 Vincent van Gogh Letters vangoghletters org Archived from the original on 6 May 2021 Retrieved 29 April 2021 Rewald 1978 346 347 348 350 Van Gogh 2009 Letter RM20 Vincent to Theo and Jo van Gogh Bonger Auvers sur Oise Saturday 24 May 1890 a b Pickvance 1986 270 271 Rosenblum 1975 98 100 Walther amp Metzger 1994 640 a b Edwards 1989 115 Van Gogh 2009 Letter 898 Vincent to Theo van Gogh and Jo van Gogh Bonger Auvers sur Oise on or about Thursday 10 July 1890 Van Gogh 2009 Letter 898 Vincent to Theo van Gogh and Jo van Gogh Bonger Auvers sur Oise on or about Thursday 10 July 1890 Rosenblum 1975 100 a b Hulsker 1990 478 479 Hulsker 1990 472 480 Sweetman 1990 342 343 Walther amp Metzger 1994 669 Sweetman 1990 342 343 Hulsker 1980 480 483 La misere ne finira jamais Etudes 1947 p 9 Archived 22 November 2016 at the Wayback Machine Bibliotheque nationale de France departement Philosophie histoire sciences de l homme D 33939 La tristesse durera toujours Francois Bernard Michel La face humaine de Vincent Van Gogh Grasset 3 November 1999 ISBN 978 2 246 58959 4 van Gogh Theodorus Letter from Theo van Gogh to Elisabeth van Gogh Paris 5 August 1890 Webexhibits org Archived from the original on 24 June 2011 Retrieved 28 April 2015 he said La tristesse durera toujours The sadness will last forever Hayden 2003 152 Van der Veen amp Knapp 2010 260 264 Sweetman 1990 367 a b Arnold 2004 Perry 1947 Hemphill 1961 a b c Blumer 2002 Van Heugten 1996 246 251 Pickvance 1974 Dorn amp Keyes 2000 Van Gogh 2009 Letter 253 Vincent to Theo van Gogh The Hague Saturday 5 August 1882 a b c Dorn Schroder amp Sillevis 1996 Van Gogh 2009 Letter 535To Theo van Gogh Nuenen on or about Tuesday 13 October 1885 Walther amp Metzger 1994 708 van Uitert van Tilborgh amp van Heugten 1990 18 van Uitert van Tilborgh amp van Heugten 1990 18 19 a b Sund 1988 666 Van Gogh 2009 Letter 537 Vincent to Theo Nuenen on or about Wednesday 28 October 1885 Hughes 2002 7 Hughes 2002 11 van Uitert 1981 232 van Uitert van Tilborgh amp van Heugten 1990 20 a b c Hughes 2002 8 9 Wamberg Jacob 2010 Wounded Working Heroes Seeing Millet and van Gogh through the Cleft Lens of Totalitarianism In Rasmussen Mikkel Bolt Wamberg Jacob eds Totalitarian Art and Modernity Aarhus University Press pp 36 104 Sund 1988 668 van Uitert 1981 236 Hughes 2002 12 a b van Uitert 1981 223 a b c van Uitert van Tilborgh amp van Heugten 1990 21 Hughes 2002 8 van Uitert 1981 224 van Uitert van Tilborgh amp van Heugten 1990 16 17 a b c van Uitert 1981 242 McQuillan 1989 138 McQuillan 1989 193 879 883 W22 To Willemien van Gogh Auvers sur Oise Thursday 5 June 1890 Vincent van Gogh Letters www vangoghletters org Retrieved 20 October 2022 Van Gogh 2009 Letter 652 Vincent to Theo van Gogh Arles Tuesday 31 July 1888 Channing amp Bradley 2007 67 Van Gogh 2009 Letter 879 Vincent to Willemien van Gogh Auvers sur Oise Thursday 5 June 1890 McQuillan 1989 198 Vincent van Gogh 1853 1890 www metmuseum org October 2004 Retrieved 20 October 2022 a b c d e McQuillan 1989 15 Walther amp Metzger 1994 263 269 653 a b Sund 2002 261 Hughes 2002 10 Walther amp Metzger 1994 265 269 van Uitert van Tilborgh amp van Heugten 1990 83 Walther amp Metzger 1994 535 537 Cohen 2003 305 306 Pickvance 1986 131 Van Gogh 2009 Letter 806 note 16 Vincent to Theo van Gogh Saint Remy de Provence Saturday 28 September 1889 Pickvance 1986 80 81 184 187 Walther amp Metzger 1994 413 Vincent van Gogh Sunflowers NG3863 National Gallery London Archived from the original on 12 August 2016 Retrieved 1 August 2016 Van Gogh 2009 Letter 666 Vincent to Theo van Gogh Arles Tuesday 21 or Wednesday 22 August 1888 Walther amp Metzger 1994 417 Naifeh amp Smith 2011 819 820 a b Pickvance 1986 101 189 191 Pickvance 1986 110 Rewald 1978 311 Pickvance 1986 132 133 a b Pickvance 1986 101 The Olive Garden 1889 Collection National Gallery of Art Washington DC 2011 Archived from the original on 10 May 2011 Retrieved 25 March 2011 a b Walther amp Metzger 1994 331 333 Pickvance 1984 45 53 Hulsker 1980 385 Fell 1997 32 Hulsker 1980 390 394 van Uitert van Tilborgh amp van Heugten 1990 283 Walther amp Metzger 1994 680 686 Walther amp Metzger 1994 654 Van Gogh 2009 Letter 898 Vincent to Theo van Gogh and Jo van Gogh Bonger Auvers sur Oise on or about Thursday 10 July 1890 Walther amp Metzger 1994 680 a b c Rewald 1986 244 254 a b Sund 2002 305 Sund 2002 307 a b McQuillan 1989 72 Furness Hannah 27 August 2018 Van Gogh was not unappreciated in his lifetime myth busting letter shows The Daily Telegraph Archived from the original on 8 September 2018 Retrieved 7 September 2018 Sund 2002 310 Van Gogh 2009 Memoirs of V W Van Gogh a b c Rewald 1986 245 Spurling 1998 119 138 a b interview with Hilary Spurling 8 June 2005 The Unknown Matisse Book Talk ABC Online Archived from the original on 12 October 2011 Retrieved 1 August 2016 Spurling 1998 138 Dorn amp Leeman 1990 Rovers 2007 262 Rovers 2007 258 Selz 1968 p 82 Faille 1928 harvp error no target CITEREFFaille1928 help Faille J B de la Dictionary of Art Historians Retrieved 3 August 2016 Walther amp Metzger 1994 721 Feilchenfeldt 2013 278 279 Weikop 2007 208 Naifeh amp Smith 2011 867 Pomerans 1997 x IMDb for Vincent Van Gogh IMDb Archived from the original on 27 May 2019 Retrieved 9 May 2019 Pomerans 1997 xii Day James 23 April 1974 Irving Stone interview Day at Night Archived from the original on 14 November 2021 Retrieved 2 August 2017 Farr Peppiatt amp Yard 1999 112 Decker Andrew 5 November 1998 The Silent Boom Artnet Retrieved 14 September 2011 Kimmelman Michael 25 May 1993 Annenberg Donates A van Gogh to the Met The New York Times Boucher Brian 5 May 2015 Mysterious Asian Buyer Causes Sensation at Sotheby s 368 Million Impressionist Sale Artnet Archived from the original on 7 August 2016 Retrieved 4 August 2016 4457 van Gogh Dictionary of Minor Planet Names Springer 2003 p 383 doi 10 1007 978 3 540 29925 7 4402 ISBN 978 3 540 29925 7 Van Gogh s Sunflowers back on display after oil protesters threw soup on it BBC News 14 October 2022 Retrieved 15 October 2022 UK Climate protesters throw soup on Van Gogh s Sunflowers AP NEWS 14 October 2022 Retrieved 15 October 2022 a b Rewald 1986 253 Rewald 1986 252 Van Gogh s Van Goghs The Van Gogh Museum National Gallery of Art archived from the original on 29 May 2010 retrieved 23 April 2011 Pomerans 1997 xiii Bezoekersrecords voor Van Gogh Museum en NEMO Record breaking number of visitors to the Van Gogh Museum and the NEMO Science Museum AT5 in Dutch 15 December 2015 Archived from the original on 21 July 2016 Retrieved 4 August 2016 Caines Matthew 1 September 2015 Van Gogh Museum chief it s critical to diversify our income streams The Guardian Archived from the original on 26 August 2016 Retrieved 4 August 2016 Stryker Mark Dia defends its right to Van Gogh Nazi era collector s heirs say it s theirs www lootedart com Archived from the original on 25 February 2021 Retrieved 25 February 2021 German Lost Art Foundation Vincent Van Gogh Nazi Era Provenance Internet Portal www nepip org Archived from the original on 26 April 2021 Retrieved 25 February 2021 General and cited sources Arnold Wilfred Niels 1992 Vincent van Gogh Chemicals Crises and Creativity Birkhauser ISBN 978 3 7643 3616 5 Arnold Wilfred Niels 2004 The illness of Vincent van Gogh Journal of the History of the Neurosciences 13 1 22 43 doi 10 1080 09647040490885475 PMID 15370335 S2CID 220462421 Archived from the original on 23 October 2018 Retrieved 23 October 2018 Blumer Dietrich 2002 The Illness of Vincent van Gogh American Journal of Psychiatry 159 4 519 526 doi 10 1176 appi ajp 159 4 519 PMID 11925286 S2CID 43106568 Callow Philip 1990 Vincent van Gogh A Life Ivan R Dee ISBN 978 1 56663 134 1 Channing Laurence Bradley Barbara J 2007 Monet to Dali Impressionist and Modern Masterworks from the Cleveland Museum of Art Cleveland Museum of Art ISBN 978 0 940717 90 9 Cohen Ben 2003 A Tale of Two Ears Journal of the Royal Society of Medicine 96 6 305 306 doi 10 1177 014107680309600615 PMC 539517 PMID 12782701 Davies Christopher 2007 Divided by a Common Language A Guide to British and American English Houghton Mifflin Harcourt ISBN 978 0 547 35028 8 Archived from the original on 7 March 2017 Retrieved 20 October 2016 Doiteau Victor Leroy Edgard 1928 La Folie de Vincent Van Gogh in French Editions Aesculape OCLC 458125921 Dorn Roland 1990 Decoration Vincent van Gogh s Werkreihe fur das Gelbe Haus in Arles Decoration Vincent van Gogh s Series of Works for the Yellow House in Arles in German Olms Verlag ISBN 978 3 487 09098 6 Dorn Roland Leeman Fred 1990 exh cat In Koltzsch Georg Wilhelm ed Vincent van Gogh and the Modern Movement 1890 1914 ISBN 978 3 923641 33 8 Other editions ISBN 978 3 923641 31 4 German ISBN 978 90 6630 247 1 Dutch Dorn Roland Keyes George 2000 exh cat Van Gogh Face to Face The Portraits Thames amp Hudson ISBN 978 0 89558 153 2 Dorn Roland Schroder Albrecht Sillevis John eds 1996 Van Gogh und die Haager Schule Bank Austria Kunstforum ISBN 978 88 8118 072 1 Druick Douglas Zegers Pieter 2001 exh cat Van Gogh and Gauguin The Studio of the South Thames amp Hudson ISBN 978 0 500 51054 4 Edwards Cliff 1989 Van Gogh and God A Creative Spiritual Quest Loyola University Press ISBN 978 0 8294 0621 4 Erickson Kathleen Powers 1998 At Eternity s Gate The Spiritual Vision of Vincent van Gogh Eerdmans ISBN 978 0 8028 4978 6 Farr Dennis Peppiatt Michael Yard Sally 1999 Francis Bacon A Retrospective Harry N Abrams ISBN 978 0 8109 2925 8 Feilchenfeldt Walter 2013 Vincent Van Gogh The Years in France Complete Paintings 1886 1890 Philip Wilson ISBN 978 1 78130 019 0 Fell Derek 1997 The Impressionist Garden Frances Lincoln ISBN 978 0 7112 1148 3 Fell Derek 2015 Van Gogh s Women His Love Affairs and Journey into Madness Pavilion Books ISBN 978 1 910232 42 2 Gayford Martin 2006 The Yellow House Van Gogh Gauguin and Nine Turbulent Weeks in Arles Penguin ISBN 978 0 670 91497 5 Gesko Judit ed 2006 Van Gogh in Budapest Vince Books ISBN 978 963 7063 34 3 ISBN 978 963 7063 33 6 Hungarian Grant Patrick 2014 The Letters of Vincent van Gogh A Critical Study Athabasca University Press ISBN 978 1 927356 74 6 Archived from the original on 7 March 2017 Retrieved 20 October 2016 Hammacher Abraham M 1985 Vincent van Gogh Genius and Disaster Harry N Abrams ISBN 978 0 8109 8067 9 Hayden Deborah 2003 Pox Genius Madness and the Mysteries of Syphilis Basic Books ISBN 978 0 465 02881 8 Hemphill R E 1961 The illness of Vincent van Gogh Proceedings of the Royal Society of Medicine 54 12 1083 1088 doi 10 1177 003591576105401206 PMC 1870504 PMID 13906376 S2CID 38810743 Hughes Robert 1990 Nothing If Not Critical The Harvill Press ISBN 978 0 14 016524 1 Hughes Robert 2002 The Portable Van Gogh Universe ISBN 978 0 7893 0803 0 Hulsker Jan 1980 The Complete Van Gogh paintings drawings sketches Phaidon ISBN 978 0 7148 2028 6 Hulsker Jan 1990 Vincent and Theo Van Gogh A Dual Biography Fuller Publications ISBN 978 0 940537 05 7 Lubin Albert J 1972 Stranger on the Earth A Psychological Biography of Vincent van Gogh Holt Rinehart and Winston ISBN 978 0 03 091352 5 McQuillan Melissa 1989 Van Gogh Thames and Hudson ISBN 978 0 500 20232 6 Naifeh Steven W Smith Gregory White 2011 Van Gogh The Life Random House ISBN 978 0 375 50748 9 Nemeczek Alfred 1999 Van Gogh in Arles Prestel Verlag ISBN 978 3 7913 2230 8 Perry Isabella H 1947 Vincent van Gogh s illness a case record Bulletin of the History of Medicine 21 2 146 172 PMID 20242549 Pickvance Ronald 1974 exh cat English Influences on Vincent van Gogh an exhibition organised by the Fine Art Department University of Nottingham and the Arts Council of Great Britain 1974 5 Arts Council University of Nottingham 1974 75 Pickvance Ronald 1984 exh cat Van Gogh in Arles Abrams ISBN 978 0 87099 375 6 Metropolitan Museum of Art Pickvance Ronald 1986 exh cat Van Gogh in Saint Remy and Auvers Abrams ISBN 978 0 87099 477 7 Metropolitan Museum of Art Pomerans Arnold 1997 The Letters of Vincent van Gogh Penguin Classics ISBN 978 0 14 044674 6 Rewald John 1978 Post Impressionism From van Gogh to Gauguin Secker amp Warburg ISBN 978 0 436 41151 9 Rewald John 1986 Studies in Post Impressionism Abrams ISBN 978 0 8109 1632 6 Rosenblum Robert 1975 Modern Painting and the Northern Romantic Tradition Friedrich to Rothko Harper amp Row ISBN 978 0 06 430057 5 Rovers Eva 2007 He Is the Key and the Antithesis of so Much Helene Kroller Muller s Fascination with Vincent van Gogh Simiolus Netherlands Quarterly for the History of Art 33 4 258 272 JSTOR 25608496 Selz Peter Howard 1968 German Expressionist Painting University of California Press ISBN 978 0 520 02515 8 Archived from the original on 7 March 2017 Retrieved 20 October 2016 Sund Judy 1988 The Sower and the Sheaf Biblical Metaphor in the Art of Vincent van Gogh The Art Bulletin 70 4 660 676 doi 10 2307 3051107 JSTOR 3051107 Spurling Hilary 1998 The Unknown Matisse A Life of Henri Matisse Vol 1 1869 1908 Hamish Hamilton ISBN 978 0 679 43428 3 Sund Judy 2002 Van Gogh Phaidon ISBN 978 0 7148 4084 0 Sweetman David 1990 Van Gogh His Life and His Art Touchstone ISBN 978 0 671 74338 3 Tralbaut Marc Edo 1981 1969 Vincent van Gogh le mal aime in French Alpine Fine Arts ISBN 978 0 933516 31 1 Van der Veen Wouter Knapp Peter 2010 Van Gogh in Auvers His Last Days Monacelli Press ISBN 978 1 58093 301 8 Van der Wolk Johannes 1987 De schetsboeken van Vincent van Gogh The Sketchbooks of Vincent van Gogh in Dutch Meulenhoff Landshoff ISBN 978 90 290 8154 2 Van Gogh Vincent 2009 Leo Jansen Hans Luijten Nienke Bakker eds Vincent van Gogh The Letters Van Gogh Museum amp Huygens ING Van Heugten Sjraar 1996 Vincent van Gogh tekeningen 1 Vroege jaren 1880 1883 Vincent van Gogh Drawings 1 Early years 1880 1883 in Dutch V K ISBN 978 90 6611 501 9 Van Uitert Evert 1981 Van Gogh s Concept of His Oeuvre Simiolus Netherlands Quarterly for the History of Art 12 4 223 244 doi 10 2307 3780499 JSTOR 3780499 van Uitert Evert van Tilborgh Louis van Heugten Sjraar eds 1990 exh cat Vincent van Gogh Arnoldo Mondadori Arte de Luca ISBN 978 88 242 0022 6 Walther Ingo Metzger Rainer 1994 Van Gogh the Complete Paintings Taschen ISBN 978 3 8228 0291 5 Weikop Christian 2007 Exhibition Reviews Van Gogh and Expressionism Amsterdam and New York The Burlington Magazine 149 1248 208 209 JSTOR 20074786 Wilkie Kenneth 2004 The Van Gogh File The Myth and the Man Souvenir Press ISBN 978 0 285 63691 0 External linksVincent van Gogh at Wikipedia s sister projects nbsp Media from Commons nbsp Quotations from Wikiquote nbsp Texts from Wikisource The Vincent van Gogh Gallery the complete works and letters of Van Gogh Vincent van Gogh The letters the complete letters of Van Gogh translated into English and annotated Vincent van Gogh teaching resource on Van Gogh Works by Vincent van Gogh at Project Gutenberg Works by or about Vincent van Gogh at Internet Archive Works by Vincent van Gogh at LibriVox public domain audiobooks nbsp Vincent van Gogh at IMDb nbsp Retrieved from https en wikipedia org w index php title Vincent van Gogh amp oldid 1192683522, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.