Documentos de Académico
Documentos de Profesional
Documentos de Cultura
The World
Van Gogh
1855-1890
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BOSTON
PUBLIC
LIBRARY
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The World
Van Gogh
of
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The World
Van Gogh
of
1853-1890
by Robert Wallace
and
the Editors of Time-Life
Time-Life Books.
New York
BRIGHTON
Books
IFF.
Robert Wallace has published more than 100 nonaction articles as well as numerous short
BOOKS
189H-1%7
R. Luce
He
mi NDER: Henry
i>
series,
Donovan
Editor-in-Chief: Hedle)
The
Bernini.
Group
ice President:
'
its
If
oridoj
libraries.
K. Sheplej
James
President:
It
in
Hheii Austell
u <
Larsen
H<>% K.
H.
The Consultant
Seymour Slive
Meivin
Harvard
Scott
In Director
at
the
tor his
Business Manager
Nicholas J.
Promotion Director
to see the
Chairman of
Book
at
articles
Guggenheim
Haarlem. He
is
House of
the author
on Dutch painting.
even
nt
\wm
mi.
Siajf
Paul
I*
is
on page
>a\ id
between
Ipril
awton
his style.
Men vn
i.
more
tssistant
Douglas B
bkejv
<>i
change with
was .m rvohiiion
it
ni
Robert
<
is
reminded
<>l
little
flowers."
The
full
ol In-
in
'
in
b)
latter.
state, but
graphic technique.
vi
Iim
individuals ol
lunelm
\,
. Servii
e,
Murra)
James]
Dolorei
I
iposito,
(i
<*
huh.
Pal hi
ia
Milk
\l<
orchards
Quality Director
larmen
tirey; Library,
is;
LetjeH
Picture Department
Trnffu
md
he follow in
Norman
Craham
one
lines ol
this
nofi
Madrid
Quality Director
thai
iv
I.
in..
is
you
Goolrick
Production Editor
in
Suzanne Seisa
tssistant
iolet,
Paula Pierce,
iron Hartz,
I
row m prodi
End Papers
<i
to his brother
green or
154.
is
an Gogh
ich other
hulberg,
Rewearchen
"On
to a friend:
He-wrote
it
Die
Kathleen ShortaJI
Picture Editor
Designer
Bcene
oridoj
it
moment
Ilirsh
:,,.,
1,
^ ou don't know d
mackerel
ol
\nd he wrote
Irles, \
iff]
.it
pink or grav
HMFIHr MUlum
Mediterranean
Nicholas llenion
can't
also
the Slipcase
During
H Stewarl
I'aul
is
numerous publications
his
Ingleton
ni
where he
In
work on
On
MeSweene)
t Diversity,
ol
He has
Diversity.
Orange-Nassau
of
ui
New York
pi hi
at
Fellowship, was honored by the Dutch government a- an Officer of the Order of the
Arnold C. Holeywell
tssistant
at
for This
Professor
is
exchange professor
Diana Hirsh
is
A. H. C. \\ hippie
Allen
K.
Janson
Sheldon Cotler
Director:
trt
tssistant
Da\i<l
\A
ellan
19W
rime
In.
Ml rights reserved
it t lea,
'
alherinc Ireyi
ibr.irv ol
longreu
atalogue
and
numbei
l'.
TO rj*>HH
b) Silver Burdetl
Contents
The
Misfit
Mission in Art
29
III
Pilgrimage to Paris
49
IV
69
89
II
V
VI
VII
VIII
Gauguin
117
in Paradise
137
"A
161
terrible
Chronology
of Artists:
183
Bibliography: 181
Credits and Acknowledgments:
Index: 186
18.i
&*
*
:
^^
-\
The
Misfit
If
there
one
is
about
fact
incent van
portant in
itself,
but
book about
is
is
is
The
is
known,
well
act
not at
is
anticlimactic. Perhaps
i-
it
im-
all
reader, on picking up
ill
it
be found
is
at
will
come
to
Now
that
Gogh
to a prostitute.
it
it
he mav
it.
feel
that the ear (in fact merely the ear lobe) has been
5.
removed,
it
mav be possible to take a more relaxed view of the unhappy man who removed it. \ incent van Gogh, w ho died at 37. in 1890. had one of the briefest careers in art history.
first
It
and
of these, the
him produce
in
a canvas a
among
use':''" The
use. of course,
al-
volcanic out-
dav for
(for the
25 years after his death. Together with Paul Cezanne. Georges Seurat
modern
an Gogh
is
now ranked
as
fa-
art.
him~elf
in
1.
is
of
ception
teriors
art.
some 40
and
his
still lifes
bv which
self-portraits
JW.
178. 179).
door of a furnace.
Three Self- Portraits, Pans. 1887
It
artist
has
figures, in-
was
his
meth-
are so powerful that looking at one of his paintings can be like staring
felt,
great
statements that were revelations of himself. His color and his warmth
of
of hell.
On
It is
men have
fires
only in his
ings he
art.
When
it.
he sought to express
it
directly to other
hostility. ""One
bv
sit
Passersbv see only a wisp of smoke rising from the chimnev and con-
it.
w,
hile
ficult,
in his
Now
dif-
is
rank.
first
It
is
"in a hurry on one of His bad davs." and he took the only honorable
doomed
course: a
struggle.
more authentic.
shall
have
For
reer.
"It
very prob-
is
he wrote, "and to
tell
revealed
son
in
woman
protective of him
Furious
an Cogh
some minor
a loll
da\ to
women
offense.
It
make peace
in hi>
took
again.
child before
Pastor
consider neither
He was
works
my
duty nor
by saying that
his last
made
in
not
in
vou
tell
ideal."
when
home.
my
He
signed his
He once attempted
paintings,
though
as
one,
to accept
incent
man
border.
Among
his ancestors
and
him
as a friend.
a small
a successful sculptor
in
grandfathers,
He
a solid lot.
frontier.
Theodorus was
called "the
the "promotions"
lage io another.
similarly mild
in mi
Vincent's mother.
and uninspired
\\
ith intelligence
i-
or eloquence
soul.
It
vil-
common
miss
i
in his
b) his
life,
it>
that judg-
narrow
-in
tided
own. But
it
is
It is
man)
oi
onl\ lair Io -a\ thai the parents were \er\ decent peo-
son. so did
if
ot hers.
in
indulge
in
posthumous
psy-
choanalysis of
tried
One
it.
fact that
is
dest of the
l><>\.
number
an Gogh, although a
although
fiat
no1 the
first.
\ irieent
\\
was
\ in cent
One
of
fie el-
Stillborn. His
grave was near the church door, which the second Vincent, with the iden-
name and
tical
the
past ever)
in
Vincenl
girls,
statement
flat
dead predecessor
to
in-
doubt.
in
whose
Vincent: Then,
is
of the
name
that the
life
inter-
and uncles,
life
relatives,
all
of
them exemplary
military
art
to nothing.
Two
citizens.
One
generals.
ol
his
aunts married
commandant
incenl
..in
Amsterdam navy
the
yard.
one of them,
firm of Goupil
&
No fewer than
named
also
incent, accumulated
Cie.,
which
in
addition to
in
headquarters
its
the French
in Paris
had
\ew York
art gallery,
M. Knoedler
&
man who
father, the
Reverend
heodorus
ol
was Goupil's American agent.) Uncle Cent was not only rich; he was
Ik- \\;i-
.1-
drawing (belou
),
done
and -mi
A,sa
to
with pale blue eves that sometimes deepened to green, he was fond
led,
of collecting beetles
for inventing
pany; alter one particularly pleasant day. they formally made him
present of a rosebush that happened to be growing
den.
I)ii
in
when
12
was sent
fie
to
It
hoarding school
thai his
ill
in (lav
likel) thai
is
fie
in
ranged
and made
them, he im-
afford the
to
have
as-
sociation with the peasant boys of Grool Zundert. The separation from
his famil)
lie
tle
known
is
at
years
of his
emerged from
it
education
at
mark on Vincenl.
In later
V er\ lit-
left
at
its
fact
thai he
\ incent's
ol
in 1881.
.1
disciplined
renegade beha\
father
he stolid Dutch
childless,
his
not an
i>>r.
ol
his life
many
(I ncle
to
but also
was equally
He once
startling.
said that he
for
seem
at first
He admired Shakespeare,
titles, in
in front
sit
of Rembrandt's magnificent
made magazine
illustrations.
ever, in most of the writers and artists Vincent admired: thev dealt
It
ment was often oozily sentimental and patronizing; what moved him
was the subject.
A,
16 Vincent
left
of nature
needlework and
in
draw ingS
&
a place
1.
is
noncontroversial
was found
Cie. at
artists.)
contemporary
in
for
him
in
the of-
a conservative house,
like
in IK
of Goupil
fice
onlv
but
originals,
b)
will, dis-
draftsmanship for an
-year-old.
wretched.
visit,
began
to
exchange
successful at
years
life
hen
it.
for a
19 and 15
letters.
Only 36 of Theo's
letters
The
to other
mem-
stitute a
his
Theo came
style
make
first
Many
become
of
the) span an
July 1890.
remedy
full
of intimate explanations of
The
and
that
last letter to
in
in
an Gogh
length, and
VugUSl
87l2
s life
and
together
all
and ending
in \
in
an Gogh's
/S44
London,
should wish."
the
so,
far as to
buy a top
hal
"you cannot be
in Lon-
made
also
rsula,
first
of hi> several
he wanted
girl
to be;
when he exposed
as
was but as
it
his
to
find that
the
it
in
feelings.
at
When
at last
it
as
he discovered that the thought of loving him had never entered her
head.
find
to
something
comic
faintly
in
the picture of
blow
terrific.
In the
wake of
his rejection he
moved
to other
dom.
When
sel-
book he happened
his health;
one of
to be reading.
applied to him.
In 1875 I ncle
fice in
his familv
shoulders
ol a
dim view of
his behavior,
Vincent closed a
his
this earth
letter with a
own
credo:
to be
quotation
"Man
is
not on
He
simply honest.
is
there to realize great things for humanitv. to attain nobility and to survulgarity in which the existence of almost
all
individuals
drags on."
In
Paris
.~-
l>\
holida\
-i-ter-
s at
home, teasing
well.
at
hymns.
incent
at
in
Montmartre
seems
have
to
fa-
natic.
all
dissuaded customers from buying pictures of which he did not approve, and at the height of the Christmas buying season in 1875, he
went
his
off to
own
swered
Holland to
visit his
parents.
in
He
him'.''
deference to his
ncle
Cent's status, and thus six years of training as an art dealer came to an
end. There was no visible regret on Vincent's part: he was not yet a
rebel, but a dropout.
a soft breeze
makes
it
To Theo he wrote
fall
from the
tree;
only,
"When
the apple
ripe,
is
|>la\lul
at
during
for
them
and
in
the
roomed
hu<l
He
.'<.
his brothers
time had also had the benefit of Uncle Cent's intercession and was em-
with a fellow-employee
an arresting,
made no
Van Gogh's
at
and h ithdrawn
four year-
mount the
incenl
melancholy gaze.
II
la-tuiL
He was almost
23.
panying illustrations
to his letters,
ously of becoming an
in
boarding school
Ramsgate.
at
find
It
from
salarv.
months he
German and
arithmetic, and
mv
altered
though scarcely
it.
time
It
is
at a
pret-
few
in a
money
a-
v.
.""
.
panes.""
t\
rel-
light
>eri-
accom-
have thought
\ incent
passages, of "the
-i\
to
as
arti-t.
ished.
he seems not
Still
what he
slightest idea
school in Isleworth.
near London, where the pav was verv low but his duties were closer to
Ii
heart
i>
at a local
mons.
It
sent
Theo the
"we
In
He
Methodist chapel.
December 1876.
after
are
all
text of
one of
brothers."
went home for the holiday. His parents, who now lived
ish in Etten,
It
may
would be pointless
it
natural thim.'-.
I
small par-
in a
for
him
to return to
Eng-
once again Lncle Cent was called upon. Lncle Cent, a hard-
\ incenl
land, and
his ser-
lot
in \
whom
him: "In most men there exists a poet who died voung.
the
man
survived.
tin-
time
But his
to get
.-pirit
ua> not
bookstore
his
in
in a
Dordrecht.
in
lasted
than
less
four months.
some
He
German ami
when
in-
recalled
incenl
old desk,
warded.)
hoping
to
made sketches
find
lew
such
sill)
->n
ilt -.
ransacked
sketches, bui
later,
incenl
was not
re-
schoolteacher,
P. C. Corlit/.
V incenl because
a young
room
in a
with
Vincent
a
Fellow hoarder- made fun ol
who shared
etc.
ki-
a pen-
\ml then
12
'
pondering,
deeply
se-
rious, melancholy."'
Bv the time
it
employment
his
in
to
become
clergyman
least.
at
or so,
he
at 24,
could apply himself to the rigorous studies that were required; nevertheless, they rallied
the ministry in
around him.
It
to live with
tor
fine scholar
began lessons
in Latin
in
examinations.
logical-school
and Vincent
and Greek
along well,
got
although there was a certain incongruity in their relationship: Da Cosreadying his pupil for the Christian ministry, was a Jew.
ta,
Costa noted
in a
memoir
for him.
However
might
Da
"do
to
The tutor
do what
it
set
about
it,
whatever trick
want
to do: give
to their existence
here on earth?'
would
try again, "but before long the trouble would start afresh, and then he
would come
to
well,
"Mendes,
night
me
in the
last
night
continued,
""that this
W henever
have, he took a cudgel to bed with him and belabored his back with
it;
in his bed,
the floor of a
to
do this
A,
.fter
in
little
the winter.
more than
so
last
V incent felt
It
knew
"Mendes,
or,
blanket.
He
ol
on
slept]
preferred
."
Da
was not
in
Latin and
him
in
"'at
them
to spread the
Graduates
enough
ol
instruc-
somewhere
in
if
grammar
lesson,
sir.
mission was offered to him. Instead, with such small support as his
father could gi\e.
to the
grim coal-min-
13
his
il
Formal assignmenl
receive a
later
rom he school.
i
Van Gogh
letters
liijz
at
Mosl
ol
ol itic
pale from lexer anil look tired and emaciated, weatherbeaten and pre-
women
as a
working
cubicles
in little
the
dim
lighl of
at
dance
last
lamps "reflected as
appoint
|{ui
was
Brussels
men
lav
at a
\ in cent
Vccordingl)
rective.
fie
He gave awa\
cave."
lor a lime
-Inrl.
lie
six-month
soon began
II*'
tor an injured
him
ciel
lor
him
to
man
in a
room
dismissed
in
own
to
hi- time,
di-
in a
baker's
slept
on the
had Outfitted
lest
he seem
he needed bandages
incent's brother
whom
\incent mighl
in
reproached
incent thai he
become an
Theo was
-cut to reason
Goupil
On
ol
hi- parent-
indeed.
artist.
re-
he firm
Theo had
listen.
thai
Van Gogh
gested to
When
'"Sell
homemade sack-
lace.
his
in
conference,
and was
trial
film.
eremained
sult of a famil)
remain on
he lore up his
lui
so-
straightforward
"excessive zeal,"
an
had
conspicuous among
in
fie
$10 a month.
lei
nursed
lie
thought
was given
lie
salarv of
as
moved
poor" seemed
to the
it
New Testament
and give
horn hedg-
lie
impressed;
prcaclicr
unfortunately,
thou hast,
beehive
in a stalactite
fires
cepts ol the
school and
ciety
liall
the cells
'"like
rees,
titions in a crypt."
in
lie
."
es,
&
tin-
Cie.
i-il.
sug-
however, Theo
was obliged to carr) out the family's wishes and presenl Vincent with
various helpful idea-.
Might
it
carpenter, bookkeep
\
\\ as \
areer as
what
difficult for
er or later,
art
engraver, perhaps, or
is
"Ma)
observe,
ii
Ii
differently."
he subsequentl)
is
Borne-
if,
soon-
thai
or baker?
he seems
sis.
to
He remained
ter of four
in
not
is
know
human
newed, hut
One can
beings.
stay in
to Iced
surfaced again,
in a let-
it
hi- anal-
and
in public
is
not
is
it
be
re-
amusing;
at all
is
in
adversity or misfortune
it
cri-
how he managed
at last lie
to hirds. so
i>
When
hen
n. \\
it."
fa-
same
must
*"I
There
as with artists.
you
tell
Church establishment.
way
to
."
But
a cuirass, a
in rejecting the
know Cod
to
you
like
that
is
something
many
to love
is
whate\er
friend, a wife,
the
way
'"The best
tianity.
the
is
it
is
Love
things.
what
one must love with a loft) and serious intimate sympathy, with strength,
."
w ith intelligence.
was during
his decision to
his
"molting time"
in
needof instruction.
a
man "would
If
hecould
an established
get
artist to
say this in
in
coal-
desperate
seriousness
to
painter he had met during his days at Coupil's. Breton lived in Courrieres.
many
miles from the Borinage, and Vincent, with only 10 francs in his
pocket, had to
in
foot.
He
slept in the
open
"once
air.
an abandoned wagon, which was white with frost the next morning
rather a bad resting place; once in a pile of fagots; and one time that was
where
comfortable berth
my
but
succeeded
making
in
more
a rather
well-being."
Upon
pearance
to
He walked back
its
ap-
incent called
fatigue,
with sore feet, and quite melancholy." But in the depth of his miser\
he
felt his
up my
will take
I
will
pencil,
which
go on with
have forsaken
my
drawing.
From
for
me, and
will
in
that
my
mo-
go on."
Theo. as he always would do, offered to help. Although today there are
many
altruists-after-the-fact
came
if
who imagine
fled at
straggling
down
the highroad of
art.
He was
as
is
poor
that
a risk
A,
.s
The
up
religion. If
evangelist, as he tried to be
Eye
Compassionate
If
when he
and
his
manner was
so intense,
that he
literal,
was
a logical choice.
communicate
for him.
It
little
\
sketches
<>l
ferns, flowers
his
home. He
Furthermore,
was
art
a respected
occupation
in his family;
an Gogh's
was
artistic heritage
commonplace scenes
Holland
ol
various uncles
and
were
But
(niii
art dealer-.
later his
I
he major reason
his
an Gogh
a qualit)
beyond accurac)
tradition
is
drawing al
apparent
lu-
the
in
reminiscent of a
right
life
<|
in this
he could not
compassion
II
to
at least
he could show
art
was formed.
In an) case,
,
it
was
landscape b)
Hobbema
in
is
securelj rooted
flat
in
the
tall,
which
as
bare
17
-*<
nothing so delightful
drawing. This
.
is
( j
is
(is
a fragment
of a church bench
Geest,
the workhouse
call
go (here they
el)
women
uttttmtiit'uiai.iLi/rn
frx*A
)."
built,
6-OM^U^v
"
" //us
ii
n7,
H atenolol
little
fail e
(/one a /en
/ / doors, a
cornfield
and
lui ol a potato
a small
field,
and
^li tt
t.
**^M Vt*~
.V<
^>,
/<" the
These are
/ iiiii
e/
n/ those figure
topmost
a
ceils,
planning
hast) sketches
limn
ingS.
the burning
aii *v^
he
t>!
/*
-it
v.,-*
18
VM
^7
/^v
**
/!
V '!-
e\Ji
*>
VM*.
>
I n his short
letters,
life \
an Gogh
\\
rote nearlv a
thousand
he once wrote
who
in
an Gogh describe
the world
them
to the
The
ha\e compared
Gogh apparently
<f i<>/\.
yx^u
felt
that
V(A<^l*i
\ i\
heo,
id
"'I
a- pictures. "Strangel)
showed up
in his letters.
Man)
\t lir-t
miniature
letters to
art.
jyo
fi**
KlLV
Ku^u
enough,"
*tr+wl
*V0M*J
pages.
are \ an Gogh's.
t*.
"
he Utile sketch
uhnt
rtl :>
today.
I stiu
don't think
enough
by the
ilrau
it
it
In
rif>e
as to light
was
indi
was
effect, anil
at the bottom
little
m\ study
yet. but I
and shade,
mu
he one
a ten.
cornfield in the
.ml.
ami
it'
two pili
glimpse
t>
11/
light sky."
19
:m a
heath, and
am up
"I
work.
to
my ears
Today
almshouse
in
the
man again
make
before
had
started
anything
else. I
must
you that
went
to the
to
tell
visiting
Then
day after
all.
-^
<
~W
and
go.
could not
I
fixed on paper
//'"/
t (*v**NVli Ks\S*
that
can remember.
"/ (AinA
a
let
have got as
much of it
.s I
f-V
gardener,
II
, U^l <^
almshouse again on a
.,
i<-
~?
^cl
vo v k
Crv*-i
,U.f'
fuvv")
5
vimi' people
era oj
leal ei
and
the grasses
5
20
; Iu/I.m ,y
.'<
kLl
'
***
>t
(.<
'
IbV^ V,
l~*
^^
*-t*A
on
tome
and
jellies,
er)
modi' oj weather-beaten
stones
and
vit lion
u ickerwork.
and painted
until
I
had
m
i
it
the rising
came
to
on one oj them
it
so
near that
move m\ things
a hurrj
Between the
Mage and
u tnd. ...
streetcar
one
/c/v
equipment or net
studies to carry
"This
path
tin-
it
when
is
t^
so
home.
j sketch}
is
of
lo the heath.
\/v
all
'
\J !j
t <>
VUs^
"Ifyou hear a
voire
'
)ou
hv
all
and
means
paint, bor.
silenced.
One must
undertake [nor,.
confidence, with a certain
assurance thai
his
plow, or
like
our friend
who
in
is
lt
is
one's
21
the
harrow
own
hi-
horse.
Peasant "
thing and
make
22
in I'ari^." as
IHH."). IkI
he pui
the "Cardinal
it.
In a letter to
should reproach mj
Gogh
self
il
life is a
did not
heo
in
serious
trj
fne
as
in
Gogh
I88.1
uncomfortable posture.
to
(above), \ an
arms
shows
The woodcutter
and
at right
seems
an Gogh
The
"Sunday
best.*
human
in
revealing
seeing peasants
He wanted
to
show (heir
II
oodcuuer, 1885
attitudes
who had
also
lor their
do not work," he
action.
is
said.
"To draw
a peasant's figure in
23
A,
.fter
pursued
all
it
he
stvle.
of
still-life
upper
right.
shapes
is
alive. (Indeed,
one
art critic
at
somehow seems
was
an Gogh
Ion er right,
and
of the
manv
his years as
picture
is
are a composite
an evangelist and
life
of people to
whom dinner
but thoroughly
human
attests to a
reality. In years to
room
as
crude
work-worn hands
come.
harsh
\
an
workingman's sorrv
still lifes
state.
But even
in his landscapes,
his
2\
it
Two Holding a
Fork, January-Februar)
life.
l<SH.">
Still Life
with Potatoes,
September 1885
"'
-J
\-
>
d^
&M
1H
II
Mission
in Art
Having decided
at
come an
art ist.
long
He
commenced
at
last
27
jiaid
Goupil
of
in
the cottage
From
him
to
branch
was actuall)
his '"studio""
miner'- children
textbooks on anat-
office -cut
bedroom
became apparent
it
that he
incent join
dim and
autumn
the onset of
la-
Pari-.
cramped
to be-
life v\as
"studio"
fir-i
omy and
his
would have
him
in Paris,
to
find
but
\ in-
cent seems to have been reluctant to venture into what was then the center of the art world. Instead, in the fall of 1880. he
to Brussels
went
find.
-ell
it
is
to assure
he reference
Theo
that he
was
Pari-
from
apartment he -hand w
the
iew of
window of the
Montmartre
se<
ith
tion oi
heo
he
in
cil
He ma) have
suffered
liluc
Dutch
palette
brilliant color-
and
In- 'lark
foretell the
ii-ii
acrou
Room.
incent remained
in
wear
n.
per-
to
in
the reorganization
ol
began
to
a false set.
la-
pr<'_
\ in-
Paris, from
Paris, 1887
incent's
must -av.
he wrote,
""it
me
ol
and
I
dow
f.
Seurat's
re-
on 23 cups of coffee,"
atnl
He once
Pointilli -m.
art supplies.
marked
luring the
on models and
and inev
it
spiteful.
"'I
vou.
received
2Q
self.
hv doesn't he write?
sition w
it
this
if
ed until
afraid of
is
by keeping
in
compromising himself
touch with
me is his
be so careful? Or
But
he
If
& Cie.
that he
is it
afraid that
is
you might
silence,
at least
tried to squeeze
obliged to
is
will
in
po-
money?
have waitgoes.*'
Theo did not reply in kind, and within a month the truth emerged.
The money ostensibly coming from home was actuallv being supplied
bv Theo. "I hear from Father."' wrote
ing
it
mv
heartfelt thanks.
firmly believe
you
mv know-
"that w ithout
\ incent.
not regret
it."'
Accept
\ incent's
letters.
at
time he reached the view that his brother should receive partial credit
for his paintings, as
in their creation.
And when
have been
he had somehow
failed
In
by
\ incent,
the
so
fields,
who was
and
startled
first
to shout.
"How
shall
love
much?" But \ an Rappard soon realized that he was dealing with an exman and offered such help as he could although his
traordinary
at
was
\ incent. in fact,
es-
sentially self-taught.
made
On
is
not
perspective and the exuberance of color in his mature paintings are not
in
proved
to be too great.
In
his parents'
"I
am
house
incent's
living
at
in his cralt.
expenses
to
But
in
general, he
spots or figures
of
\
i
Brussels soon
in
who searches
all
*'I
art
i>t
is
accused
peasant
lor
acts as he does.
them," he
blame no one
Iaugh>
at
me
sitting
me." Nev-
ertheless in \pril 1881. a lew weeks alter his 28th birthday, he went to
Etten w
\t
ith
firsl
modest hopes.
all
:)
marked
into his
work with
have drawn
five
man
times over a
twice.
on
Among
slow.
...
with a spade
broom
Then
positions, a sower
different
in
his staff.
that of The
Sower
memorable not
but for
its
air of im-
large, his
is
major
in a
came
to
artistic idols,
er,
its skill,
The theme
for
tures like
it
pic-
cent." But he soon enough found out that there was no market for pictures of peasants that were not, as he put
home
it,
Her
women.
full
first
"perfumed."
er.
come
rale.
to
spend a vacation
Vincent soon
by befriending her
centric relative.
in the
fell
little
When
boy, and
Kee came
to recover her
He courted
to regard
him
mo-
her obliquely
as a gentle, ec-
him
it
this,
and pressed
his case
with such frightening intensity that Kee in a panic cried out, "No,
never, never!"
heart
Etten
in
that she
1881.
\ os,
Kee had
affair of the
widow he met
so loved her
in
husband
V,incent
He would,
filled
own
his
final.
is
life."
her, refused to
open any of
real that
it is
it
fled
home
to her parents.
is
to take
fled to
and
Kee
to take
ice,
never/
Well, after hearing the rather strong expressions 'indelicate' and 'untimely' for
called
some time
(just
in love
and they
said, Stop!),
Theo
it
and
Now
they say
am
"breaking family
ties."
Bursting with
31
ceeded only
in
ing \ incent as he appeared at the front door, she dashed out the back
one.
\^
hat followed
is
tell
when he was told that this was impossible, thrust his hand
demanding to speak to her for only so long as
he could endure the pain. Horrified, the Strickers blew out the lamp,
\S
most
cent in charge.
ith
at all
hen he came
Kee's parents,
to,
fiction writers
would
reject
in a gesture
it.
took V
in-
on finding him good lodgings. "And. dear me. those two old people
went with me through the cold, foggy, muddv streets and they did
me
deed show
.ee's rejection of
depths of
my
"I
felt
"And
was
illogical,
Kee and no
in
other, but
"W
He admitted
ho
will
go to a woman, otherwise
upon having
is
am
he de-
to Etten.
human
chilled
that
in-
man and
man
cannot.
with passions.
must
hen he got
his father
to
move
to
one of
ried
incents cousins.
more about
arl
in
Church
V^ ith
system abominable."
any longer
is
have lived
all
modern
with
possible,
and
thai
you
differ in
life is
confound
it.
in
in that
wax?"
who
contacl
there
it
in
Mothers
in
which
the heal
ol
In
'2
\t
32
lust
to \ incent.
paints
up
to set
a studio,
art-
ists'
with technical advice. But Mauve, although he was a skilled and sen-
sitive painter
cent's drawings
to practice
casts.
claiming that
was
it
life
him
to see
for
in a
Mauve
\ incent
two months.
bought a few of
his
He promised
to
buy more
able subjects
same
offer.
local
Vincent
him
interest
in
the
least
He was
art.
ciples
modern
saint,
mind
in this world.
mark
men who
own martyrdom.
want you
bearing
invite their
was
The
manager of the
m-
One
in
he criticized
When
and yet
do not think
in
The Hague,
mv
understand clearlv
to
at is
want
con-
confoundedly
to
do drawings
figure or landscape
should
want
he feels tenderly
even because of
notwithstanding
it.
What am
well
and never
then
in
my
my work
to
show what
founded
less
is
my
on anger than on
has no position
is
in
the heart of
ambition, which
is.
in
made
this charcoal
rejected him.
ith
preachments of
years.
cigars,
lo\ e.
goaded
it.
for a mother.
in coarse,
Unfor-
The Hague.
to alcohol,
smoked
scheming procuress
illegitimate child,
a hall.
nicknamed Sien
("Bad connections
accounts she would have struck fear into the heart of a drunkin
nj;
his father
Vincent had resumed his contact with the prostitute he had sought out
all
draw
an Gosh found
pregnant, he w
and by
in
him.
\ os rejected
sprins of 1883 he
ot In-
Kee
should want
spite of everything,
my
After
I
was preg-
nant with another, and appears to have had gonorrhea into the bargain.
33
a lithograph
is
title Sorroic
the prostitute, her mother and her daughter, aged about 11 Vin-
first
may have
letters,
life line
(about $20) a
month
Theo
that
sent
him from
the
100 francs
became necessarv
it
arisen
to bring
knew about
and
"You have
class:
Aware
his family
Mauve.
that
it,
his social
my own
by sharing
my
to protect her
seems
It
woman
now attached to me
marrv once, and how can do
is
which end
wages of a
full
like a
in
me
to
my
better than
that every
such a case.
marry her?
part,
It is
man
The
can only
the only
way
in a precipice."
and planned
eral
to be treated for
again,
and although
in a sparsely
his
her.
gonorrhea.
in
It
\ incent
time he did
install
a boy
"house" and
his "family." he
final step
of marrying
perhaps
effect:
whose conversation
though he continued
peared
M
to
much beyond oaths. In any case, almany months, her name ap-
and
less
.eanwhile he continued
to
frequcnth
izontal,
one
vertical
ening
to
lines ol
.)
to
pa)
Placing
made
one hor-
ii
Ubrecht
t
he frame
easier tor
"'like
arrows from
34
it.
lines ol roofs
to
ter perspective
\ in-
woman
how.
in oil,
He
and he
"In the woods, yesterday toward evening," he wrote Theo. "I was
busy painting
a rather sloping
ground was
leaves. This
light
less
it,
some-
brownish-red
was
soil,
in that dusk.
is
... A few
warm, hardlv
aglow.
all
woman molds
poetry.
itself against
it
said to myself,
in
it,
The
figures
brush.
It
of
full
figures of
were put
struck
in at
me how
ed in the ground.
sturdily those
little
[sapling]
it
squeezed the roots and trunks in from the tube, and modeled
then
little
strongly rooted in
it.
... In
a certain
I
way
am
glad that
it
have not
ef-
as
was Vincent's
it
he drew
letter,
his
(below, right).
like a
"You
will
understand that
he
work
is
believe thi-
is
a practical
Tv*4>-*-A
used
"In the
onto the canvas, to squeeze colors directly from the tube. In his later
impasto
it
).
another
his
left
frarii'-.
lie
fects as this."
It
an Coati described
he arranged
wooden "perspective
JUJ..
-
v^-J
...
^i-A^v-j,j
tA,
p,
'
in
Nuenen
parents in 1883.
using as a -tudio
is
in
at
it
window
lighter
this
and
in
one wall
airier.
done and
a studio of his
it
But
to
want
own elsewhere
in
Nuenen.
like
these
little
And
when he produced
can-
for storage,
where parts of one painting had pressed down on the face of the one
below.
Although
to
the fact
is
effort
harmonics were
all
subdued,
the man-
in
ner of the standard dark Dutch palette of his time. There was nothing
in
brilliant
"of a bright green or a soft blue." but then denied this boldness by
is
is
re\
el-
is
in his
work.
He would
not
abandon her
children were indeed his family, and beyond that were the symbols
poor, helpless
human it)
on
whom
to 150 francs,
tervals in the
hope
that
in a
to
send
it
in
installments
if
pend
ot
to
it
better,
bordello.
There was
when
-lie
it
lie
ha- never
was not
a briel tug-of-war
sti-
10-da) in-
at
between
continued
to i\c-
known good? he
he had somehow
been inadequate.
Iii
;,,
where he
felt
he might
"This garden
sets
me dreaming,
incenl
ami
1.
shows
this
most
in
ol his
March
home
in
the
in the
old tower, a
little village. \
incent -pent
folk.
ol his
He dined
deepen his
art
a piece of painter's
canvas from which to make clothing for her children. He also wrote
Theo.
in a matter-of-fact
curate.
He had
number "between
it
because
want
not
human
art.
six
and
much whether
don't care
own chances
little
while. As to
and he was
ten,*'
ac-
tions or difficulties
time.
count on a
still
to
his
He was
live a
I
longer or shorter
feel a certain in-
made
some souvenir
thir-
in the
feeling."
insofar as
only
two months
and
not no-
pose for him. Late in 1883 he decided to make one more attempt to
with his parents. His father
live
despite
all
past quarrels,
at
in
Nuenen, and
make
in
he
unused
cal
weavers
their
in their cottages,
who seemed
in
to
still
dark
a
of the lo-
to be in control of
spiderwebs or
them
particularly
him not
in bizarre, In-
he compared
worn-out 10-cen-
time piece."
In
March 1885,
in a letter to
Two
davs
later,
in
incent.
something,
37
a chair.
at a
and went on
briefest of terms,
He was
63. Vincent,
who could
feel,
to tell
Theo
on
whatever
is
that threadbare
first
It
the statement and the indictment toward which he had been tending
his life,
to
and
his
own comments
is
all
have dug the earth with those very hands they put
in the lamplight,
in the dish,
and so
it
wanted
from that of us
eryone to
like
to give
civilized people.
or admire
it
a conventional
is
all right,
at
it
is
once a vision of
and an accusation;
ilized
people"
who
am convinced
all
If a
unhealthy;
at all
personally
dung
in their
not
charm.
smells of
am
once. ...
at
by painting them
them
it
Therefore
to religion in Vincent's
sacrament
it is
if
the
if
a stable
field
has an
that's healthv.'"
most powerful
sort. It
is
toil
he never put his political views into a formal statement. \ incent was a
man
In the tir^t
did 10 paintings
watercolors
seemed
|>ii
loom
enmeshed
their
m\ stud) next
b) a
man who
draftsm inship,
would
men who
weavers
worked inside
the)
you
ol
literally
an
Gogh
to
in their
him
to
looms as
gloom) cottages.
t
"II
he draw ing of a
specializes in
loom
hail
mine
Compare
weavers
-till
it
creak more!
will
mpath)
almost
the
for
feel a great
sleepwalker
:w
that
is
air
the weaver."
of the
left,
deeply
moved by
Hugo and by his own observations in the slums, the coal mines and peasOne of his lifelong dreams was to establish a commune of art-
ant hovels.
ists
commune
He
theory.
homes
print
having more
lives
to
works of
more than
and
a few cents a
it
was
E,
months
light
He went
return.
Holland, never to
remembered him
as a
in
formal art
rough peasant clothes and used a board from a packing crate for a
When
ette.
I
left
to
Vincent
am
him
He
Vincent, a Dutchman."
his
derived very
little
conviction
that
his
pal-
from
academies are an
He was
er Delacroix
to color, or,
it.
to be the
his time,
Dutch
this period to
have begun
to
develop
the almost mystical ideas about color that are reflected in his late
He
art.
sensed that color has meaning that transcends mere visual impres-
indeed
that lies
may be
complex matter
it
any color
can
rationality. Precisely
that scientists
is
it,
commonplace
connote something
that colors
and emotions
rage, a blue
went so
and music
left
Hol-
cry as
phenomenon
that artists
and musicians
seums and
in the city's
own paintings
cadmium vellow
scarlet,
sensed that his art was about to undergo a great change, and that he
was
at last
ready to go to Paris.
He
him
who was
scrawled
in the magnificent
in
in
a note
It
please meet
all
him there?
39
Wh.hen
morning
an Gogh arrived
in 1886.
on a brisk February
in Paris,
The Impact
the
first
The
citv
in science,
time. \ an
to the
in art.
of Paris
For
world of
else of interest
Japanese
incent nevertheless
and everything
his brother
art
Still
Pissarro.
\t
through
his
sits
composed mostl)
in
ol \
an Gogh
swepl landscapes.
were replaced
himself at
b)
rest.
he dark figures
\ i\
The
id
"I
Pan-
10
trait-,
work
at
and of
ol
unrecognized
art
he had
and disturbing
all
through
arti-ts.
character
laborers
champion
erupting volcano
above
direct!)
be \
ai
In-
The
the painting
head
is
-an! to
rnmenl on
'
Tanguy's married
IfCUV.
in
1887
life.
41
looking
techniques,
painters
Van Gogh
New
still
in Paris
known only
He probably became
shown
real.
owned many
close at
galleries
where the Impressionists held their exhibitions; equally accessible was Pere
Tanguy's shop, where many pictures, including the Cezanne shown here,
were for
artists,
sale.
many
of
them
at
work
Edouard Manet
Georges Seurat:
12
Cafi-Concert, 1887
Portrait, c.
Claude Monet:
c.
1880
1885
Henri de Toulouse-Lautrec:
Woman at a
Table, 1889
of the
Irtist's
Room
(Breakfast). 1886-1887
Grandmother. 1887
13
II
II
oman
in \ht
Cafi
/.<
Tambourin, 1887
in Paris
is
of the
new techniques
to
which
one of
in his
wood-block print
(left),
left
woman
the Italian
technique
who owned
is
Segatori,
pure color that make the table, the chairs and the model's hat
especially vivid.
painted
some of
It
was to decorate
and
it
Van Gogh
Interior
45
*****
'y/iKMJfij
II
n Paris.
modeling forms
in light
and
earlier work.
The
colors to Impressionism.
let
It is
an Impressionist de\
stroke represents, as
to
lifes
and
hall a
hundred landscapes.
\s
si ill
he progressed
in
reality of his
to reassert itself.
The two
shafts of
But by placing
grass, heal
and skv
its
ice to
in
|>n-\ iousl)
is
in
the
Dutch
windmill he found
And
just as
the subject
Montmartre section
ol Paris
II
indniill
on Moiilniurlrc. 1887
48
Ill
Pilgrimage
to Paris
to Paris in 1886,
and Theo
only 28, the roles of the two brothers had long since been reversed.
in all
much resembled
manner he was quite the opposite: a gentle and selfman who moved softlv in the world of Parisian art. Even those
Vincent, but in
effacing
remember him
whom Theo
failed to
French poet Gustave Kahn saw him as "pale, blond and so melancholy
seemed
that he
er's gift.
He
critic
their
art
wooden
was stated
and engaged
in dis-
was." Neither
of Theo's unspectacular
courage.
In his 13 years with Goupil
&
Theo had
Cie.
risen to the
cretion. For
to
buv and
sell
It
managership
display were recognized masters, such as Corot. But upstairs and in his
\
an Gogh,
was portrayed
in pastel
bv Henri
Dutchman
he met the
in Paris.
own. he seems
to
ha\e been
effect of
ists
number
breakdown
were outraged
his conservative
nervous
employers had
traordinary purchases. "Theo van Gogh."" one of them told Theo's suc-
modern
paint-
us. or
which
in
and closely
hatched strokes.
knit,
dis-
<>/
Pan<. 1887
incent van
Gogh,
and
Sislev. painters
19
modern
Few
art.
who could
Vincent,
made room
Theo paid
collapse.
begun
and
As soon
Rue Lepic
a dentist,
and did
he was able, he
as
Montmartre, with an
in
timistically to their
new
to repair \ in-
all
room
of
first
self-neglect
the
eye.
extra
more discerning
did not relish the prospect of sharing his small apartment with
Theo
flat;
mother
"We
Holland:
in
is
find
now
it
He
is
do.
The doctor
making tremendous
is
beginning to succeed. He
is
also far
is
more
who each week send him a nice consignment of flowers for him
to paint. He paints mainly flowers, above all in order to freshen up his
colors for future paintings. If we can keep it up, then I think he has
the worst behind him; and he is going to come out on top."'
friends
is
it
them he met
of
number
in art class
first
built a reputation
incent's junior,
"He
much
Many
a sparrow's face,
he
in his life,
Cormon was
on
large pic-
as a sparrow, with
for his paintings as for the fact that he kept three mistresses at
one time.
"and
his features
were more
Theo.
light
fair
refined,
complexion
\ incent
once asserted
reddish-haired people
ith
that "certain
square foreheads
men
of
both." Vincent's
from plaster
he now proceeded
casts,
He was
to
zeal that
he rubbed holes
re-
in the paper.
considerably older than the other pupils and his perception was
unlike theirs
in his
or-
No one was
blue.
ening.
more
likelv
recalled thai
he got
because he seemed
-ketch
fright-
the time,
started, in
at
teeth."" (Hartrick
il
at
made
mon
intended
efil
50
to staj for
He entered
left
the class
announcing
The
that
he
chiel ben-
num-
on hearing another
man
artist
incent also
him
deep kindness
later
called Pere
in his eyes
Tanguy
shown on page 41
is
man
pardoned for
was
Though he seems
Tanguy. Stubby,
to
tracted
some formidably
money
lacked
to
buy
men
gifted
little
to his shop.
ed-
this
his supplies,
Commune,
have had
When
his
at-
customers
works
by Pissarro, Gauguin, Seurat, Guillaumin and Signac, to which a number of \ incents paintings were soon added. For a while, Pere Tanguy's
and
in
Paris
purchased for as
little
as $20.
(Cezanne
apparently once met Van Gogh in Tanguy's shop, but the encounter
was not
like a
happy one
Cezanne
madman." There
w.
hen Tanguy's
is
is
no record of Vincents
artists
reply.)
they were hungry he shared his meals with them: his shop was both a
When
if
beg-
including \ an Gogh,
(above).
example, another
cent.
said,
When
critic
Some time
after
Van Gogh's
death, for
still life
bv
V in-
critic
is it
died.
It
Now
have got
it
many
"cracked
"
off opinions.
As
me when he
Then
Of
in his
out of
Spain by the Inquisition, Pissarro was bald and had a long white beard
that gave
a patriarch,
which
in fact
he was.
V\ ith
Claude Monet and others, Pissarro had pioneered some 15 years before
It
first
a bit
the
an Gogh was
back."
it
ith
Pan-,
he sketched
""I
"But why
artists in
whom
work
51
who saw
incents death he
is
save Theo.
in Paris
edy. After
trag-
said to
sure that \ an
I
didn't
triguing
is
surelv Toulouse-Lautrec
intriguing
and
his incandescent
not so
life.
mind and
Tooulouse-Lautrec
.
louse-Lautrec-Monfa
its
pos-
is
it
could trace
much because
is
his full
turn
\ incent in
line.
sprang from a
to the
column
sault
that cut
its
expected their
women
way
had been
to
in
of
them
won fame
Manv
one
in
Count Alphonse de
The
line,
is
artist
but this was not apparent in his childhood. As a voung bov he was
ordinary
appearance,
in
if
a trifle frail,
as he
is
in closing.
it
genital
a polished floor
to
was not.
and seemed
and
in the
his hones.
li>
still
legs
convalescing, he
never matured
to
thigh.
lelt
(ell
into a
normal
lengl h.
lips
ann- and
In- torso
one
ot
He was four
him
feet eight
t<>
a- "a tin)
little
inches
tail
physical asset: glowing brown intelligent eyes, into which most people
were reluctant
Had
lowed
ing,
it
to look.
his father, w
hom
igorous
l.antree.
life ol
fol-
hunt-
although he was
graduate of the French mil i tar) academy, Saint-Cyr, and had served
brief!)
in
did not.
the
52
The
laniijv
income from
stewards deposited
scale,
a Caucasian helmet or
kilt,
as he
lest,
said,
in the gutter.
When
he went picnicking
in the Bois
de Boulogne, he did not bother to carry his food with him but instead
rode a mare that had recently foaled, and milked her.
jumped
On
a bet he
much
he
took
an affront that
as
it
fate
once
lost in
such an heir.
seven he was studying Latin and Greek. At 13 he could draw and paint animals, birds
much
success
his interest, he
He
said,
tried land-
was not
in
nature for "nature has betrayed me." At 17, convinced that his future
lay in art,
he enrolled
it
al-
might
cause gossip. Accordingly Lautrec signed his early efforts with a pseud-
onym, "Treclau"
an anagram
of his
name
or
at all.
If
no record of
He was
it.
mind them of
at
who
'"To those
it.
so vital
enormous
it
is
fre-
necessary to
re-
effort to see
him
as he appeared to the
whom
oulouse-Lautrec
many
Such
bitter outbursts,
however, were
naturallv!""
outrageously eccentric
in a
he sketched
father,
ou
con \cn
Count
lived life
n
i
m.
to join
-ume
at all
wedding
old
rare.
regimental cronies tor a frolic in Pari-. Later
his onl\
the
Gogh
also attended.
classes
Van
all
himself
occasionally visited
at
him
in
studio
there.
in
to
m rl
in-
model
(for Renoir,
others) and a
mother
among
(at
rived, carrying a
left
young
in
being a painter.
aladon was
among
who later
Suzanne Valadon
\ incent
also a
Montmartre, and
Maurice Ltrillo).
in a
"He
corner where
it
other
\t
he impulsi\el\
struction. Like Vincent he was largely self-taught, and his art cannot
trec
life
ar-
got
53
good
light
one bothered. He
glances, taking
for
little
shown. But no
to be
and
finally
he
left,
wea-
all
trec
some attention
sat
over again."
It is
to Vincent.
of place in
trec
Lautrec,
1 1
earlier age.
not drink
much,"
much
said Lautrec,
"but often," and he would sample anything that gave him the sensation, as he put
it,
of "a peacock's
tail in
i'S? NTT
night
Montmartre's
clubs.
its
man.
If
known
to
there was anything the customer wanted that was not in stock,
The
it.
dlers
on the outskirts of
lage
were
trec there
the Chat
among
of
the Moulin de
it,
la
for the
famous dance
inner circle of
among
one cabaret
some
that suggest an
hell.
Montmartre
at
was fond
In the
a
oi practical
centricities
photograph above
Japanese shogun,
the
a part) at
al
|irank
posing
in.
model
In- is
robed
in silk
costume he adopted
home of a
montage
li\
.1
as
for
for a
make an
him
to
and
v\as
double self-portrait.
postpone
mosl
in
he day.
need
anyone
else's.
whom
As
rule
own
ec-
he was
he bullied without
up
aristocratic.
up
in
Other
fat,
Is
to
swathed
hour haul
for
mam
the clientele,
rec
to
hours
in
no
lo
aging bachelor.
ine, thighs
nil
sil
From lime
Montmartre
\t thai
ol friends.
:>l
of
issue
mercy.
hat?"
to
who were
lived in a kind of
from
night, waddling
He
vil-
in the
still
One
also survived.
Among
and even
Noir, the Mirliton, the Divan Japonais and the Cabaret des
The
Assassins.
Paris,
\t
the Moulin
less
than
(>0
Rouge
am
\\ ale-!
economy
and
One
his finished
Frequentl)
Cormon's wrote
that Lautrec
_et
Ye,
make something
pretty" of a
"was always
without ever,
model
my
in
even
life
as he saw
love or outrage, of
all
of his pictures
Lautrec
is
is
no greater or
less
little
his
the
last
to be sure, but
He
he pro-
to see.
often-reproduced post-
in
he
lesbians
Montmartre entertainers,
duced very
\ f~
to re-
in bed. for
ers of
was
it.
Van Gogh.
many
a portrait
off."
e w ished.
began by draw-
lie
ical details,
for
mo-
instinct
to bring
He was by
sincere in art
it.
to capture their
of line.
le
Among
the dancers
who
are re-
may be worthwhile
it
against what
is
life
and death.
La Goulue was only 16 when Lautrec
Alsatian girl
named Louise
Vi
eber.
first
who seems
to
Glutton" because of her habit of draining the dregs from glasses on the
cabaret tables.
in humiliating the
faded quickly
began
about nine
(gratis)
to
He did not. however, confuse friendship with senHe portrayed La Goulue as almost frighteningly jaded, and
endow ed w
oil
ith a
-ketch
at
Oscar
her the
title "'-tar ol
W ilde.
over
when
it
was
plav. La
Gou-
\^ ith
whom
a slack-faced likeness of
ol the great
he made the
feet square.
timentality.
in
produced
menagerie of tired animals she toured the provinces, but went bankrupt
55
centun
."
when one
arm
turned to Montmartre
to
Rouen. She
at a fair in
re-
Rouge, scene of her youthful triumphs. No doubt she hoped to be recognized by the old customers, but she was scarcely noticed. By 1925
La Souris
where she
La Goulue."' Her
"the celebrated
billed herself as
employment was
last
as a servant in a bordello. In
1929. age 59. she sensed the approach of death, called for a priest and
will
God
me?
forgive
am
La Goulue."
managed
to as-
semble and restore Lautrec's large panels for her show (La Goulue had
L'Escargot
van Gogh.
\ incent
"moral
He continued
suicide."" but
it
is
doubtful
a furv that
was
him-
at least
equally responsible for his early end. Relatively late in his short career
at
Le
Cochon
workmen's
raphy he found an
art
of wine in a
work. In lithog-
to
men
glasses
shop
at
it.
dance
halls
American
firm,
by the Ault
It
& W
Company
at
to
of Cincinnati. Ohio.
lithographs for a
Saturelles, a
l><>k
modern
entitled Hisloires
merchant, and
in
plug a newly published book. By 1890. Jules Cheret, the most pop-
one-man shows
and had received the Legion of Honor. Lautrec began b) following the
trend, but he soon outdistanced
it.
\\ ith
his extraordinary
control of
ilnl
Frequent
i~ii
nr
al
I'.in-
charai terizations
"I
line
and
color, he
flat
one ilnnk
ul
sausages!"
He
also gained
public
made
other.
it.
pressed.
II.
monogram. His
drunks over
h)
made
to
there.
up residence
in bordello-,
in
and were
56
them
own name
actual
cam ing
pon hearing thai Lautrec had man) times been seen drunk
Count
Paris,
he
said, "is
always
These
madam
in a place ol
became
trec
fine old
Louis
XV room
for
madam
He shared
and
girls.
He was
also a
>i\
customer of the
aside
ac-
him
bunch of
violets,
off
showing them
to his friends as
gift
of a countess.
When
he was 34
it is
him
for
to be admitted to a
On
sanatorium
his release
where he remained
in Neuilly,
companion,
ing.
success: Lautrec
managed
to get
small
it
drink-
friend
in
with brandv
in
the morning and from which he drank whenever the guard's back was
turned.
In 1901, aged 36, Lautrec
ily
left
sat
home
to die
from
a half
on the fam-
partially par-
he
said,
was,
It
tented himself with removing the elastic from his boots and snapping
at flies
smile,
"The
old bastard!"
These were
at
him and
said with a
to
run
keep up.
^-7oon
critic,
writing in Le
others: "It
sort.
is
Lautrecs
it
would be absurd
to
burden of the complaint being that Lautrec was a wicked man. or limited in scope, or both.
To the charge
hall,
that he
small a world.
To the charge
that his
was limited
in scope,
it
but
this
is
not. after
all.
so
itself
and
man
sin. Little
in
own
of the social
art,
Henri de Toulouse-Lautrec
is
a mirror
artists.
Demimonde
in
Lautrec's
and
He was
also
Due
life.
handicaps in
to improperly healed
w heelchair
life
and
at
tall.
he often walked
he nevertheless avoided
in a
self-pity.
He viewed
tell
halls, brothels
and cafes,
racted
l>\
people
in
him
join
studio in 1900
at his
"Henri de Toulouse-Lautrec
lor a
honored
Saturday, Ma\
15, al
in
lie
and lithographs
and
in
made him
died
:>h
al
life
took
its toll.
Like \ an Gogh, he
you
will
around half
afternoon."
row
if
cup of milk
Milk
hui hard
li<|u<>r
was available
in
0U*L<iUL.
f^Wfi/t^f
59
'*&&*-
fif..
Henri de Toulouse-Lautrec:
A,
.11
during
nableto
rule
Lautrec had
his life
because
the lithograph
line
al
who was
sleepless,
boyhood
-till
visits to
equestrian. In
he sketch above,
a -killed
physical handicap, he
a habit cultivated In
and
"I his
iili
power.
l>\
Female
rejoiced
at
Some
felt
to
them
In- art
had
60
oul\ glorified the seam) and sordid. Lautrec, lor In- part.
was persuaded
lautrec"- confinement
his famil)
l\
treatmenl of alcoholism.
to
(hat Kan.
direct observation.
task since
I
lie
artist
lie
results
usuall)
were such
61
Photo graphe Hi
v<!f
Henri de Toulouse-Lautrec:
D
fairly
uring the
final
9,
<a.
revue
was
blanche
mensuelle
When
Lautrecs vibrant
IZ
francs
An
pjr
r.L*ffi
He
cover
as a
nl a
bimonthly
poster for
oi
he slyly chose
ril,
music
hall,
'-
is
stage
cut
shown on
helped
I"
\\ril
who danced
launch her as
a star.
62
63
I n the
me
this:
at
(l
is
place
Mm
11
1.
hi
n\
ol In- paintings.
.mil
he used
ii
1-
hall in
.H()
built
some
In-
on
its
life
Ionised closel)
Femak
Kno. the
inhabitants. \bo\e
who
dance
a- the Betting oi
Toulouse-Lautrec: Cha-l
in a
i-
Clown, 189o
a portrayal of the
i>
seen
Coulue
is
performing
m
I
the wall
tin-
Moulin
Mome
in action in
one of Lautrec's
is
somehow
finest
le
background
at right is
elegant, dance
Desosse. In the
is
command
line
is
is
65
is
Ii
~-/s
&
S
...
.^
1 ***
'
-v
w-
Ji
X
I
If
I
\
'.
Da me at
1890
IV
Friends
and Influences
in Paris
The
city
activity,
and
particularly in art, and Vincent did his best while there to see
similate
all
that
bombardment
too
much
work
for
as-
in peace.
he may
in Paris:
visits to
Pere Tan-
came
to
know
Gauguin. He was also particularly intrigued by the work of the great Japanese print makers,
brightly
re-
cent years. Like the palette of the Impressionists, the art of Japan
was only
"opened
who
Gauguin intended
girl in
you
this portrait of a
Breton costume as
to the girl
a thank-
for
on a flower-strewn
like
Gauguin's
gift
poked
was time
his
Commodore Matthew
Perry,
later the
that
it
first
for a little
in
in
left
to
them.
It
The
legendary
fig-
terns of color and lack of shadow, their strong design and decorative
qualities, were unlike any then generallv known in Europe. \ incent, in
company with many other Western painters, happily adopted and adapted the Japanese manner himself, and often acknowledged his debt to it.
of gratitude.
In
Paul Gauguin:
La Belle
politely
by the American,
to the \^ est
at
in 1853, the
,,
Ingele, 188')
one of
f/w^r
tensely religious feeling, but the thought of Japan was not far from hi?
at
69
have made
in Paris that
had
literally a
he
warehouse
own
art in
full
Antwerp,
it
one dealer
first
in
permanence,
It
was the
anv
at
rate
with
ermeer.
brilliant color
stronglv caught his eve as he emerged from the dark tonalities of his
was
involved too. The prints, even after the cost of transporting them half-
earth, could
still
francs and thus were within the reach of people to w horn he addressed
own work.
his
show up
pen
I
>r
In the I'Mli
iit
i\
-<>
r\
arh-i Hiroshige
impressed
painters.
he power
In
expressive
ol
oi his fellow
cloudburst,
ol a
conveyed
e, is
in a kitchen."
shows up well
Such de\
ices
were
basic tmil
i-
boldness
in
a -har|> knife. \
he Hiroshige print
i.
who
ies
artists
workingmen
on
hap-
something
is
his
own
make copnow in
at
would arrange an
ex-
effect
mav
expected
will
an association of
it.
my work
for
likelv to see
that
art
were
to
have an un-
ex-
wood-block medium,
mv
never bother
it
l>>r
(belou
good advantage
to discover that
way
pifies
instam
< -<- ti 1
to
mv
do
""I
although
ol tin-
in a
In-
first
incent's paintings.
an Gogh copied
painting of his ou n
Japanese
I<
ut.
Theo
in
run by an
was called,
it
to allow
him
to
fill
ol
incent
her
s
re-
l.a
Segatori, as -lie
i>
was
in
in- mistress. In
who
II).
Italian
es-
h tam-
it
the show;
ol
friendship with
bourin with
number
l.a
of
his
in
own
painting-, although
one
came
melancholy conclusion. He
to a
to
judge her
in tin-
nol clear
(hired not.
to
in
the
summer
he Tainbourin. because
\nd
some-
l.a
woman
1887 when
ol
i>
gifts to the
\\
waiter or customer
it
it
said to
was
l.a
il
Segatori that
ol
what
did not go
I
did not
hat
had torn up the receipt for the pictures, but that she ought
erything.
to
That
somehow mixed up
come
not
me,
to see
took
away,' which
scarce.
me when
to pick a
want
...
when
went
in.
but he
said that
to return ev-
what happened
Now,
understand either.
but
in
made himself
off,
me
that she
it
fight
to
if
urged her to think over what had happened again. She did not look
and was
well,
as white as
wax."
paintings,
and
little
museum
directors
may
to
to retrieve his
for as
bundles of 10
and
seems not
as 10 cents a bundle.
in
Although collectors
is
it
by no means
number
left
Breda
later, in
in the
to the
a handcart.
Some
of
to a
vis-
draw ings
junk deal-
to
sumed
sufficiently large
amounts of
who removed
in walls,
as
200
in
paintings, about
Still
as a dec-
No
in
re-
Antwerp
The
loss of
some paintings
somewhat happier
at least
in a
the customers
in the restaurant,
little
but
continued to broaden.
who came
Ye,ery
en a more
cision,
scientific
Among
those
who
art
among
Pa-
approach to
''tol-
disconcerted." However,
made no
than Seurat.
A man
of
have tak-
immense
pre-
Pointillism which
of superb works he
is,
in the
only one of them: Sunday Afternoon on the Island of the Grande Jatte,
now
is
when
Seurat was 27
known
he
guarded his privacy so well that even his closest friends did not
dis-
diagnosed illness
at 31. in
life is little
cover until after his death that he had had a mistress and a son. His artistic
at
servative Ecole des Beaux-Arts in Paris, and he studied there for about
who was
anv deviation from academic tradition. Outside the Ecole. when Seurat
focused his intellect on the work of his immediate predecessors
Monet and
pressionists Pissarro.
their colleagues
he found
the Imwanting.
it
ate the
of changing
illusion
natural
and color. He
light
felt
the
laws of color that Seurat believed are discoverable bv science and "can
ntil his
effects largely
bv
intuition.
brilliant
household gods,
anv
at
rate
among the
Law
to art.
Chevreul: Phenomena
of
ision
Among
The
scientists Investigated
much used
and made
for example,
man)
tin\
fundamental of his
it
effect,
make
it-
human
support
produced colors
it
thai
ision, w hich
I-
(Mix
cause
to
this.
tendenc)
ic
it.
were more
will not
it
el low and blue on a canvas and perown mixture. To Seurat and Paul Signac.
separated spots ol
art. In
is
The same
palette.
pling
it
now
lade
lies
partly in
crit-
Feneon, studied the Grande Jatte and was obliged to report: "Be-
ol
lost it-
pre-
complementary on
blue, for example,
flect"
is
when
However,
orange, and
if
down by Chevreul,
set
side,
each
"si-
its
own
opposite, of
if
noncomplementary
effect
of
colors mutually
The complementary, or
neighbor.
its
to a law
tensified.
optical mix-
will
allied colors,
in-
such as purple
ors,
Chevreul's theories and constructed a color disc arranged so that complementaries were opposite each other, 180 degrees removed on the
disc,
at a glance.
The
human
it
it,
exist as
an object
patch of turf.
On
an
this he
many
to
correspond
and
still
itself,
light.
The
of color and light on the canvas gave rise to the term by which the
style
was known
refers
more
to Seurat
to a stippling
select precisely
is
make
small round dots, but these were only incidental to his system.
and
all
never executed
artists
women were
his
which were
critics,
lavmen
warned not
said to
ph\
>icist
The wheel
identifies
'2'2
exact
critic
down
in progress,
\%
will find
on each inch of
its
the
human
Seurats
eye. Thi?
Pointillist
Jatte,
make up the
tone.
Take
became
lit-
vou
all
felt
a ba>is for
brush technique.
and
at
l-t "-
Rood's
with a shrug.
ot art
scientific term-.
Thhe
the one
like
in
facetiously
served
and fellow
Any
complementar\
diagram
action of the
73
siftings
its
in
come together
to
in-
in
gnac particularly)
for the latter,
The
well.
in
who
another,
first
is
easilv
ed man. produced work of both kinds. Having been one of the originators
of Impressionism in his youth. Pissarro in his mid-fifties recognized
But
tures.
considered
it.
He
it
made
soon abandoned
Pissarro
number of
Divisionism.
Divisionist pic-
because he
not
to
spend two years on a single canvas, as Seurat had done on the Grande
Julie.
He continued
ment and
a respiratorv
some kind of
to note that
muzzle.""
it
He was also engrossed with an attempt to recapture the calm digand monumentally of early Italian Renaissance masters, partic-
cerned.
nity
apparent
sized dots
<>l
in the
technique are
method
would seem
to require
dvnamite
it
move them.
to
to painters
and
partially
on mod-
matched the
effects
produced
h\ colors in
because
each
hit
it
made
ibrant colors
and dark
light
and allowed
tones, of cool
obtained by a balance ot
is
a painting.
warm
dominance
impression.
first
\ll
his
left
to
applied
them
chance or
rig-
to the
even the
thai
for-
art.
.
on Seurat
work
first
rat's,
who
nothing was
was he
it
it
-i ill
in
111
hi> studio,
where
tin-
in
'an-
incenl
*all near
made Divisional
pic-
tures of his own. although he was inclined to use the small Strokes
71
more
plowed
rat's
fields
canon.
plementary colors
shout "Blue
most appreciated
hat he
Seu-
in
in
orange! Blue
in
was toward
both impossible
used complementaries with more effect than any painter before or since,
with perhaps the sole exception of Matisse.
him-
artist
from Signac, who was Seurat's friend and the man most
self but
An
intelligent
On
museum,"
have
all
as
make
number
me
Close beside
little
"a
it.
in a
ly
all
it
\ incent's
who
such occasions
often carried a very large canvas which he would divide into sev-
\ incent
shoulder and hissing through his teeth," had somewhat more to say
another English
artist,
in Paris.
Hartrick shared a
with
flat
a feeble type
pay a
call
at
true art.
his
When
head w rapped
you and
on the nature of
in
can't stand
it
man
"W
any more."
my
convictions are so
me,
till
and
some day
it
is
me
gives
find out
in
him."
V.
in Paris
(pages 178-1 TV) reveal him as well-dressed, almost natty, but as a rule
he was not
and who
left
et
guin saw not only the appearance but also the character of the
"It
is
beginning to snow.
It is
winter.
You
get a
shroud
if
4pres Gau-
man
gratis: that
is
75
cannot grasp
is.
this. \^ alking
skin and wears a fur cap, probably rabbitskin, and has a straggly red
beard.
cattle
"Don't glance
at
him
out observing his well-shaped white hand, his childishly clear blue eyes.
picture
is
artist!
a little
'Can you
my
paintings.
oil
"Poor
"It
sell
still life:
let
painted the
me have
money
a little
can pav
rent?'
ing
is
The Renaissance
should
is
W ell.
thev
like to
five francs.'
"And
He
test,
Gogh
takes
it
without pro-
goes up the
just
for a client.
St.
Van Gogh
well read.
is
He
at
him. hoping
[a
then-
current novel about a prostitute], and his five-franc coin belongs to the
off.
as
though ashamed of
an empty stomach."
Thhere
one
is
detail in
\ in-
cent would scarcely have been concerned about paying the rent while In
that both
was a
but otherwise
prolific writer.
ship,
in his beliefs as
more than
a few days.
which
in \
a superior
Vincent was
men could
five
man and
artist,
and
lor a time
Uthough
incent looked up to
would
gladl)
ide-
agree for
strange friend-
The two
late to art.
it
him
have become
as
his
disciple.
\
lier
that
incent
first
met Gauguin
year,
Paris in
76
in
figure.
Jatte
November
in
I88()
Gauguin wore
he had ear-
a beret
ol
commanding
his
in
1888.
It
had been
five
children
five
in
Copenhagen
for art.
and four
home
in
tried to pain)
in
Denmark,
lie
to
isited
left
make
to Paris, leaving
and carried
boyhood
it
in
to
fre-
Lima
in the
War
and
stock,
As a
in his veins.
sailed
around
come
of 40,000 francs.
He had married
handsome annual
a proper
Danish
from
girl
at
in-
set-
he intended to become
a painter.
Although the change did not come without warning, Gauguin's wife
never forgave him for
and took
it
as
had no income
it
art
works by Cezanne,
fairly
and suddenlv
to paint as a
him
in painting,
Sun-
in
to in-
1879, he had
become
was exhibited
in the
he continued to display his pictures with them until the eighth and
show
in
When
so
1886
last
in
the pre-
ceding winter, close to starvation, he had worked as a billposter in a freezing Paris railroad station at five francs a day. His wife and children
now
had moved
five)
to
er,
art
whose
mired.
at
He
first
ad-
knew
first
rupt.
ideas he had at
and societies
brilliant colors
uncor-
still
mus
of
fish
and
he took ship
air is
\ in-
who admired men who followed their art wherever it led. and
who already had some awesome credentials in that regard himself.
cent,
tered.
seaman.
An
international
company headed bv
visited
it
as a
merchant
swamps; a
rest
Prices of food and shelter were outrageous and the local police vicious,
who seemed
to
them
Gauguin was
a vagrant.
more than
money
to
better.
and went
off his
watch
at
dock-
somehow he man-
aged to paint, and after a seven-month absence made his way back to
trifle
at. a
kind of mysterv
suggestion
at
ings
meanings into what was merely decorative. In any case he would have
casion to see Paul Gauguin
It
was time
anese
His
ily
art,
to state
it
in
landscapes and
more complex
to make
make Ins
it
a picture of a
poor peasanl
in
worn-out hoots
in
order
to
and these
78
Jap-
at
oc-
to
work
in their
in
hues
more powerfully
and more
As
directly.
his art
helmina,
home
at
"My home
always ends
it
from
would be
it
in quarrels; besides,
attractive.
me
but
if
were
as
is
if
icate
in
him
egotistical
me any
can hardly
in
first
now
makes
Theo
same
It is
a pity that he
ilhelmina advised
replied, "Tt
sion,
point.
is
own enemy,
his
is
Theo
to "leave
if
in
case
must continue
w hat he makes
if
now
is
him
for he
If
myself
in
now
all for.
life
But when
and
to go
can do nothing
is
by
live
him
to tell
to stay. Since
me
to see
so untidy
is
it.
"It
all
il-
come
it,
him
he
he
bear
to quarrel
sister,
Holland
in
away,
youngest
to their
life is
and
to drink heavily
Theo wrote
around him.
to his
own devices
but
is
certainly
He
an
.
think
artist,
will certainly
it
be of
ithout pressure
He knew
that he
to leave Paris. In
had heard
much
decision.
have
own
his
first
to Aries
and then
to Marseilles.
who
in his
He
youth
had spent some time there, and he was attracted bv the prospect of a
is
no great
re-
felt its
new
art
now
lies in
influence
all
Thus
e like Jap-
is
all
the south."
It
""\^
exist
very long. Before departing, Vincent arranged his room in Theo's apart-
ment
so that
feeling he
He
left
was
one of
still
there
he decorated
his paintings
on the
easel.
took the train to Aries, and after he had gone Theo wrote once
more
much
to
seems strange
to be
without him.
He meant
so
me."
79
who
become
businessman to devote
Gauguin certainly
brougham with
it
might seem.
Gauguin:
A Late
Beginning
driver,
home with
Oriental rugs,
stocking his garden with rare roses. But there was another
side to his
life.
He had
years.
He chose
lived;
he covered
walls with
in a
where
many
artists
contemporary paintings,
huge studio
in the garden.
many
art galleries
at a variety
of art
Some
ess
lian
li\
ho took his
five
borrowed from
Gauguin
including his
Denmark.
a friend,
It
In I88(). with
left
money
Paris to live at a
80
that
He was
cheap
assumed
ing b) painting.
One
Gauguin's developing
was
-t\ If
.null.
in tin-
e/anne and
tabletop
Japanese de\
picallj
-till life
an
ices
are the
Paul Gauguin:
Still Life
with
81
82
I,
-n Brittany Gauguin found an unexpected
companionship of sympathetic
like
attracted to him.
Bernard,
who
artists.
in Paris in 1886.
He became
described the
premium: the
had admired
artists
new
style that
Gauguin
painted as a
profile of
is
Though Gauguin
the form
reveled in
was
like a
gift to his
Bernard on a
flat
man
possessed. In a self-portrait
friend
Van Gogh, he
inset a
les
Q'j.M v>^v
portrait study
*i
common bondage
83
HI
IW
wooden shoes
Gauguin
ring
on
this granite,"
hen
my
seek in
my
painting."
theories his
more vocal
Convinced
toil.
moral responsibilitv
to
tilled a
left to right
to 1890,
he
at left, particularly in
his
God-given talent
felt
rocky
soil.
In The Gate
left
j,
who
in a
going
bold,
right
flat
emerging
art
may have
represented to him. as
it
to
freedom.
85
Paul Gauguin:
and
stiffly
women. Their
it
inspired him. In
some of
he combined them
themes
<>l
his finest
in typical local
women
dressed
shows
in their
Sunday
the righl
a cluster of prayerful
best. Evidently
ision
from the
The dominant
or
it
may symbolize
Symbol and
)
ellow Christ
the
field
righl
>.
women
86
ol Buperstition
and imagination
a peak
workaday clothes
one
itself?
Gauguin's moving
Gauguin
in
portrayal of the
The
in
of expression. Peasant
or
of spiritual battle.
realistically represent
sermon. Painted
II
Breton
Sermon (Jacob
if it
were happening
both
in
very
at that
his experience in
Brittam
technique and
heme.
Ingel ). 1888
Christ,
1889
88
V
The Southern Sun
of Aries
The small
very old
is
communication
ters of
many
flat,
set in the
as
it
miles in-
Caesar and
monuments, tombs,
theaters, aquedui
t~:
relics of
of a kingdom. Scattered
hewn,
Roman
in the
Julius
among them
without inscription,
little
lie
more than
streets.
1962
in
spots where
in celebration of a
"Van Gogh Year." Difficult to locate, polished by the tread of passwho scarcely notice them, they will last as long as any Roman
stones, commemorating a man who did not seek to seize or hold a king-
ersby
dom
Another
artist
He was
when
his
am
mind ranged
"There
left
far afield
it
man
of his
own
fu-
Theo
the south of France, "which
is
town
in
St.
Trophime. But
is
it
Van Gogh's
palette, already
example of so grand a
world, and
am
as glad that
magnificent as
months
The
this study
in a
painting done
artist
was
when he
at
work on
Dutch
Mauve's memory.
Peach
I rees in
was the
soming
it
light
fruit
was, of the
seems
to
me
do not belong to
it
to
belong to another
Roman Nero."
trees,
\ incent.
the blos-
to
received word
to
It
style
Blossom
synonym for color, sounds over and over like an incantation. He wrote
of "a meadow full of verv yellow buttercups, a ditch with irises, green
leaves and purple flowers, the town in the background, some grav willows, and a strip of blue sky. ...
little
to Aries
is
89
only about 450 miles, he had indeed traveled to a far country, and
its
became conyinced
it
new man-
that a
ner of painting was to be born in southern France, and that "the painter
of the future w
ill
both of his methods and his intent but the most interesting
man
knowledgeable a
as
is
to be
many
coming
should
'"I
was
his reason:
want
an
man who
artist friend, a
to put
paint
my
him
it
is
his
he
as
is.
as faithfully as
I
I
is
To
finish
it
am now
going to be
even
get
"Behind the head, instead of painting the ordinary wall of the mean
background of the
most intense
room.
blue
get a
richest,
mysterious
incent con-
this
way, but in
this case
mented
worked
imagine the
man
have to paint,
tor-
in
by the whole Midi. Hence the orange colors flashing like lightning.
vivid as a red-hot iron,
shadows. Oh.
my
dear bov
will
in
the
aggeration as caricature."
still
only
in a
rential.
Between
paintings,
his arrival in
Old Peasant,
The volume
February and
The
Nor was
it
tor-
Sunflovoers,
of
lii-
freight in Paris
in
\ilit
on the Rhone.
trlesienne.
from men
as well.
fell
it
bridge,
in
who
the profession.
incent
-peed
lour
90
it
In
the
book that
have a
in
young
the beginning
lot
paw or
lions
with
kill
a well-placed bite,
In a following letter
warn you
"I must
ity.
you believe
word of
Is
it.
flow
think
will
work too
Don't
fast.
it
And
if
one works without knowing one works, when sometimes the strokes
that
come with
ter,
everyone
that
and
a continuity
coherence
must
it
like
words
speech or
in a
a let-
in
will
hot.
is
more impressive
first
in
in
letters
The sky
bright sun
which he
quite im-
is
it
is
all
it
in
first
is
so
encounter
with the mistral, the violent and sometimes terrible wind that blows
south
down
not this
ies
"W
hat a picture
where you
Rhone
up your
set
is
the
And
easel.
to the
I
Mediterranean. Later he
would make of
maddening thing
that
is
largely
why
time."
He drove
do
shaking
is
all
the
if
came
flat
to think of the
wind as an
canvas
to lay his
been able
there was
pegs into the ground and tied the legs of his easel to
enemy
if
it.
here, no matter
it.
soon began
briefly but
to
work
at a sui-
Haunted by
his
debt to Theo. he wrote: "Today again from seven o'clock in the morning
till
six in the
evening
worked without
shall bring
work
midday,
at
how
it
in full sunlight,
all like
it
off.""
shall
some
do an-
with no shade
at all. in
made no complaint.
who
and as
ill:
"Go
to
women, and
ofpatience."
The people of Aries, although he wrote warmly of them, did not
little
of
lots
he arrived
in
\^
re-
hen
91
it
all
his equip-
ment, took up more space than the other guests and should pay extra.
(L ltimately
lease of
some of
his belongings,
seized.)
re-
When
\^ hat
be seen working
hatband stuck
B
'
at
night
full of lighted
was tolerated
ut \ incent
and could
stars,
at first,
and managed
persuade several
to
found that they were disappointed when they saw "nothing but paint
Among
on the canvas."
those
came
who were
local
six
of-
newborn daughter.
\
known;
ly
less so is
The
who was on
107 )
is
each
and
\ incent.
very wide-
to say of
like
some-
in the
companion when he knew what he wanted, which did not happen every
day. \& e would frequently take beautiful walks through the countryside
a great
manv
sketches.
Some-
And
times he put his easel up and began to smear away with paints.
He
.
became abnormal
He
first.
made an
unreliable model.
some
concerned
in bis
ture of a lover.
\rles,
now
ject to
it.
poses badlv. or
is
am
may be
hut
me damned
In spare,
nervous motion
layman
at fault
sorely in want of
seeing that he
in the tart
He is a good
Milliet that
"He
do not believe, as
to
technique as
have made
ol
the legs
God damn
a painter
1888.
-shop-
ol
do not ob-
when
pos-
it.
No doubt
it
shocked
coal sketches
on
worked directly
<)2
draw
tal.
that he
ing.
as
and
taste
in color.
He drew
formed
his con-
no need of underdraw
ings. In his
the essential, and purposely leave the obvious things vague." he worked
Patches of
are.
grasp what
are
\\
bounded by contours
later
soil will
have a blue
will
To
many
"fill in
fill
all
in
the time,
mean
try
going to be
leave as they
left
is
hit
titions, savageries.
to
all.
that
all
felt
that
is
tint.''
flat
amounts
to a per-
"no
cessive "halos" around a head, a lamp or the sun. Far from having
system
he developed
at all.
even
layman
name.
A,
-gain
and again
In writing of
his letters
The room
green.
in
is
the middle; there are four citron-yellow lamps with a glow of orange
is
a clash
is
a place
it.
is
affectionate in
He
dictment.
have tried
little
its
all
e are in
in-
tually one's
a crime.'"
intent: an
which was the same one that had long ago inspired him
istry
dis-
sleeping hooligans, in
was
It
min-
to enter the
is
ac-
producing a
ill.
poor
get, the
more
want
to take
my
sunset radiance
his portrait of
isn't
Madame
it
star, the
is
revenge bv
He spoke
of
comforting." and ot
eagerness of a soul bv a
hung
in the
a naive
When
one
but
\ in-
to
al-
a small
though
it
month
had two stories the house contained only four rooms, and the
93
T-
here
is
it
stands in the
"My
house
full
of the place:
painted the yellow color of fresh butter on the outside with glar-
whitewashed
there
is
inside,
and the
floor
it
made
And over
is
of red
can
home and
live
is
com-
tiles.
and paint."
itate
"The
cent.
more than
Its
soon began
to see
it
as "the
house of
all
light." a place
He
artists'
commune, he imagined
come
to live
with him. and that thev might share their expenses and profits.
He
who had betriended him in Paris. '"\l\ dear com"more and more it seems to me that the pic-
and
itseli.
probabl)
idea held in
he created In
nol
i-
to
execute an
superb orchestration
An-
know how
to
among
ar
>
>
creasing!)
94
common.
German musicians,
the hopes
incent
expounded
who
in
criticize
to regret the
and persecute
his
hopes
i"
rheo, and
\i
thai
in-
time
seen in his
Vrles
in
in
-
<
>
sing
make the
place habitable
He
S)
called
mbolic
house"
it
his "yellow
in
Japanese culture of
name
a '"house of
friendship"
Sometime
around
into a bar.
bombed
it
so that
in Brittany,
ill
his
to Aries,
think
it
is
for extra
to \ incent to
to
will alter
several
shall
a kitchen range
It
am ashamed
much
of
it.
but
on Gauguin with
believe, but
all
And he
own room
filled his
ith
ever awed he
is
make
him and
told
Theo
the bottom of
the social ladder, wants to regain a position by means which will certainlv be honest, but at the
tle
that
am
politic.
Gauguin knows
lit-
*T always think
when compared
my
to yours.
artistic
death
v\
a-
con-
have alwa\s
o:,
in
1890. the
converted
remained until
1.
his society of
now be
will
sailor;
a certain impression
wanting to do as
the same
it
"Well, yes,
make
\'>
money
we
in
going to be Gauguin."
\ incent eagerly
Theo
which
out
and naturally
Gogh
after \ an
it
ua-
turn into
man)
refuge lor
of a beast.
head
think that
which we
of a studio,
[we can
if.
with
lull ol eoura<.'e
l>c|
from
shall try
re-
your home,
this
October
I n
He
lers.
lor
am
much
very
\ttilH.
Gauguin
monthly stipend
month Gauguin
house and
little
wail.
make
by
lit
ware
for the
ol
wrote
lime
him
my nerves." For
that *'\rles
is
be dis-
a mistral, hut
house
as
comlorlable as we shall
lr\
arrival,
to '"express
to
incenl
filthiest
lie-
hope hv SO me
be confronted by another
lo
the
is
to
in
star,"
tell
first
preparations
Ins
lie.
spoke
at
some lime
will not
little
von arrive
il
onl) alter
is
Il
You
one.
Aries,
in
in
sel
will last
it
handshake."
long. A cordial
thing ol an understatement
it
ings as he and
everything
never contain
Gauguin
was preparing.
all
common
up
set
remarked
at
"b\
it-
everywhere and
a disorder that
found
he same appearance
about
I.
to say
was the general untidiness thai struck bun. "Ret ween Iw o such be-
that their
a clerk; certainl)
budget,
al-
brothels
to the
is
Il
better.
Mistakes of that sort Haw his account. \ud there are larger errors. Gauguin
reported
"floundering.
plementaries
when
thai
.
with
he
all his
arrived
\rles
in
lacking.
an
thai
ol
incenl
all this
he onl) achieved
eas)
lound
he
soft, in-
ol
me. lor
lound
a rich
and
artists
b\
melodramal
icallv
severed alter
incent
lirsl
even alter
S
collapse.
hev painted together (although the) did not choose the same motifs)
in
were
lost
vineyard,
in
the publii
garden and
in
the
Myscamps
(Elysian
Fields),
an avenue of
he
find
the people." he wrote. But from Vincent's side, at least, matters seemed
to be
"He
is
cellent friend.'"
more than
rectlv
life,
memory
his instinct
am
ture." As
to
work
di-
less
was
stractions""
ways
Although
from
more
artistic look
memory
are
al-
it
confessed that abstraction was "an enchanted territory, old man, and
one quickly
finds oneself
up against
a wall."
"Gau-
electric,
left
in
"Our arguments
as ex-
Bv earlv December the tension between the two men had become
tolerable.
All his
Gauguin wished
to leave Aries;
and he began
to
behave strangely
although there
is
init.
in ruins
where
in
in the light of
Gauguin's recollection.
According
to
latter
days of
my
stay,
Vincent
Gauguin's portrait of
an Gogh, done
Aries
in
his easel.
an Gogh
\\a-
to
he
felt
intimidated
l>\
>it
a "portrait" of
his
Gogh
did paint
"empty place"
a> \
an Gosh called
97
it.
surprised
To what can
bed.
"At
events,
all
him
"The
the
me, Tt
to
certainly
is
my
I,
but
it's I
mv
head.
let-
was
we went
glass
but
it
was
real-
then.'*)
and
fin-
face got
was
portrait
\ incent
later.
hen the
\^
took
bed with-
to
some flowers.
sunflowers? Afterward
ly
me
much
he loved so
language:
back
to go
fall
ished, he said to
ter to
my
to
was enough
it
idea occurred to
still-life
several
attribute
"'vS
On
silent.
in
to the cafe.
its
contents
my
arms, went
\ ictor
He
at
later
"W
till
morning.
hen he awoke, he
me
said to
very calmh
offended you
if
self
tell
him
"My
that
God. what a
to
to write to
it
eral
he took
letter
dav!"'
am coming back."
a
with
my
all
were struck
evening.'
last
in the
first
in a
vellow house.
On December
following
little
23rd
\ in-
out of
little
fact,
bound
there are
to
be
grave difficulties to overcome here too, for him as well as for me. Hut
these difficulties are
lor
him
It
make
to
Mtogether
outside.
am
waiting
is
Gauguin
certainlx
hardl)
1
breathed any more. Me even said to me: 'You are going to leave, and
when
m\ hand:
'
lie
murderer has
from
must go
<>wl
<)K
'"I
heard behind
me
well-known
into
it
alone and take the air along some path- that wort bor-
when
/led.
at
that
\ ictor
Hugo
ureal
power
in
it.
"
"W
as
calm him?
tried to
but
"W
stone
to
conscience about
this,
who
me.
at
one bound
ith
my
was
in a
engaged
had
in-
bed."
to
Vincent returned
called.
would seem
It
to the
to be of small
drame de
it.
coupee"
Voreille
in
re-
ear
left
affair
is
*'/
incent ran
Gogh
el
l<>
who was
surely in a position to
w,
wrapped
in
on a large
newspaper
to a
news item
a brief
in
a native of Hol-
asked for a
1,
treasure."
Ra-
girl called
and handed her his ear with these words: 'Keep this object
like a
police,
whom
ly a sign of life.""
The
of the ear lobe had caused an uproar in the streets, but Gau-
gift
it.
as he recalled
it.
he went
to the yellow
abruptlv and
in a
done
to
"
"
*0h, yes
"I
don't know.
.
my
hat have
you
well.
shame
at all
Monsieur,
let
lifeless.
all
"Then
my
in a
it
was
energv.
low voice
alive.
still
my
all
I
him
tell
fatal to
him."
Gauguin
left
that
it
a long
answered stammeringly
he
me
For
it
was
as
if
had sudden
l\
have
left
man
for Paris.
The
sight of
me
if
he asks
might prove
me
heart. An-
spirit.
forme,
my
us go upstairs.
seemed
took
'All right.
it
my
V\
.'
.
He is dead.'
could never wish anyone such a moment, and
time to get
ing
live,
and
in the
It
scarcelv mattered.
09
J- he brilliant light of
Gogh's
in this
Theo
in
life
and
art
in
real infidels,"
in Aries
from Paris
Sunburst
of Painting
muted
The
fields
at
colors of Paris,
Van Gogh
growing crops, the azure skies were deep and wide, and the
magnificent sun caused the land to glow and vibrate with
rich
Emile Bernard,
becomes more
clearer."
month
agile,
one's eye
He was understating
stay at Aries,
more
alert,
one's brain
feverishly in one
1889, he produced
drawings.
Many
masterpieces;
some 200
May
to
toll;
The
>iin
of \rles. which so
immense
Van Gogh
page).
singaheavil) loaded
brush
exhaustion
Van Gogh
hat
left
him spent.
100
lis
in art.
left to live.
but w hen
il
was
at
in this
that
lefl
filled
brilliant colors.
!k
in itself."
make an almost
To achieve
this
pages)
is
One
(right)
\rle-.
o\
everyday
102
mam
oi
at
field
pita the
by violet
hillsides.
powerful violet
seems
the south.
He made
of a freshly plowed
fields offset
a bridge
his
body
field
yellow horizon.
The
at
103
m m
I lir
Han Of,
June 1H88
L04
106
Portrait
evv
Arlesiens would
sit
for portraits by
Van Gogh:
Some
(left).
among them
the
as
of Lieutenant
Milliet.
startled, vet
September 1888
amused, by the
).
whom
is
set in
lips,
P.
which complement
is
the solid
heightened bv
107
I {ill
mi mi
ill
Itles,
October IHHM
06
\
1
*#**
The Chair and thePipe (also called Van Gogh's Chair), December 18HH-Janu;ir\ ltW>
n the SOUth,
Man)
nl his
an
(lofili
was
of his
bedroom on
ol this
picture
is
meant
lii
110
sighl
is
The
in
two
pillows,
pan-.
Gauguin
late in
an Gogh's lonel)
<\^\
b.
Gauguin
to leave. Earlier, \ an
Gogh had
The
upright,
bathed
men
is
themselves.
a sophisticated
in sunlight, its
pouch on
its seat,
it
and tobacco
11
IB
*^l<
*
tfct
;--i
e*r
Id
'*"'
fcZ._^L
\
1
^'1
*-
summer,
up
and painted
until
is
dawn, using
light.
more
Van Gogh
more
alive,
left),
summer
he caught
evenings.
The
chat and stroll under the stars, which hang like lamps in the
royal-blue sky.
artist
in a letter to
Theo.
at their tables:
yellow doorway
What he
could not
know was
and
that he
113
was
The
:
\if;lii <ii/< .
September IHHH
111
116
VI
Gauguin
in Paradise
It is
cent van
Gogh
it
is
unfair to charge
Gauguin did
\ in-
damage he
flicted
much kindness
offer
\ in-
to others.
W hen
the two
share the yellow "house of light" in the south of France, a clash waevitable,
and
in
it
money
The vague
world;
more
it
is
He regarded
in-
incent's traiied\
hoping
in Paris
for
outline of Gauguin's
life is
To
a society
smothering
to
in
well
bolizes escape of the most delicious kind: to the gentle air of the
Seas, far
to
to
bearable.
in-
South
sirl- w ho. a-
Gau-
guin said, "invade one's bed." Moreover. Gauguin's myth permit- duty-
way
in
Madonna
winged angel
at
the
haired Polynesian.
left is
The
of the
\t(irin.
Hail Thee,
and
eat
it
too.
effortless
Gauguin's myth
is
public property.
Vlaiy),
1891
ers
it.
If
sa)
that his
the South Seas had not always been idyllic, most pale office work-
would prefer
to throttle him.
a black-
title
have
Gauguin on occasional
In Tahiti
to
human
in
Oa
in
old. dis-
the Marquesas, he
to
come home. The friend replied, in effect: lor heaven's sake, don't do
it. You are already held in the esteem accorded to the famous dead:
why spoil everything? Gauguin remained in Hiva Oa and died there.
117
man. He
Shortly after his marriage. Gauguin,
a Parisian
who was
Sunday
still
only
as
felt
it
Gauguin produced
a few
one of
Taking up
this art.
orthodox portrait
Later he
form of a stoneware
self-portrait in the
who
suggesting an artist
visions and voices.
mug
relied
on inner
still-life
him
It
even when
ooden barrel
in France.
he
am
a great artist
and
he was
know
among
It is
it.
ar-
the
because
he worked
in oil.
He made mul-
W hen
a furnace
in
that
as
acknowledge: "I
to
first
satile,
Gauguin subsequently
it
happv
beyond dispute
tistic
am
actually carved
turned the casual cruelty and indifference that radiated from him. His
one of his
was not
be.
also a sculptor.
may
was available
to
number
trait
was
terial
at least
He sketched and
at
one por-
painted on windows, walls and doors, and while he was wearing the
local
O.
"ne of the
from
his
shoes.
in all art.
teration
for example,
in
The
a print
tian
wooden
many W
art of Latin
America and
As
to
own
and
his
tion.
Although
one of
is
it
sometimes startling
into service.
it
plagiarist,
is
is
artistic visions,
guin's purpose.
Bust of hi- son Emil
December 1888.
MmOfOUTAM m-iiu
nil
J.
-m
MAI
WHM
IHT.
mh
"K
mi
iii
Van Gogh
leaving
developing his
in the hospital,
art.
Gauguin was
Having begun as
year and
in his 41st
still
light
flat
When
he offered
e\
it
it
himself
in a
to
One
to a
probabl) was
full
mug
IIH
least a tew
paint-
found
pries!
to display a
number
it
Vi-
SO
it.
of his paintings
course
in\ ited to
artists
hang them
Tower on
owner
difficult
in the
Eiffel
prietor
at
or of sharply
he had sold
grounds.
in fax
official pavilion,
unmodulated
in that
and atmosphere
to
the
fair-
permit him
...
great factor)
at
Samt-
in
time
became necessar\
it
modern
fill
Gauguin,
art.
Gauguin
thought that six might be an appropriate number, while he himself exhibited 10. Theo, however,
on
number
would be undignified,
felt
dow
of paintings
fiasco.
in
to
gape
is
bosom of the
cashier."
To
the popular eye the great sensation of the fair was not art but the Eiffel
Tower
itself,
although painters,
to refer to
Among major
it.
Young
artists
artists
it.
show was
as "the
it
far
from
Moon
of his work or had merely heard reports of his ideas and personalitv.
seemed
He
five feet
four inches
to take possession of
tall,
would slowly
lips,
and
left
he never
right, while
G.
tle
al-
lit-
in reading. "I
am
a savage." It
came from
And
shadow
that
is
"They
are yellow.
It
and shade
to cheat.
He
it
was
felt
was
in
in that area,
that "there
is
is
he
"How do you
tubes.
it
well, put
down
to
to scorn
reduce forms to
modeling
in light
were prone
However,
even behis
teries that
Parthenon
many
can be glimpsed
to the
if
it.
see
yellow.
lie
and
painting
'"to liberate
was necessary
\F
Very
mj mi,
re-
work
sys-
wooden horses
IIP
cirl
bolist
who came
into
prominence
the
in
late
In the
1880s.
Symbolist view the old academic realism in poetry and painting was out-
and
art
was necessary
it
by new means
to express ideas
\^
dream of
artist feels
as '"art
.""
it
he seemed a sort of
who adopted
him.
in their
interesting
there
Montmartre
in
still
not committed to
the notion that the tropics were the onlv place to look
some
It
survived
but
it.
an abstraction. Seek
is
He had
about
in
in
stitute the
time
by veiled
convey not the mere ap-
was time,
at that
it
who
was developing
The
were
as well
obliged to assist a
felt
who used
Morice.
critic
magazines and newspapers for favorable publicity, and persuaded the im-
Echo de
Paris.
of everyone
to
produce a laudatorv
article
who could
pointing out that "one can paint as well in the Batignolles."* a district
some
of Paris, as in
roam with
T,he
ing
it
sale
but
much
also
because
talked about.
Miu
li
businessman who
>
lived in Papeete,
ai
have ac-
romantic sardonic
Gauguin's
He exhibited 30
said to
press
personalis was
is
was
the
in
artistic
all
paintings done in
leasl
\- a side benefit
lie
was able
to
obtain a letter ol
iauguin titled
l/i
ol
.11
.1
.1
uerioua
II
princess
),
in
.ill
/'((/
\1oe,
or
who
.i- startled
ar\
lnil
entitled
ami
a legend
him
to a
in
Ins
steamship lare
to
Copenhagen
to see
while drinking
swam intoa
seven
L20
sal-
.1
(iter,
"official
to
l(>.
When
six
in
years had
age Irom
"My
Mette, as
in
hoped
lie still
for a reconciliation in
benev-
tlie
olence of her friends and her earnings as a translator of French into Danish,
seems
With
also to
five children,
home
in-
but in a hotel.
The visit cannot have been very pleasant. Mette s family despised GauThe children had been brought up to speak only Danish, which
guin.
well,
in
tened
in
She appeared
to
understand his
total
commitment
to art
and
your
to
I
sense
shall be
wife.''
chris-
in actual
as
woman
One of the
but was
last rec-
women on
a French train.
to be a cravat-wearing, cheroot-puffing
manded
in
the
wrong
place, de-
Gauguin.
T,
.he artist's journey to Tahiti via Suez was lengthy but uneventful.
He
100 yards of canvas, a shotgun (for securing food when the breadfruit
failed), a
in a love-
to thrive
The culture
all
in
by the \^est, was somewhat decayed. Gauguin already had syphilis, having contracted
it
in Paris,
but
still
late.
Pomare V,
ed on the idea that a local savage would help a European savage such as
himself.
mausoleum
quor
The King's
ther, grandfather
stone
tolerated by the
to death at 52.
to
was
in
fa-
the same
laid to rest in a
surmounted by what
li-
bottle.
Although Gauguin's
letter of "official
dience with the French governor and dinner invitations from the
of the European
elite
were also drawbacks. The governor, who could scarcely believe that Gauguin had come some
sumed
that he
was
a spy sent to
part,
dis-
Soon he
Papeete and made his way 30 miles along the coast to the district of
left
Thhe natives
in
commenced
to paint.
less
felt its
from
civilization
art.
by French nuns and a general store run by a Chinese merchant. Several of the
tin,
a patrolling
The
it.
task
it
tives also
had garden
riculture.
He could
considered such
his
plots, but
ag-
traffic
in
them
for
his Eu-
it
in the
sure, but did not deal in fruit, eggs, vegetables, fresh pork or fish be-
cause there was no market for them. Everyone, except Gauguin, had
all
in the
and dried beans, for which he paid dearly because they were imported
delicacies.
consumed
wine and
rent, tobacco,
number
on
of paintings in the
in Paris,
soon be sold and the money forwarded to him. He had also lent 500
francs to Charles Morice and trusted that he would presently be repaid.
During
months
ened by
brilliant color.
in
life
nlike
primary
in
\iolet
and purple,
dared
to
as in
that
Mini with
harmonies
thai
lew
artists
had previously
attempt.
The Tahitians liked Gauguin and called him "Koke," which was as
close
;i>
the) could
come
to the
pronunciation
young
ol his lasl
girl
age
ceremotn
The
girl
was
(On
.i
later
it
it
Darned
\lter a
eha amana.
hi- wile in a
simple Ta-
\'A.
name,
\o\ ed her.
he wrote,
t<
in-
"To make me
sa)
"I
love you
you
have
will first
break
to
shone
my
all
it
filled
in the
He
felt
its
luster,
evil. All
agree.
morning when
everything with
Teha'amana moved
In the
all
that
it.
Teha'amana understood
formed
his painting
all
She did develop the habit of meeting lovers when she went out
food.
bush
into the
who holds
she who appears
she
is
The
Spirit of the
as a model.
It
in-
at night.
He
re-
had been absent from his hut after sundown and had
re-
means
"How
at
girl
about to enter
his
any moment.
does a native
woman
my
specter
is
When
woman
seen. So
Tahitian
wooden
title
if
My
me
to strew
Let
me sum
up.
lines,
injunction ""Be
in
of the living
woman
is
espite his
lonely
man
a foreigner
as a
symbol
ol
perverseness
The opposites of
down the origin of this picture for those who
why and wherefore. But otherwise it is simplv a
in Tahiti. Self-exiled
among the
natives.
He wrote
Although
life in
France, Gauguin
a small
is
a savage;
reflections
still felt
change of
it.
it
had been
in
months
an
in
vel-
he
around the
oil will
set
have
built
love and
lit
South
bas-reliel below
as
ex-
His friend Morice not only did not repav the loan of 500 francs but em-
123
ami
many
ol
tin- arti-t
ol himself.
him by an
forwarding.
some
\^ ith
justice,
Gauguin
fail:
felt
at
it.
He managed
tempt
to
to sell
two of
when
at
set
in
wood.
his at-
re-
and
after
lehaamana weeping on
60 paintings
left
in Tahiti. In
held before his departure. Gauguin might well have hoped for recognition and
monev.
The Svmbolists
again
came
to his aid
it
few sales and the critical notices were devastating. "If you want to entertain
your children.""
"send them
to the
Gau-
at
billiard tables."
others easih
at
should
like
come
who had
Gauguin shared Toulouse-Lautrec's penchant
lor
whimsical photographs, as
testifies.
It
was taken
in
was In inn
at
1 1
snapshot
1893, alter
first
Mucha, a Czech
artist.
sits at
sent
him
a telegram
An uncle
him 13.000
left
got
and asked
coun-
did,
monev.
and
Musicall) inclined,
French horn,
who
into a windfall.
to
Gauguin
trip to Tahiti
Gauguin owned
francs. Mette.
if
a guitar,
and
Wh
row
monev
easily,
was being
moved
settled.
There he held
soi-
Mucha's
self-possessed.
rees during
which he exploited
to his guests.
men
a few
part Indian,
(Gauguin had
to
little
dark-skinned halt-caste
Mala) and
be expected
a predilection for
and
young sculptor
artists
in
young
girls, a
which was
13.
the dissolute Paris of that time, although he also had affairs with mature
also
been
hi> recollection- ol
as those he had
said, better
made on
monkey. He
lahtti to pro-
the island.
He
1,500 francs.
L24
a pet
in
The
possibilit)
and
at
in a seaside
few fellow artists and their ladies, he heard insults being shouted
his half-caste
companion from
a cafe.
was
a brawl in
eral
Breton fishermen wearing heavy sabots. His leg was smashed just
When
in
at last
he returned to the
who had
hobbling on a
city,
ransacked his apartment. She removed everything she considered valuable, but she did not trouble to take his paintings.
'"This filthy
Europe!" he
He would
cried.
and tran-
against the fools." Before his departure he held another sale, an auction that
meet the
He was
offering.
him
to
dinner after the debacle and recorded that Gauguin was "crying like a
child."
returned to Tahiti
in
that
Papeete
fun
fair
art
The
local
J. F.
newspaper
in offering
The Angelas, The Gleaners, The Sower and The Shepherdess and Flock.
life in
taste of middle-class
full
Europe, with
joy in the realistic, the sentimental and the pleasantly narrative, had
of
its
fol-
Gauguin leased
to her
whom
he described as being
13.
first
sojourn
to
circumstances
exhausted.
he waited anxiously for the arrival of every mail schooner, hoping that
friends or dealers in Paris had
somehow managed
to sell a painting.
After he had been in the island for a year and a half he heard from
Mette,
dead of pneumonia
at
19.
in briefest
flowers
it
125
is
He never wrote
ers."
My
is
Late in 1897, about eight months after hearing of Aline's death. Gau-
guin produced his largest and surely one of his finest paintings
do we come from/
If
If
he painted
He
him
it
hills
last
testament.
him
is
it
from
killing
here
\\
common
on the
it
die.
his syphilis.
He swallowed
of
all
it
it
said,
"to live."
little.
worse and the possibility of help from France seemed more remote
al-
though, unknown to him. a market for his paintings was fast developing.
He took a job as a clerk in the Tahitian Public W orks Department and
for a time dabbled in journalism, contributing articles to a satirical
monthly
( 1
he
f\
lonial
he
his
in
founded
own
his
it.
broom
in the night
referring to
various
it
public
figures
as
bogevmen and
despots.
May
In
1900. aged 51. Gauguin was rescued from his painful poverty
named Ambroise
\ ollard.
who agreed
to
buy
300 francs
month
sas,
and embarked
last.
Oa
all
him
Gauguin sold
in the
Marque-
about 750 miles to the northeast, where he hoped to find a more un-
be red-haired
in -
though
l.i
~ln-
-i
<>f
his mistress,
I > >
ri r.i
-till
i>i
vt
pleasure,"
hile she
painting
I
(i<>/>)
nl
her husband,
ongeniall) despite
.1
.he
-.11
also
who posed
fearsome
tor the
produced
them
guin
arrived,
owing
to
such
to
involuntary
imports as
tuberculosis,
local
it>
mistress, aged
I
I.
nfortunatel)
istrators
in
Hiva
and he began
fatal
to the
previousl)
126
to frequent
had dwindled
to paint
in
Suez.
He soon acquired
por-
new
once more.
Oa
who was
responsible to the
authorities in Tahiti.
summons
sued him a
menace
great
and thus
to traffic,
way
his
is
it
it
is-
Gaua
that he return
your
to be feared that
which
the history
of art.
justice
more
T,
Gauguin
my
Nor
shall
head high," he
wrath than
reality,
to three
said,
well
it
On
months
Marquesas
in the
in the
trumped-up
li-
in jail.
shall
always
to be a
in the
my
honor." Be-
in his hut.
It is re-
in a
named Gauguin,
erything that
is
Jf
wrote that
p
\
as
The Catholic
girls
he was convicted of
young
.he sentence
hold
reflected
quietly desperate,
to prevent
into
itself. Bitter,
it
far Pa-
times obtaining
from
is
Wait patiently."
Church
cific,
""It
an incubation,
a tendency,
is
moment
the
from a friend:
a letter
would upset
arrival
""the
onlv note-
contemptible
New
one
'l
ork
heeame an
artist in his
decent."
have requested
all
am
will
left
liabilities
by the
who belonged
ing purchasers."
a few
still
remained
in
little
auctioned
tioneer held
it
for
memorial on
more than
a tourist
his grave:
who wished
to take
his
house, were
were low.
pu
i.
<;
was stolen
home
in
a souvenir of the
51.
fisherman. Then, in
woman
nited State-,
where he sold
agara Falls.
cemetery
wa- 17
Mage in the Snow, sold for seven francs. The aucupside down and announced that it was a picture of Niin a hilltop
be
lai.
Gauguin a-
some
who
Hi-
France but
canvas, Breton
to
in 1899.
late
n right.
prospect of find-
his paintings to
tercolors
One
to the
ow
brought
painter,
Kmile Gauguin
i-
'"I
museum
South Seas.
to hi- island
home.
Gauguin
He had
living
Troubled
Idyl
live
all.
he found
it
Polynesian
myths and
He
in
himself
superstitions.
own
in
Never moved
time.
\\
to fail.
in
1895 he
his
dying da)
women, and
28
it
was
in his
that he
work
found
like the
one
lie
ot
Polynesian
celebrated their
in a
Hood
ol
pictures
at right.
until
l>\
womanhood
lied
Women
129
no
Ixe, 1891
Paul Gauguin
W_Joon
first
he painted
in Tahiti,
and
it
at
Gauguin's style
the
still
left is
one of
shows the
this formal
in
sandy beach
is
left,
woman
is
arranging in the
le
hint
Mill
journal,
"which
While he
lived in Tahiti.
own
more
for
like a
its
Fatala
at
poem,
it
is
a musical
shown here
know and
his
own
is
perfectly clear.
love. In other
131
life.
/.
1892
G
P
in Tahiti, a 13-year-
and
it
was partly
mask of Christianity
and
were very
spirits that
real to the
late to his
women,
Tahitian
without a
light
it
The image
re-
is
a repetition of a
classic subject
lovely
picture
(lie
is
in
most other
flat,
phosphorescenl (lowers
eerie glow ol the spirit
of his stvle as
it
had developed
Similarly personal
is
mask-faced
bed.
woman
aiting
132
seated
symbol and
painted a picture
in Brittany.
Ins invention of a
lull ol
al
shown
as a
reality,
he has
Paul Gauguin
Spirit
of the Demi
U atchins
133
I.
18^2
in France,
one
more than 12
Of
Q<i
lent"**; V. ui
A I Ion]
*M4
last,
feet
first
he wished to
great painting.
wide
It is
sum up
his largest
finest
work.
Here
from
is
his
own
other.
An enormous
[seated] figure
its
arm
which intentionally
in the air
and looks
in
who
astonishment
at
their destiny.
goat.
An
is
idol,
to her thoughts.
dare to think of
picking fruit.
Two
The
both arms
A
girl seems to listen to the
woman approaching death appears
the Beyond.
an old
idol. Lastly,
resigned
Paul Gauguin:
\\
here do
and painted
we comefrom?
II
II
five
here are
more
years.
we going? 1OT7
135
136
VII
Mastery
out of Despair
not the fact that he had suffered a severe mental breakdown that
it
\\a-
first
con-
soon he
was able to joke about having one made of papier-mache. His deep fear
is.
He had
Gauguin
who took
a telegram to
trivial affair.
the
did.
first
He
refused to see
two or
his brother.
Theo had
just
Amsterdam, and
become engaged
in a letter to
Dutch
to a
now
her he
girl.
reported
in
which he
acted normally, but then after a short while he slipped off into wan-
those
for
from time
moments he
to time
It
to w itness
tried to crv
vet
poor, poor sufferer. For the time being nobodv can do anything to
leviate his suffering,
though he himself
mavbe
it
It
was
at a
new place
to record
day. Thus,
when he began
his
at
Saint-Remy. he
manv
view
it.
but
my
heart breaks
II
life
he
al-
to all this.'"
little
is
it
when
If
think of
it
must be
that he dies,
it."
mental hospital
whom
he arrived
to
feels
in
and
fighter
His friend, the postman Joseph Roulin. visited him dailv and remained
in frequent
and the
touch with Theo. So too did his physician, Dr. Felix Re\
On December
delicate watercolor.
in the
Hospital
Garden, Saint-Remv.
May 1889
had
down
in
had menaced
a nurse,
to get up.
It
and had
he
lain
137
him
essary to lock
woman and my
way here
again,
When
get out,
To
was
My
be coming and
will
dear boy,
am
lit-
shall
so terribly dis-
no harm came
to
my own
shall be able to go
so upset."
this letter
my
weather
fine
you should be
was so recovered
work again soon. The char-
to start
no
man? Now
at least
is
In this
last
is
all
a fool
and that
it
this
is
the worst of
he referred
all
is
possible worlds.
Despite his
it.
many
own mis-
philosophy
to Pangloss'
is
for the
is
times, and
"all
is
A rom
it
seems clear
to him.
He soon wrote
to
and then a
lot
right
and
my
my
came back
appetite
at
once,
my
enough
my
that
terward, but
illness."
did not
is
se-
unhappy jour-
fit,
digestion
ney and
artist's
know
that
legs
it
af-
your
in
in-
deed, recovered: he had resumed living in his yellow house and was
painting again. Moreover, his art showed not the slightest trace of madness. His Self- Port mil with Pipe
terpiece
of objectivity and
Early
\
in
his
likenesses
made
at
of
Madame
the
to the hospital
soon returned
to
poison him.
he refused to speak
to
work. He
still
rom the
first
hospital.
attack, he found
inced
he was readmitted
I.'18
a mas-
thai
is
Roulin,
at a
ot
mad-
Theo he reported
of
in,
he
tliat
the
all place.-,
nightmarish brothel that he had visited on the night of his self-mutilation: "\ esterdav I went to see the girl I had gone to when
was out
I
of
my
They
wits.
me
told
Manv
Swarms
companied bv
his yellow
him
adults, jeered
in the streets. \^
at
it
hen he retreated
and climbed up
to taunt
Soon the
to the hospital,
neighbors
citizens
had
many
them.
mayor requesting
him
came to the house, seized him and took him once more
where he was locked in a cell for dangerous lunatic -.
police
More than 80
at
into
that action.
it
ill."
of
my
madman
faculties, not a
possession
full
He was
also
we can do perhaps is to
the great griefs of human
life
Take
man, go
like a
it
little
while,
your
straight to
goal.
all
But the
memory
of
Goodbye, mv
it is
a sort
ilhelmina in Holland:
\^
"You
af-
don't
in \ oltaires Candide.
in the
did
artist
ill
to visit Vincent.
in
house, found
him on
a walk.
They went
to the yellow
it
1889.
an (ioeh a- tw
its
little tired.
There was
was time
for
him
a terrific mistral
\ incent's
blowing which
It
incent continued to hope that his seizures had a simple origin, and
and a cautious
admit
"the furnace
life
regular times,
all that,
but
all
attained last
at
much
heat ...
is
the same
summer,
it
is
really
had
V,
that rest
it
as
"All day long he talked about painting, literature, socialism. In the eve-
much
confined there
a landscaped courtyard
ning he was a
ice
A sun-whitened Mediterranean
stucco building,
when
to be prettv well
world where objects and emotions become fused, he had gambled his san-
139
\[\
left
red. blue.
yellow, orange,
IT*
an Vugustinian monaster)
each side
founded earl}
in
Two
when
built in
long, low
is
an
like
once
ol the cloister
in a single
half-hour/
After Signac's
visit \
more permitted
to
walk abroad
lilac,
on pag
himself
tilled
can
who
live in
continued
difficult to
him
ow
a
ot
n.
mental institution
in
rederie
to
continue painting.
\t first
ap-
it
tle
In an)
wrote
who
i>
cent
\\
m\ brother.
that hi*
illem van
i>
hospital
at
Saint-Remy.
at
heo
internment
a lonel)
old.
... In view
ol
the fact
\o
lit-
even more neatl) than the order of an institution tor the mad.
man unprotected
dailj lite
It
i>
unsound,
hope
that
vou
will find
possible to permit
it
him
to
at
that
was admitted
him
seems
he does not
An
and entered
in the register
to
to mutilate
himself by cut-
my
opinion
is
that
room
incent's cell-like
floor of the
wing
at
the
\\a-
riL'ht.
There
is
memorial
M. van Gogh
is
made
to
live in-
no ac-
curate case history was recorded by any of the doctors in whose care
many phy-
sicians, psychoanalysts
It
damaged bv
It
first
much
have been
appear to be
who had
attended
\ in-
would be presumptuous
to fasten
init
psychiatrists have also favored the view that \ incent had a ""manic-de-
pressive psychosis"
he
did.
it
is
ma
the tower
on the -eeond
The w
i-
due
m<; has
to be
to the artist
subject to epileptic
monaster)
of the original
feel that
dependently
fits at
at that time,
8. 1889. Di-
to the
was part
most
people have a similar pattern, with the obvious exception that the average citizen never reaches such depths or heights. Perhaps the most rea-
in
ha:-
incent used.
on
been
(,nni corridors
where
ill
the wing
Saint-Remy
at
incent
therapeutic baths
in a
mum
and
is
that of the
is
appended
to the
to give
was an individual
were
V incent's attacks
totally
'"he
with Gauguin or
at all.
amount of freedom
and sketch.
letters. Dr.
to paint
sonable view
opinion
times
at
when he
as
During the worst parts of his seizures he was incapable of drawing, paint-
madness
in his art at
as lucid as ever.
It
is
have reflected
\t
or not.
at
times
this.
Kven
the director of medicine in the hospital. Dr. Pevron. had been a par-
ticularl) enlightened
in
188*).
Twice
two-hour sessions,
week,
in
The
olic
hospital
nuns. Once
at
and griml)
Saint-Rem)
monaster)
it
w Inch
is still
incorporates
at
cure.
in use,
is
a cloister
operated
l>\
Cath-
13th Century.
institutional
\2
ill
it
the pictorial problems he had set for himself long before his attack
il
Thus
endless.
park-
like
enclosure
circular fountain and a few stone benches. In the distance can be seen
hand
The
air
is
seem inclined
tients
upward
fallow.
largel)
a hell
is
struck the
to glance
hen
\\
still.
now
though looking
as
pa-
new
for a
v,.
incent
many
vacancies
in
ill
his
mens
first
"Though
very seriouslv
for sleeping
the
and an-
dormitory,
he de-
letters
some
there are
madness
that
used to have has already lessened a great deal. And though you continually hear terrible howls
other
thev
and
people get to know each other very well and help each
in spite of that
all
ners
little
es of blood-red.
relics of
some
rich
A worn armchair
in design.
and de-
probably
"The food
morning sun
see the
so-so. Naturally
is
it
rising in all
tastes rather
moldy, as
its
glory.
in a
Van
cockroach-
months
later, that
down
the unpalatable
hospital fare and had subsisted almost entirely on bread and soup: only
in the
in
some stagnant
tinguished lunatics
is
more
village, the
like a third-class
so as there are
waiting
some
dis-
hat, spectacles,
cloak, almost like at a watering place, and they represent the passengers.
am
"I
thing.
again
speaking
my
of
condition
so
gather from others that during their attacks they have also
of the attack
first
And
did.
and that
in their
eves too
it
re-
conies on
you unawares, cannot but frighten you beyond measure. Once you
know
that
it
is
you take
from dwelling on
ithin a few
companied by
paint.
it
constant
a guard
was allowed
like
anything
else. If
to
."
I
He became
it
ac-
count rvside to
13
them
of
that thev
mv
thoughts.
should
of such distinction.
it
a splash of black in a
is
It
me
astonishes
it
see them.
make something
like to
like the
one of the most interesting black notes, and the most difficult to
is
can imagine.'"
incent in fact
saw the cypresses as writhing black flames spurting up out of the troubled earth. His treatment of
them
and so strong
so personal
is
on page
their
170.
No doubt
who would
that cy-
would be
It
a very
under
to nature
hills
stress:
and ravines
alive
"Now
somber giant
in
lets fall
A sunbeam,
the
Lnderneath the
by the rain.
off.
left
an enormous
is
mirrored
is
on
empty stone
trees,
yellow in
puddle
last
ocher almost to orange. Here and there small figures wander around
this
my companions
tain of
in
misfortune frequently
suffer.
cer-
Moreover the
motif of the great tree struck bv lightning, the sicklv green-pink smile
of the
')
last
autumn serve
flower of
Vincent
guard)
felt
stable
to
asylum
the
in
for
enough
to \rles to fetch
"must
in
m\
self
(in
to
tell
you
godfather.
ll
to
incent.
in
well,
have
if
lit-
recent weeks he
ol
written to
just
whom we
and
you
it
i>
incent: "I
baby, a pretty
will
in
w ho e\
Vincent
hi>
reading
man
told
am now
two months.
little
kindK consenl
nol count
on
it
too
to
boj
be his
much, and
that
it
may
that the
well be a
baby
but
little girl,
Theo and
to Aries
other
fit.
been, but
be a boy."
will
made the
V incent
jour-
without mishap, but soon after his return he suffered animpossible to say what
It
is
its
timing
its
intriguing to those
is
a business, in-
Some
of these
analysts hold that Vincent was jealous and upset by his brother's marriage,
He
am
noth-
is
so glad that
there are sometimes cockroaches in the food here, you have your
first
glance to be
know
al-
the
use of sarcasm; he truly meant that he could abide the roaches because, in this best of worlds, his brother had cause for happiness. His idealism cannot be overestimated.
news of
a child,
is
it
likely that
might lose his financial support. At any rate this was the opinion of a
know
in a position to
Theo's child was, as his parents had hoped, a boy, and was given Vincent's
still liv-
pointed out that "the trouble with Gauguin in Aries started right after
Vincent heard from Theo that he intended to marry. Other crises came
about after Theo's marriage, after the announcement that a baby was expected and after his birth.
It
Had
and
that
never
it
suicide.
first
killed himself
is
mind
his
it
it
his
poisonous paints. In
"When you
at
come from
suffer
afar.
room
case,
immense arena
ways the
or an
seem
to
is
not
al-
and
to
in reality."
left
my room;
Work, he
felt,
as
a great distance,
two
this:
and
down
if I
set
at a great distance,
is
when he was
months
to be exact
have not
know why." He resumed painting indoors, copyDelacroix, Millet and Rembrandt that Theo sent him.
don't
was
his salvation
for
145
my
illness.""
(There
no record
is
anyone
that
Saint-Remy liked
in
complimented
his
The nuns
his art.
memory
in their fash-
As
tures in
all
made no
threat of
"Every dav
it.
consists of a glass of
It
vou
plicated,
some moments
""W
ell,
it
that has
will take
me:
the same, at
all
my
do
to
not com-
is
will
which melancholv
is
how
together
will tell
but had
in his letters,
it.
al-
anvthing
in short,
my
do
many
field
was
that
from
visible
studies he
made of the
walled,
his
in
warm light. "I am struggling with a canvas begun some days before
my indisposition, a "Reaper": the study is all yellow, terribly thickly
end of
his task
death,
it
goes
way
its
is
reaping.
most smiling"
...
In
spite of the
find
mood
together
I'" al
in
people
models.
working on a painting
(
iinoux, wife ol
'
i|iin k
Afterward,
.1
1<>/>
li
nl
her
lived
an Cogh was
ml Madame
owner, Gauguin
local cafe
aketi
when
\\ hile \
>"l'Ii
<
<
ruin
;n( .i-
>
Rem)
.ii
had no one
to
ail
luding
n
in-
il
krli
Ii
.ii
me
like this,
.i
In-
model
ol a
coward than
eat like
Inr him, he
in
like this
is
the
'al-
from between
m\
know
his
He wrote
am
dead
set
to
on
which
ease, in
more
violent at-
feel
ought
I
to be.
to
limit
altogether
it
is
makes
hank."
incenl remained
average of two
and
had no desire
in
the as\
week despite
him
lor a year,
producing
cam ases
at
an
however,
he became convinced thai his health was being made worse, not better,
lis
n>
have sought
it
at
saw
what
I
more
^.ii ni
but
is
onfined
in the
fixed continually
means
tack
it
of the painting.
Gauguin and
will to
m\ work,
cell.""
it
queer that
it
in
see in
fine
is
his
continuing presence
in
Saint-Remy.
director for
bland, "Well,
his illness,
heavy with
it
he received on
let
that he
lie
He
marked
how
that no matter
far
Holland and
in
fields
"During
my
illness
every plant
house
in the
at
in the
magpie's nest in a
tall
the back
at
down
gift
you
thing
And
"My work
was going
it
was finished
it
1890,
almond branches
for him:
turned:
to a
re-
flow-
canvas of branches
in
blossom
best, the
down
like a brute.
understand, things
Difficult to
seemed crucial
to
Paul Gauguin,
He thought
painting in
briefly of
Brittany.
\^
going to
hen
visit
incent
broached the subject, Gauguin replied with great restraint: "I must
admit that
believe
it
which
is
many
precautions.
Your
to live to-
ailing condition,
lot
of fore-
"My
thought:
kill
possible to
nevolent
painter
Impressionist
And
this
to say at
befriended
might be
him
in
Paris.
home, where
Madame
it
who had
real-
me."
his wife
wears
another idea. In the small town of Auvers, some 20 miles from Paris
on the Oise River, there lived a very sympathetic man named Paul Gachet.
physician
artists (including
own
artist himself.
Cezanne
He had
as well as Pissarro)
a press
on which he
etchings.
Dr. Gachet did not offer to take Vincent into his house, but did agree
to find lodgings for
seemed an
him and
ideal situation.
to
it
It
was
147
o,
'il
consume
all
of
Van Gogh's
W hile at
life.
As a
result,
much
all
his art,
work
is
every
facility.
bit as
strong
endow
color.
his
He
in
Van Gogh's
Drawings:
Color
in Line
feel of
One
is
of his
an inventory
<>l
makes the
hillside vegetation
fields
\\ hile
he was
Saint-Rem)
a (lulling
at
in
the
<1\
al
and undulating
awareness of the
the asylum
lines that
imminence of death,
all
his
\\
is
his
overpowering ereat
drawing?" he asked
i;;
si
sta) at
Samt Keim
finding a turbulenl
seems
l
ypresses,
Saint-Remy,
italitv in their
that
during hi>
in a letter. "It is
i\
H8* >
149
I88H
Wmmi
^
'/
'
Y*
'
.'
'
i.
<k;
i
/
.
s -;
Landscape with Railway Carriages, Telegraph Pole ami Crane, Aries. June 1888
151
'.
June 18KH
Juk 1888
'
The Fountain
in
the Garden
Mav
1880
15<
r*-
//
IfiH
#
^J?
WSS^M^ M'
--.\Vf'
eW in/A
STAOTJi HE
HI
Of
I()()
VIII
"A terrible
Early
in
1890. before he
the asylum
left
Saint-Remy, Vincent
at
re-
ceived two pieces of news that might ordinarily have been encouraging
to
any
artist. In
peared the
first
was informed
sale
that
he ever made
The
full
article,
one of
the
in
first
by a
young
brilliant
fully
his paintings
it
in
critic
named
an extravagant
in Brussels.
he had care-
Pere
in
in
drunken
its
lava into
the ravines
all
believably dazzling.
a kind of
to handle bibelots,
He
is.
as
far as
Hi> color
gro-
i-
un-
is
life
made
at
to
archway
man
article,
"maddened" or "patho-
inside
reflected in
He
critic
own
was
Hospital Corridor at Saint-Remy,
June 1889
in that city
who made
an organization of 20
artists
ingt,
vases available.
One
1890 show
had seen
161
V incents
work
tures. Six
in Paris,
for
some
pic-
sold. The caliber of the exhibition may be gauged by the list of artists
who participated, among them Redon, Lautrec, Renoir and Cezanne.
The buyer of Vincent's painting was herself an artist, the Belgian Anna
Bock. Although the price was only about $80, the quality of the show
Most of the
ingtistes
sale
seemed
good omen.
hung
in
the same hall with "the abominable Pot of Sunflowers." At a banquet cel-
an Gogh as
iC
De Groux
to a
De Groux was
a rousing one. as
scarcely taller than Lautrec and could have had difficulty coping with
sign
and
Auvers,
Vincent
illem, her
in
becoming instead a
steel-
seems
Mr.
to
after the
effect
van Gogh
in
in
mother and
a sister:
to praise
up
his
is
it;
as
is
how
my work
heard that
article in question,
this
Then he wrote
"As soon
museum in Amsterdam
house them.
to
it
had been
in his
childhood,
it.
on May
1890
16.
He
a sick
It
remained what
out incident.
to his
was having
new
on
existence
coming soon
article,
re-
four-month-old son. As
\ incent \\ illem
from Les
an adult.
to
Vin-
insisted
first
a sturdy, broad-shouldered
man
with a healthy color, a smile on his face and a very resolute appeart
j|
ance." Her impression was that Vincent was stronger than Theo.
suffered from a chronic kidney disease and was often
who
unnerved by
dis-
"Then
mm
'
r/
tears in
heir e) es.
Then
at
3J
a^^~^
^t~~
too
ives,
cradle was.
Si-
both had
me and
said, point-
sister.'
which he used
ing loo.
The
shirl sleeves
The
162
all
the
time. Saint-Rem) was not mentioned, lie went out by himself to DU) ol-
HH
DO)
^^^^^
little
first
to eat
morning he was up
looking
at
ver) earl)
his pictures, of
them
in
in his
the dining
room
full.
The Potato
room the
ieic
\ighl
<lc
me-
nage, there were under the bed, under the sofa, under the cupboards in
the
little
came
them
fatigued him.
including Lautrec,
to visit him.
He had thought
that
in the city,
letter of
introduction to
among other
things a
is
it
little
The
tree-
shaded houses are scattered along a slope that ascends from the slow-
is
wheat
a vast plain of
fields,
charm of
laumin. Cezanne and Pissarro. Vincent found lodging for about 70 cents
a
day
at a
small inn
floor,
cubbyhole
maintained
is
in his
barely space
stifling
enough
wall,
memit
has
is
Then
in his sixties,
the doctor had an abundance of red hair, a long, gloomy face and a fond-
which he
A widower, Gachet
and
teen-age son and daughter in one of the largest houses in the village, sur-
rounded by
a half-dozen dogs
and as many
and
Aollowing
who
him
repeatedly invited
tainly
to his
much
.
come, however up
me
for
to bear,
Well, the
to
now
if
moment when
like
made
a portrait of
him (page
I 7r> )
When
cer-
all is well.""
in
incent
man and
in
the doc-
in all his
work, an etched
at five. \
an Gogh worked
Drinking
in
little,
as
much
zest as
he had
in
first at-
163
He
tack.
chestnut trees, the Gothic church and the great plain of wheat, turning
many canvases
out so
them
store
at
it
was impossible
to
in his little
little
It
And
every day he brought new ones in; they were strewn on the floor and
On
Sundav
in
met us
at
at
all
them."
his family
We
nephew. ...
little
rest until
lunched
He
in-
in the
open
air,
and
af-
terward took a long walk, the day was so peacefully quiet, so happy.'"
In the days following the visit Vincent's health continued to im-
He thought again
make a series of
in a Paris cafe,
and proposed
to
Gachet's press.
He even
that he
Madagascar
guin to
felt
Y,an Gogh
did not
Theo and
in Paris.
become deathly
child had
to travel with
its
for
on
Gauhis
all
end.
kill
would be able
life
work
plates to be printed
if
lucid to all
of exhibiting his
to
About a fortnight
ill
his wife
Theo
now
live
member
that
vou are
in
You
me
we
fire,
is
and we must be
have to battle
shall
have to
in
all
re-
much
all
he
himself as an
they might
risk;
whom
was think-
is
admirable.
good shape
our
to fight
lives rather
than
eat the oats of charitv they give to old horses in the stables of the
great.
shall
\
We
still
shall
until
that distressed
moon."
conference
a letter lull ol
pessimism
L64
painting b\
\ in-
cent
for
frame. Vincent thought the neglect was barbarous, and loudly upbraided
Gachet. "I think we must not count on Dr. Gachet at all," he wrote
Theo. "First of
man
he
all,
sicker than
is
own madness
no
soothing
at a
our existence
is
is
not a
fragile.
when
trifle
Back here,
but to
letter,
"when
is
You
menaced
see,
of us feel our
all
still felt
at its
you
felt
me
my
What can
my
the same
little just
we
little ef-
blind
He implied
fall
to return.
am.
that
too
life
feared
The
and
my
fin-
my way
is
last
to express sadness
paintings,
and ex-
If
though
to engulf
On Sunday,
catastrophe.
some canvases
Well,
my
own work,
He
Theo
am
it
that's
my
risking
all
which he
in
calm even
life for
right
re-
it
in the
my
and
but what's
it
into his
With him he
fields.
carried a revolver, but he also carried his easel, perhaps not having
life
is
flat.
endless. "At
Well, so
it
is,
to shoot at crows.
one time," he
"the
said,
to
Asnieres. But that fact doesn't prevent science from proving that the
earth as a whole
are
still
is
spherical.
No one nowadays
much more
denies
that
is
life,
too,
it.
Well
or only
map
set
know
hemisphere of
me dreaming just
me dreaming
it
wonder, be
We
we can
before death
we
we know."
spherical and
is
Why
should
less accessible
than
165
Rouen and we
why cholera ...
motion
or
like ships,
I dont see
modes of locohere below, while if we die peacefully
.
Anyway,
of old age
He would
it
He
self.
gun
to his
way up
pile
make his
The landlord discovered him
to
manure
King on
there.
his
turned to the wall, and sent for help. Dr. Gachet thought
trv to extract the bullet but told
"Then
have
will
to
do
him:
to
ceive
came
ut-
and
rows.
draw mi; of
arm ing
in
If
The brothers
The
much he could
ool)
-ii
good
Theo
not crv.
did
it
He
illusions lett.
little
life
courage
for
to live!
Dont
him and
sor-
be too w or-
A,
art that
he sought
re his survival."
The
to
could go
home
now."" and
said, "'and
was the
will in
"Do
\u\cr-
which
and
for the
incent said.
It
his pipe
art.
smoked
the deathbed.
and
sleep,
send a note to his wife: "Poor fellow, fate has not given
to
said that he
ried;
1890. w hile friend- were
word more.
he feels so alone.
Theo
his
of Julv 29.
office.
affair.
found time
<la\
of everybody.""
hen Gachet
\ incent. \^
own
\^
to
had committed a breach of the peace. He replied that his crime was
tered not a
V V
to
unwise
it
all
Theos home
was necessarv
it
it
it
him
able
still
room.
priest of
Auvers denied
a neighboring
illage.
number
it
was necessary
of \ incent
friends
came
Vuvers for the funeral and one of them, the painter Kmile Ber-
to
nard, wrote of
it:
"On
room where
la>t
like a halo
la\
his
all
around him
and rendering
his death
his bod)
artists.
On
men
and
stool
fin.
\t
his
light ol
ol art.
was
in the
Some
()
his brother,
if
hearts
the hearse.
loo
works
a> well as in
It
which he dreamed
wept.
sustained him
pitifully
it
to
Theodore van
his
in
without cea-e.
We el imbed
We
of us.
fresh tombstones.
under
ing,
on
It is
the day
he could
still
the reat
still
have loved
Who would
moment
at that
from thinking
grief; for
When
he received.
furnish you
memory. He wrote
all
a very steady
young critic
to the
Albert \u-
altogether authentic as
is
could
have had
Theo
to the
rier
thai
ol
ol the
little
given to art.
fie lias
Two
it
his
re-
he
employers were
it
in his
own
gallery
approached the great dealer Paul Durand-Ruel and asked for space. Du-
who had
rand-Ruel,
earlier
now wish
Theo
to risk
tried to set
up the exhibition
last,
re-
enormous
While he
tried to
At
his
first
car-
rying out projects that had been dear to Vincent and sent a telegram to
money
in Brittany:
"Departure
to tropics assured,
He then attempted to
where Vincent had hung his
pictures three
years earlier, and tried to revive the idea of a society of artists. Soon,
to be locked up.
him
to Holland.
There he
fell
into a
profound depres-
sion from which almost nothing could rouse him. His physician read
an
article
brother's
about Vincent
name
did he
in a
show
months
in
life full
Theo
of emotional stress."
his
him
a flicker of attention.
after Vincent.
at
\ incent's.
The
graves have a single cover of ivy. In the gentle seasons of the vear strangers
come
falls
to
beside
I6"i
A he sporadic
Van Gogh
fits
quantity of his
art.
Even
nor the
when
Last Rush
of Genius
As
in
work.
He
May
1890,
He then
settled in Auvers-sur-Oise, a
artistic strength
little
expended
Paris,
himself to exhaustion,
where he
mental
are
Pushing
from
self-
The eyes
level.
life,
and
Van Gogh's
illness to his
all.
at their
this portrait
how
Above
detachment; no matter
painful
it
Aries,
became even
lf)H
style,
Nor was
his
which flourished
work
was
at
Self-Portrait with Pipe
Bandaged
February
Ear, \rlc~.
188<>
and
169
itfMiilifri
HIT
jaBHMI
Thr
at
his days
Van
brilliance of pink
One
(left),
reveals
work
as a
moon
still
it
a last attempt
if
you
in the
ultramarine skv.
and green
f'lnin
like, a soft
with
tall
tall
\ an
Gogh continued
landscapes
to
to
tall
grass in the
and clouds
in the distance
still
sharplv defined.
171
=3M
y
7I
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i
v--
cf'7\
km
Wf tim dm
'
The
A,
I
Olivers
mind from
it-
at
One
of
Gachet,
at
who encouraged
lunch <U
June 18 lX)
ill
liurrs.
Pissarro
the artist to
port rail
I."
an Gogh. Of
lie
me just
).
as
Portrait
Vincent
said,
"Now
Indeed, Van
in the
He
painted the
man
wan, vulnerable
own
resting resignedly
lie
on the
him
is
on an
table,
and
is
the doctors
background of
hills
175
reflect
incenl w rote
Theo
thai he
had found no
difficulty in
Signs
<>l
In- griel
and
ln^ fears
I7(>
The
is
abound
sk\
is
last
shown above.
in this
a deep, aniir\
foreground
is
uncertain
in
an
ill-defined crossroad.
oil
The
dirt
both
The w
heat
itsell
.-
/(
rises like
rolls relentlessly
felt
Van
.,-...,^
was closing
down. Created
his
177
(1)
("))
N.
more
Gogh ihan
fitting
January-February 1888
this series
es in his style
178
Paris,
<l
and
self-portraits,
his
(2) Paris,
an
growing self-awan
riess.
(6) Aries,
\n
(2, 3,
I.
5).
September 1888
The hues
ol
^rles
reminded
in Paris
an Gogh
"I
1887
(3)
(7)
Pans. 1887
an apparition emerg
biguous
September-December 1887
<8l
(4) Paris.
background
(7).
following page)
His
is
held in check bv a
Saint-Remv or Auvers.
and
detail
monumental
effort of will.
179
on the
mind
(in
portrait,
and painted a
resolutely viewed
is
loss
of
incent were
II
ilhin six
and which
is
incenCs death:
It is
letter
Life
Oh Mother!
lie
is
a grief that
write
will
I live;
he
"One cannot
revealed in a
is
to
was so
HI
1
-
JfJJz
APPENDIX
1800
1800
L950
"n
1950
187.
HOLLAND
<;kr\i\ny
johannjongkind:
josef israels
18:
E 1838-1888
MATTHEWM \RIS
WILLEM
1858-1925
EMILNOLDE
1867-19.56
IS
1839-1917
FR\N/\1\RC
RIS 1814-1910
\1
MOOCH
VINCE Nl'\
[}EHENDRIkBREITNER
VRNOLDBOECKJ
1857-1
H 1827-1901
1872-1911
PAUL KLEE
1877-196$
SP\I\
PICASSO
JUAN ORIS
1881
1881-1966
MBF.RTOBOCCIONI
GINOSEVERIN1
JiAN-BAPTlSTECAMILLE COROT
EUGENE DELACROIX
1796-1875
DEI
JULES BRETON
JOHNMILLAIS
1878
18
EDWARD
1AVANNES
828-1882
18^91-1896
RN :jONES
Bl
1833-1898
U Si Rl\
1821-1886
1821-1898
GUSTAVE MOREA
18 7-1910
DANTE ROSSETT1
1819-1877
ADOLPHE MONTIC XI
IS
WILLIAM HUNT
1811-1875
PIERRE PIA
If
ENGLAND
812-1867
JEAN-FRANCOIS MILLET
GUSTAVECOURBET
1\N] 1881
GIORGIO DICH1R1CO
1808-1 1179
THEODORE ROUSSEAU
1882-1
18a3-1966
AMEDEOMODIGI
1798-186
HONOREDALM1ER
1825-1905
OSKAR KOKOSCHKA
1826-1898
188<-
ECONSCHIELE1890-19lb
\Si '-1906
NIHNVM
,'
1830-1903
PAULGUSTAVE )0RE
EDCAR DEGAS
EASTERN
834-1917
LEREI
It
AUGUSTE RCDIPN
CLAUDE MONET
BERTH E M(
MARCCHAGAU
1840-1917
STERENOIB
georceinness
\RISTI
OEM
\MNS10W
I1D\
1859-1891
M.BERT
Ml 1.01.1861-1941
DER
R":
1817-1917
WILLIAM HARNETT
1834-1903
EK 1836-1910
THOMAS E.
S 1811-1916
MARY CAS5 VTT 1845-1926
1848-1903
JOHN
1861-1901
1830-1902
1841-1919
18!5 -1894
albert bierst ^T
1841-1927
1844-1903
CEOPCES SFIR\T
1887-
united states
ISOT 1811-1895
PAULG;au CLIN
SI l87^-lo:
1840-1926
HENRI ROUSSEAU
1866-194(1
1871-1957
CASIMIR MALEVICH1878-1.
1864- 1941
CONSTANTIN BR\NCl
1840-1916
\NI) Rl
KANDINSKY
FftANKKUPKA
1839-1899
ODILON REDbN
ROPE
El
VON JAWLENSKY
JSSH y
JE 1839-1906
ALFRED sisli
SIS :y
1863-1914
1832-1883
PAUL CEZAN
MUNCH
ED\ VRD
EDOUARDMIANET 1832-1883
Van Gogh's
1879-1940
vi \
CARLO CARRA
1887-1927
FRANCE
1800
1880-1916
SWITZERLAND
1853-1890
fllETMONDRlAN
P \RI.0
1817-1935
CORINTH
LOV
1837- 1899
\I\I
1837-1887
MWI.IEBEfcN \NN
1911
jacob maris
ANTON
19-1891
CHII
MM
1870-1913
EORGESROI M IT
1871-1958
ALBERT MARQL'ET
1875-1947
18is
NGER SARGENT
HASSAM
ICE
PRENDERGAST
ROBERT HENRI
J(j)HN
1856-1925
1859-1935
1861-1924
1865-1929
\I\RIN 1870-1953
JK
187;
predecessors, contemporaries
1950
and
successors are
1800
1875
The bands correspond
to tin- artists
I960
life
spans.
BlbllOgraphy
\
',N
COCK -HIS
Auden. W. H.
(editor!.
an Gogh,
Gogh.
an
paperback
in
WORK
LIFt *\D
Cabanne. Pierre.
*A vailable
Dutton
Self- Portrait* E. P.
Translated
Mary
by
I.
&
Co.. Inc..
1%3.
Prentice-Hall,
Martin.
Goldwater, Robert
Inc..
in
Modern Art*
rev. ed. \
in
Rewald. John:
1963.
The (Complete
Letters of
vols.,
2nd
ed.
Society,
Cooper. Douglas.
II
alercolors.
Macmillan
&
The Museum
he History oj Impressionism.
Post-Impressionism:
1959.
de
Pnmiltvism
J.,
From
an Gogh
to
of
Modern
Gauguin. The
Art. 1961.
Museum
of
Modern
Art, 1956.
Co.. 1955.
la Faille, I. B.:
L'Oeuvre de
vols.
PALL GAICUN
Elgar. Frank.
Erpel. Fritz.
an Gogh
Bruno
Self-Portraits.
in the
1966.
Cassirer.
Prints, Sculpture.
The
Goldwater, Robert. Paul Gauguin. The Library of Great Painters. Harry N. Abrams.
1964.
Estienne. Charles.
an Gogh. Translated by
S.
J.
C. Harrison. Taste of
Our Time
Series. Al-
Hammacher.
A. M., Genius
Harry N. Abrams.
\agera. Humberto.
and
Disaster:
oj
The
(editor).
in Colour.
li
ork of
Letters
of
W yck
Press, 1965.
Mark
Inc.. 1959.
1%7.
Press.
Press.
Inc.. 1968.
Roskill.
lications, 1939.
Humphrev
1963.
lishers. 1963.
Schapiro, Meyer.
The
N. Abrams.
HENRI DE TOLLOLSE-LAITREC
1950.
Tralbaut.
an Gogh:
an Gogh
invent van
1 Pictorial
le
Vanbeselaere.
el.
I
Adhemar. Jean
Mark Edo:
Biography.
The V
ry N.
Gogh
Drenthe.
in Zijn
alther.
De Torenlaan. 1959.
Harry N. Abrams,
De Hollandsche Periode
in
Het
II
erk van
incenl van
Daphne
oodward.
De
Sikk-
Dortu. M. G.. and Ph. Huisman, Lautrec by Lautrec. Translated by Corinne Bellow. Trie
i-
Gogh
fl
Inc.. 1966.
1937.
incenl van
Inc., 1965.
(editor). Toulouse-Lautrec,
Abrams,
184
incenl van
don. 1960.
Humphrey
Acknowledgments
For their help
the production of this book the author and editors wish to thank the
in
Man
vana: Countess
vttems, Naucelle,
F.
Haab
Weyron; Cynthia
fol-
pper Ha-
(barter.
New York;
C.
J.
Enno Develing, Conservator, Hague Municipal Museum, The Hague; Jean Devoisins, \dunnistrateur Delegue du Musee Toulouse-Lautrec, Albi; P. A. Frequin, Administrator.
Hague Municipal Museum, The Hague; Mme. Guynct-Pechadre. Conservateur. Service
Museum
Gogh Foundation.
Amsterdam; Municipal
Register.
Museum
Tooke. The
L.
Commerciale de
d'Arles, Aries; G.
la
Modern
of
J.
Nieuwenhuizen Segaar.
Art.
van Gogh. President. Vincent van Gogh Foundation, Laren; Van Gogh Department. State
Bureau for Art Historical Documentation, The Hague; Vincent van Gogh Foundation.
Amsterdam.
Thequotationson pages 97. 98 and 99 were reprinted from Paul Gauguin's Intimate
nais, translated
Nan
by
\\
June 1888. A
Jmir-
appears
detail of
Van Gogh's
on the
in color
painting
slipcase.
Picture Credits
The sources
left to right
de Goede. Amsterdam.
SLipi vse: J. J.
Tom
86
Los Angeles.
END PAPERS;
hront: Stedelijk
Museum. Amsterdam.
chapter 5:
Museum. Amsterdam.
Gogh:
88 Yves Debraine.
Pictorial Biography b\
Stedelijk
Museum, Amsterdam.
From
Ian Goph:
Pictorial Bi-
ography by Mark Edo Tralbaut. published by Viking Press. New York. 1959, cour-
tesv Mrs.
Fullerton.
10
Hague.
9Stedelijk
California.
From
The Complete
Museum.
Letter-, at
Amsterdam
incenl van
Museum
Inc.
Andre
Gogh,
\ ol.
I.
Pictorial
22
Museum. Amsterdam.
delijk
Museum. Amsterdam.
Stedelijk
CHAPTER
28 J.
2:
J.
Rijksmuseum
25. 26.
de Goede, Amsterdam.
sterdam.
36
Scala.
42
J.
de Goede.
J.
27-
J. J.
Amsterdam
New
From Ian
11
New
\ iking Press.
17
through 21 Ste-
Kroller-Muller. Otterlo.
23. 24
Museum, Amsterdam.
Museen
Staatliche
zu
Berlin.
41
National
Amsterdam
no credit.
chapter
44 J.
(2).
46
S. Crandall.
6H
d'Albi.
bi.
to.
CHAPTER
delijk
4:
67 A.J.
68
of
Yves Debraine.
81
Pictorial
\rt.
73
70
A.
No
J.
Bulloz.
Museum
74
82.
Agraci.
83-
J. J.
65
77
Realites
12-1
Museum
1963
timore.
ramus
J.J.dcCoede.
\rt Gallery.
Sculpture
and
Ce-
120
1963.
Roger
Art
\ iollet
Mucha. Prague.
126
Museum
Metropolitan
ol
130
photo.
\rt
Museum
134. 135
chapter
of Art photo
149
Otterlo.
Muller,
chapter
Gallery
1391
of
Courtesv
173
176. 177
tom
Art.
169
Scala.
right.
J. j.
Crandall
Museum.
151
Metropolitan
Ki
Rijksmuseum
New York
150
Stedelijk
Museum
174 Eddv
158.159
Art,
179 Yves
180
162
Art.
178
-J. J.
185
166
Pic-
1959. cour-
Cliches
Yves Debraine.
S.
171.
kramarskv
J. J.
170
Courtes) Mrs.
175
Berlin. Na-
Peter Pollack.
Debraine;
Agraci.
of
Museum. Vmsterdam.
Staatliche Museen zu
New York.
de Goede. Amsterdam.
Kroller-
129
131
Associates.
Frank Lerner.
Collec-
151
Mrs.
Nationaux.
124
BobGomel.
127
Museum of Modern
160
8:
British
Bibliotheque Na-
Boston.
F.ddv
12
Modem
torial Biography b)
tes)
Sculptim
Frank Lerner.
136
7:
Museum
Vrts,
Star.
Robert
132.133-
From
Institute of Chicago
MuseumofFine
tion Jiri
119
Kunstindustrimuseet. Copenhagen.
oi
Ste-
105J. J.
Yves Debraine.
Ill
118 From
an
Y ork.
Museum. \m104,
107
Yale University
of Art photo.
Cam-
Dan McCo)
Mala.
New
ramics of Paul Gauguin by Christopher Gray, published by The Johns Hopkins Press. Bal-
The
of Art
Stedehjk
Debraine.
Metropolitan
116
6:
13 Yves
103
110
Amsterdam.
172.
Museum
Museum
106
Abbenseth Pho-
Edin-
From
95
b) \ iking Pre--.
97-
Yves Debraine.
In2
Bouter.
156.157
Scotland.
of
Caller\
Museum, Amsterdam.
Stedelijk
152. 153
of Art.
Wyatt, Philadelphia
credit.
Robert S. Crandall.
64
94
Anna
Neu York.
108.109
chapter
The National
Biography b)
Countess M. \ttems.
courtesy Philadelphia
Museum. Amsterdam.
Ian Gogh:
Hem de
de Goede. Amsterdam.
Rhode
Frank Lerner.
Modern
\A vatt.
de Goede. Amsterdam
J.
Collection.
Edna. Lausanne.
63 Museum
66,
Sirot
New York,
Press.
Courtauld
53 Courtesv
55 Scala-
51
47
50 From
Charell.
45 J.
de Goede. Amsterdam.
de Goede, Amsterdam.
J. J.
48 Robert
3:
J.
101
tionale.
Stedelijk
sierdam.
Baltimore,
de Goede. Amsterdam.
31 through
37.38
The
published by
of Art.
Frequin.
1:
85
Bulloz.
Scott, courtesy
burgh.
Back: Stedelijk
(IHPTER
84-
de Goede. \msterdam
J. J.
Fotograf
de Goede. Amsterdam.
1&5
Index
Numerals in italics indicate a picture ofthe subject mentioned.
Dimensions are given
Academy
124
of Arts. Paris.
Lautrec),
\esculape (journal I. 99
tfierthe Hath
Christ ianit)
\9ht
on canvas),
(oil
(Gauguin), 22
charcoal
16
\ 12'
\t,
& ^
Cornfield u
x 29. oil
15'
Reaper,
ith
7%
pen and
x 23.
Cup
171
Mendes
Irani
ipris ibook.
rt
Gauguin). 75-76
with bathing
(Gauguin).
girl
\uenen
at
36%
18'
tn
inter.
11
Gauguin
on
oil
treatment
batata
son). 127
in his
10,
7.
12.
Darrcl (Gauguin),
ht. \ 12'
(Toulouse-Lautrec), 3'9" x
diam..
on
oil
in
and
" t
ou
(Gauguin), 38'
29'
Happy
fir
ill
II
linden
i,
wood
relief.
123
Bedroom
at
28W
tries,
on Hiva Oa.
Portrait oj the
trtist*s
18
tfiertheBadH
Room
15'
of
Woman Having
oil
i.
18.
in
18-1 19;
>
expensive
women. 86;
final
Breton, Jules, 15
85.
80. 85.
on Gauguin,
,'i
"'
(6
oil
ml Gauguin
on
anvas, 85
(Gauguin), 16
nlr des
Beaux-
trts, Pan?.,
Edward, Prince
ol
ales, 5
Eiffel
Terrace at
,<if-
Vight,
\2
25
l,
oil
(Seurat),
UHx8
blai
2<>
Paul
10,
"i. oil
on
l...
Kao.60.64
ha
rr.
126; mistress in
i.
22
r\"". the
Fen
\H()
on canvas, 131
Gogh,
Field
of Poppies,
f.
'
Gogh's
-/"
/
<
hair
/"
21'
(Monet),
an Gogh b\
<>7,
l'
25
.oil
16!
town,
.i>il
on
oil
on louse
srdboard, 64
foi
louse
on canvas, 90,
\nn.i Cornelia
184, tlipcase
Carbentui van
watercolor, /"
Fountain
I'*
in the
1
i.
pi
"yeUom house**
17; repatriation
134; sculpture
al
from Tahiti.
123-,
and rchd>h\.
second Brittanj
visit
137, 138,
work.
18;
17;
iff
IP)
Gauguin
12"
ater).
It
girl.
118;
onderful Earth
It
123
/,
(hair. 25
28'
_,
on can\as.
oil
97. ///
Madame,
/ ((>
11
P.C,
12
Goupii&Cie.,9,
Grille d*goul
10. II.
14,29,33,
19
(Sewer Grate), 55
8,
17
Wound.
51.
62
!(>.!.
1<>1
Meyer
83
de.
Ml.
\ 36, oil
on canvas, 102,
104*105
Hiroshige, 69; Ohashi Bridge tn the
Ham. 70
121. 128.
118.
/</.
(1894), 125.
symbolism
I laaii.
Hals, rr.m-, 70
Hirschig, Vnton,
ellou
\\
relations with
,l 17,
The
moon
heo van
Flowers
l^
reaction to
i.
><>.
ho are we?
Paris-
BnVBS, 12
),
it
19;
from.'
Guillaumin,
(Gauguin),
the Sea)
Malroi
h.ii.
anvas,
.mi
36, oil
(By
'
Miti
tc
MUiontheCouteure
neat Pontoise, 12
atata
Sermon
120
Marquesan mistress,
ol
uith \fango
Guilhert.
oung
-reliefs:
ater).
II
9.
omen
\\
after the
Oa, 126-127;
a primitive.
sum
produced paintings
on
hi
Una
rt,
on Martinique. 78;
anvas,
h.ilk
18; interlude
Chn
legend of,
72
ht.,
marble, 118
18; influence of
entanglements on
health.
83, 85.
86
Gauguin
Gladwell, Harry,
.11
going.', 131-135;
(,ii!iiii \.
19-
ue
18
here are
incent
Les
Dujardin, Edouard, 63
here do
II
Dordrecht, Holland, 12
90
ue come
II
bridge, The,
GauguuCs
in
Sandro,
Self-Portrait
Breda, Holland, 71
Botticelli,
**7;
f fraii
Spirit of the
visit to
paintings
The
I.
uith 4xe,
15
on canvas,
existence
Bonnal, Leon, 53
Van Gogh
Dining
death
17, 127:
162
\iim.i,
Gauguin
118. 121;
Grandmother, 13
contemporary description
artists.
Man
f)8;
('hnst, 87;
on canvas.
\ 36, oil
companionship of other
).
11
Blossoms. 129;
108-109, 110
Bock,
on
canvas, 13
Be
canvas, 66-67
/9
77. 80;
Manao Tupapau
Belle Angele.
van Gogh,
ce at the Moulin
the Sea
130;
'.
background and
I)
By
La
19;
work.
116;
66
18
Dead
te Miti
by \ an
of.
youth, 77.
es, special
girl,
mug. 118
119; --elf-portrait
Cauguin
28Y
:,
nonprimarv
18: use of
colors. 122
iVu x
pencil on
;.
18
stoneware. IP)
lih.
'
da, 13
1
21
123, 125-126
149
on, 17
Provence, 18S
ypresses, 2
in
123. 132-133;
canvas, 84
Gogh on His
153
166.
unhappy man.
50, 53
Craufrom \fontmajour,
iborg
incent van
164-165.
163.
on canvas,
56
147.
Courbet. Gustave,
on
oil
canvas, t3
Dr. Paul.
171. 175;
Garden
174
Costa.
10'
Uachet.
in Tahiti.
x 19,
Deathbed. 166
Church at liners. 37
canvas), 146
Pond (Gauguin),
the
It
28
(oil >n
\rlesienne, The,
sketch.
Marquesas. 127;
in
Cormon. Fernand.
he. 41
.".
25
Color wheel. 73
95
at, 94,
an Gogh.
by
72
116
124, 125
of.
99.
colored pencil. 60
10,
at,
23%, pastel on
paper. 12
tries,
Cheret. Jules, 56
II
in inches:
oi fox,
l'l
HivaOa, Marquesas,
117. 120-127
Hokusai,69, 118
Hospital
otruior at
Sunt tiem\.
3839
/'*'
21
>'
Orana
1'/
Maria il limi
(Gauguin
I4%x 34
i.
Wary)
Thee*
on canvas, 116,
.oil
123
Modern
Impressionists,
t2,
10,
of a
Interior
hromatu
77,90, 167:
72.
Restaurant* 18
22%,
on
oil
69-70, 79
*5,
the Rain,
2H
Japonaiserie: Trees
on canvas,
Paume
in
19
*.
Re,/
18 . woodi ut, 12
Neo-Impressionists, 7
Sight
afe. The,
27
19
the
12
9,
36%
Rhone
ineyard,
162
Thr.
19
Rembrandt van
Rijn,
ou louse-l autre
2>
1,
31
-.
7.
on canvas,
23!
\Jha\tn Bridge
on
6.5
romage,
and
Stat
(Hirosbige),
drawings
72
57: defi
Madame, 92,
93, 138
Kvland. Henry, 75
W
21
reed pen,
..
142-U1,
front
12
j.
Simultaneous Contrast
oj
oj Colors, The,
(book. Chevreul), 72
Le Courtier
24
Leonardo da
Parsonage
(wood
it
at
oil
hi. 62,
63
at the
rsula, 10-11, 12
oj
ision
in.
\\.
12.
|book. Sutter
I.
Wan
27% x 36
i,
oil
on
Manao Tupapau
It
The
1,
i>(
28
x 36'
i,
oil
on
the
28%x
Dead
36!
..
oil
on
oj a
it
18; Portrait
Mauve,
Men
ure
Won.
tie
32-33. 31.
80
oman (Manet),
(Cezanne),
on canvas, 12
20. 12. 51
the
69,
75,
illu-tra'
\ 13,
Ut Revue Hlnni
he. 62;
Ihmn
Le
Jnponats.
e,
Toulouse-Lautrec
paint
gs
Moulin
h nee at the
'roulue Entering
/.
Hint;
U oman
13 . charcoal, black
[oulouse-Lautrei
pastel: Portro
Room
Tupapaus (Tahitiai
Break
Vlfred, 19
I
uncle). 9.
10.
11. 12
i
x 31
oil
l,
on cam
trill...
26
22
on
oil
i,
x 19%, oil
Ufe
Portrait of the
Portrait of the
23%,
oil
on
Oil
Valentin
le
rnclia Carben
Puppu
on wood. 81
Remh and
Ivy, The.
24%
18
pen.
i|
Hospital Garden, 2
watercolor.
147;
pen
tode),
Ii'>
Strieker. Jan. 31
Grandmother
i25
trtist's
on canvas, 8
Boneless
u tth Three
Stone Steps
trust's
(Bernard), 2ft
2 1%,
Stone
de Haan (Gauguin
ink.
uith Potato*-*. 18
canvas, 25
Still
23
Starry
on wood, 83
and Indian
>
21% x
Kao.
' "lograph,
ha- 1
new
Im Poseuse de Fa*
1;
'
Dii
1:
drawings:
prmale Ch
Cafe-Concert, 12:
and grandeur,
The Dintng
Still Life
oil
169
''>"*,
20%,
self-taughl
101, 102
Portrait oj Meyer
Matisse, Henri. 75
138.
Sower, The, 25
on canvas, 107
oman, 12
>/.
in
Toulouse-Lautrec
Sorrow, 34
canvas, 175
on canvas,
b.nr. 2'
studio
Gog
Suzanne Valad
54,56, 57,58,60
ami Bandaged
Sisley,
liners. Thr.
Portrait oj a U
Spirit
atching) (Gauguin
Pomare
u ht..
18
7.
life in
-ieal collapse
57. self-portrait,
7
Landscape
Divisionism
paper. 33
oil
t,
82S3
mug (Gauguin),
14
72
\I allarme, Stephane,
on canvas,
Chaponval, t3
Plata near
ph\
\5
I.
.'
10
//
78.80.85. 120.
Luxembourg Museum, 56
17
dignit)
Lou\re. 39
oil
74; "optical
20%,
on canvas.
19. oil
Toulouse-Lautrec,
35
techniques. 72-7
on canvas, 88
from. 59
Phenomena
of, bj
in
use
f'2.
76.78.01. 119;
58. 60,
Tanguy,25x
.
at,
ouis, 72
Peach Trees
\-
li
Sell-portrait
Pere
stoneware,
Lithograph \
24
120
relief).
Perr)
161-162
Lo\er.
\ inci, 39, 7
126
".
ater) (Gauguin). 14
It
watercolor). 31
28% x 23%,
126
Les
125. 127
LeTambourin
Les
M<>ei Mysterious
Pasteur,
colored lithograph, 63
pen. 36
57
h rancais (journal),
Im Sourire
I'
pen. 151
Lau
">
alette, pen,
Pope
163
hospital
Panama. 78
on canvas, t3
tries,
51.
55, 58;
life,
lithographs. 56,
15
Van Gogh,
on
endpapet
Chaponval (Pissarro), 21
tli'
friendship with
Scientific Impressionists,
the
for
Landscape oj
il
21. pen,
',',
oil
book
jrti-r. 52;
Manet). 132
..
an Gogh as
70
Old Peasant,
'"
Ram
the
in
Orchard in Provence,
'>'
25
M3
162: ar
Rood,0. \
Roulin,
oil
i,
Olympia
Landscape ai
Raymond de,
fi
T7
l-Monl
loulouse-Lautrei
19
The Bathers,
162. 167;
colored
j.
Tohotau
67
\ 28Jfe,
TebVaman
UK
161
Redon, Odilon.
leu
(Toulouse-Lautrec), 31
Iji
utth
RVnard.Jufes, 56
on canvas,
35, oil
Berceuse, 138
omrn
'
(Gauguin), 13
on canvas. 6#
La \16me
'>- \
10,
It
era
tnd pencil,
(Louvre), 56
cardboard.
on
lithograph, 62
/^i
72
Bloom, 39
/>/
id,
1 nhituin
25,26-27,38,
oil
1
I
25, oil
on
\ighi
it),
\Ioubn Rouge,
rou louse-
I>tt>
Pot oj Sun)
Naked
.pastel, 18
IK
La, (Seur
e.
girl
colored lithograph, 61
Kraus, Dr.C,
2^
on wood,
IXahn. Custave,
Gogh
Prud'hon, Pierre,
inccnt van
on canvas, 70
il
Jeu de
Portrait of
t
Moon goddess
tti" ni
Poseuse de ha-
Japan.
Field oj Poppies, 12
canvas, t5
Portrait of
(9
79,80,85
78.
>
oil
on canvas,
Mother, 5
12%,
/>'
oil
x 13. black
Sues
("anal.
Sunday
Two
gji's
crayon, 24
78
a
_
187
brother), 9,
Index (continued)
94.95.96.97.98.
communicate.
inability to
16; his
1.
letters describing
an Gogh's father).
l\
80, 97.
last
in
means of
communication
other
1886).
19; his
artists'
at
commune.
use of
hopes for an
improved health
The Hague.
in
Cm
belief
Bonnage.
in
Brussels
7-8;
changes
in his art at
changes
13-15. 16;
1;
Auvers. 163-164;
loneliness at Aries,
his paintings at
10-1
160, 168, 17
metamorphosis
committed
contemporary description of
new museum
his
18-19.20-21.22.29-
30. 31. 32. 33, 34. 35, 36. 39. 50. 69-70.
71. 79. 89. 90-91. 92, 93.
ieu
an Gogh
Aries.
16%
tngtistes.
on canvas. 86. 18
Vos,Kee,3i-32,33
in his
Bedroom
and
the Pipe
at \ight. 112-113;
( I
The Chair
an Gogh's Chair).
Church
it
//
ft5
it
we come
here do
Wilde. Oscar. 55
"reaper."
Toulouse-Lautrec.
//
16.
18;
de.-ponden<\ over
health at Saint-Remy,
mistral, 91
tin
1.
141:
16-1 17;
;
139; distinctiveness of
Kemy.
12,
Ill; carl
beginnings
drawing by,
15; earl)
/",-
Samt-
modern
circumstances, 164-165;
affair.
0-1
Gauguin,
hospital.
I
I,
12; first
76, 77;
I
13. 171;
In
tudio
in
reduced
lirsi
with Coupil
detachment,
firs I
"'
Wl.--."'.. 94 ''..II
188
..
1.38.
112.
I.
36. 37;
in
England,
12:
31-32; a second
second love
affair.
recovery
6,
al
I<>8.
36-37; Signal
12; short
's
\i-it in
sojourn
at
Drenlhc.
Theo, 30, 3
ol
1.
36.
ineyard, 162;
of
11
Road
(3)
\ 9, oil
and
on canvas,
canvas,
17)
x 21,
(6)
20V
oil
24% x 20ft,
17"
oil
i-.
on canvas,
in the Cafe'
Still
.".
15's, oil
on
oodcutter. The.
7'
>
I,
21ft
/ /
oil
19
1}
Christ. The.
(Gauguin). 36
on canvas. 87
on canvas.
Young
mth
Girl
28ft, oil
Young
on
tn<cnt's
Room. 28:
\\
il
and
It
(8
ban (Gauguin),
iewacross Paris,
heal Field
36!
on canvas, 126
oman Seated at a
22V
Lautrec),
oil
Table (loulouse-
x 18ft, oil
on canvas,
oal
and
oil,
Le Tamhourtn.
on canvas.
oil
1,
from
here
124
reed pen. 91
oil
1.
on can\as.
lellou
with Cypress
on canvas.
25!
we.'' it
_" \
23
Bandaged
oil
The Red
(1)
'
Artist's
and
13:
a srlf-ta
10.
1.37.
08; his
job,
17.
15,
in Paris.
first
love
to paint outside
Church,
Portrait
Millirt.
15,
Lieutenant
oman
18
ol his
\i^ f "
meeting with
freedom
of Dr Cachet. 175;
Portrait
references to
4'7
indmill on Montmartre. 21 %
it
article
first
hat are
It
canvas. 17
1'heo's
him by
and relapse
at Aries. 138;
Old
18;
on
x 40ft, oil
oil
explanation of //"
art. 7; fear ol
5;
from.'
we going? (Gauguin).
are
La
in art. 9.
15:
earl\ use of
device
power of
by-
Bloom.
20
on
canvas.
and Pere
W,-,er at
10:
resiling
it
\ 36ft, oil
23
Samt-Kem\.
766
tngt
with the
6;
Oha^hi Bridge
8's. pencil.
See Les
artist. 15.
18'
incent van
Gachet). 9': x
Two
Room.
150
eaverat His
It
oodcutter.
It
of
ieu
incent' s
on canvas, 28
x 15. oil
Cafe Terrace
Tanguy. 40.
li v.
Child. 33;
90. 146;
deathbed sketch
ermeer. Jan. 70
oman Tyinga
11
and
become an
Peasant
Sten
critical
for his
Parsonage
The
to
in
89
in colors.
move
at \uenen. 36;
of
mental
in
in
tn
Le Tambounn, 70-71
Orchard
10-
1; loss
Garden
Cormon, 50;
London,
in
Aries. France,
Garden
to
sister),
79, 139
19;
Parsonage
childhood
chronic
illness.
complementary
social
mental
it
oj Poplars. 17;
and
15.
94
\an Gogh.
Cypresses.
Japanese
19;
34;
17: increased
inexpensive models
It
in the
The Zouave. 90
visit to
oman
it
an Gogh
7.
13.
his
of,
168
Auvers.
at
output.
unorthodox methods
144, 145;
Remv.
of cypresses, 144,
religious brooding.
from Saint-
with
165. 176-177:
Impressionism. 46. 51
8.9.30,31.32.37-38
15.
ievenbergen, Holland. 9
Ada. Km.le. 38
Zouave, The. 90
13
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