Devoted to Vincent even after his death, in September 1889, with the help of Vincent’s friend Bernard, Theo arranged a memorial exhibition of Vincent’s works in his Paris apartment.
Sunday, February 2, 2014
Arles, France February 1888-April 1889
Vincent hoped to start an artists’ colony at Arles, in the southern French town in Provence. He got a room at 10 Place Lamartine and lived there for several months while readying a studio in a place he called the Yellow House, which was also known as “The Studio of the South”. He merged his Nuenen love of painting outdoors and new use of color from his Parisian lessons learned and many beautiful paintings resulted.
The first person Vincent invited to join him in his artists’ colony was artist Paul Gauguin, whom he met in Paris in 1886. In exchange for some paintings by Gauguin, who was showing some moderate signs of commercial success, Theo paid for Gauguin’s travel to Arles, in hopes that Gauguin might have a stabilizing influence on Vincent, and he joined Vincent in October 1888. With high hopes for Gauguin’s visit, Vincent used sunflowers to decorate the Yellow House in honor of Gauguin’s arrival.
Initially, the two artists were happy to be sharing space and artistic perspectives and techniques, but tensions arose due to their enforced confinement in close proximity, due to bad weather. They argued publicly on more than one occasion, and one night in the night café, Vincent threw a glass at Paul as the two quarreled. Gauguin considered Vincent to be his inferior, and their dissension came to a head on December 23, after an argument during which Gauguin was mocking Vincent, provoking an eruption of Vincent’s precarious illness. Vincent appeared with a razor with intent to harm Gauguin, who was taking a walk in a nearby garden. Gauguin decided for safety’s sake not to spend another night in the Yellow House and took a room at a nearby inn. Back at the Yellow House, left alone in a frenzied state, Vincent severed his left earlobe with the razor and took it to a brothel where he left it to be given to a resident named Rachel, with instructions for her to “take good care of this”, then staggered home to bed, where police found him passed out the next morning.
Gauguin alerted Theo in Paris by telegram, and Theo rushed to Arles the next day, as Gauguin hied back to Paris without seeing Vincent again. Although after this incident, Vincent and Gauguin actually corresponded from time to time, they were never to meet in person again.
By January 1889, Vincent was back at “The Yellow House”, but far from well. He was suffering from hallucinations and delusions and wild mood swings. By February, the locals of Arles were alarmed and ostracizing him and drawing up a petition to have him run out of town. The children of the neighborhood chanted at him, “Give us your other ear, madman!” and some of the locals called him “fou-rou”, or crazy redhead. He wasn’t run out of town, but he was hospitalized, with occasional outings for paintings.
Still Life: Vase with Fifteen Sunflowers - August 1888
The first person Vincent invited to join him in his artists’ colony was artist Paul Gauguin, whom he met in Paris in 1886. In exchange for some paintings by Gauguin, who was showing some moderate signs of commercial success, Theo paid for Gauguin’s travel to Arles, in hopes that Gauguin might have a stabilizing influence on Vincent, and he joined Vincent in October 1888. With high hopes for Gauguin’s visit, Vincent used sunflowers to decorate the Yellow House in honor of Gauguin’s arrival.
Initially, the two artists were happy to be sharing space and artistic perspectives and techniques, but tensions arose due to their enforced confinement in close proximity, due to bad weather. They argued publicly on more than one occasion, and one night in the night café, Vincent threw a glass at Paul as the two quarreled. Gauguin considered Vincent to be his inferior, and their dissension came to a head on December 23, after an argument during which Gauguin was mocking Vincent, provoking an eruption of Vincent’s precarious illness. Vincent appeared with a razor with intent to harm Gauguin, who was taking a walk in a nearby garden. Gauguin decided for safety’s sake not to spend another night in the Yellow House and took a room at a nearby inn. Back at the Yellow House, left alone in a frenzied state, Vincent severed his left earlobe with the razor and took it to a brothel where he left it to be given to a resident named Rachel, with instructions for her to “take good care of this”, then staggered home to bed, where police found him passed out the next morning.
Gauguin alerted Theo in Paris by telegram, and Theo rushed to Arles the next day, as Gauguin hied back to Paris without seeing Vincent again. Although after this incident, Vincent and Gauguin actually corresponded from time to time, they were never to meet in person again.
By January 1889, Vincent was back at “The Yellow House”, but far from well. He was suffering from hallucinations and delusions and wild mood swings. By February, the locals of Arles were alarmed and ostracizing him and drawing up a petition to have him run out of town. The children of the neighborhood chanted at him, “Give us your other ear, madman!” and some of the locals called him “fou-rou”, or crazy redhead. He wasn’t run out of town, but he was hospitalized, with occasional outings for paintings.
Still Life: Vase with Fifteen Sunflowers - August 1888
Paris, France March 1886-January 1888
Vincent seldom lacked for subject matter to paint. If he ran out of models or inspiration, he might paint his version of someone else’s paintings, second or third or even fourth versions of his own paintings, and if all else failed, himself or even his shoes. He painted many self-portraits here.
Although Paris was having a tremendous influence on Vincent’s art, the tension of living with Theo combined with his own unhealthy excesses and habits and restless nature, in January 1888, Vincent decided to head south, where he found the weather more preferable.
A Pair of Shoes - Early 1887
(Also did other paintings with similar names and content in 1886)
Antwerp, Belgium November 1885-March 1886
Although feeling confident with his talents and the techniques he had developed and honed over five difficult years, Vincent came to the realization that he needed to keep up with what was going on in the art world and obtain some more formal training, so to that end, he decided to move to Antwerp in November 1885 to attend the Antwerp Academy. He bristled under the narrow and rigid approach of the instructors, and he had no patience for their by-the-book academia. Just as he had been in his theological studies, he was more interested in hands-on learning. The boldness of his methods was denigrated, and just at the time he decided to move to Paris, he was demoted to the beginners’ class, probably without being aware of it.
Skull with Burning Cigarette - Winter 1885/1886
Skull with Burning Cigarette - Winter 1885/1886
Nuenen, Netherlands December 1883-1885
Vincent went to visit his folks in their new home in Nuenen for Christmas and wound up staying for two years. Some see this period as an artistic turning point for Vincent. He painted a series of portraits of local peasants and laborers, who he began seeing as real artistic subjects and for whom he felt deep empathy and compassion for their lot in life.
He also began pushing Theo for an explanation for his (Theo’s) not making more of an attempt to sell his (Vincent’s) paintings and upbraiding him (Theo) for his criticism of Vincent’s work. At the same time, Theo was pushing Vincent to try harder to get along with their father, but those tensions still prevailed, even as Vincent tried to make allowances for his father’s not understanding because he was getting older. In letters that were minor tombs, Vincent was imploring Theo to give his understanding and emotional support, as well as support as his art broker (Theo still worked for Goupil and Cie). In 1884, they came to an agreement that Theo’s continued financial support, which never waivered even when Theo was financially strapped himself, would no longer be looked upon as a handout to a poor beggar, but rather payment for Vincent’s artistic endeavors, which he continued sending to Theo, so in effect Theo was “buying” Vincent’s works. Theo finally explained to Vincent that his paintings were becoming difficult to peddle due to the “current” trend in art being the use of brighter colors than Vincent was using.
In summer 1884, a new chapter in Vincent’s collection of bizarre romances was begun when he met his parents’ neighbor, Margo Begemann, who fell deeply in love with Vincent and received strong opposition from her family for the union. The result was that she made an unsuccessful attempt at suicide and left Vincent quite shaken up over the incident.
Pastor Van Gogh, Vincent’s father, died suddenly in March 1885 from a heart attack. Because of the long strain in their relationship, Vincent was emotionally detached and therefore only mildly distracted from his work because of the death of his father. In fact, the very next month he began working on the painting that many say is his first great masterpiece – “The Potato Eaters”.
In October 1885, he painted “Still Life with Bible and Candle”, using his father’s bible as his model. Some think this may have been a sort of tribute to his late father. By the time he left Nuene, he had amassed 194 paintings while there.
Water Mill at Kollen Near Nuenen - May 1884
He also began pushing Theo for an explanation for his (Theo’s) not making more of an attempt to sell his (Vincent’s) paintings and upbraiding him (Theo) for his criticism of Vincent’s work. At the same time, Theo was pushing Vincent to try harder to get along with their father, but those tensions still prevailed, even as Vincent tried to make allowances for his father’s not understanding because he was getting older. In letters that were minor tombs, Vincent was imploring Theo to give his understanding and emotional support, as well as support as his art broker (Theo still worked for Goupil and Cie). In 1884, they came to an agreement that Theo’s continued financial support, which never waivered even when Theo was financially strapped himself, would no longer be looked upon as a handout to a poor beggar, but rather payment for Vincent’s artistic endeavors, which he continued sending to Theo, so in effect Theo was “buying” Vincent’s works. Theo finally explained to Vincent that his paintings were becoming difficult to peddle due to the “current” trend in art being the use of brighter colors than Vincent was using.
In summer 1884, a new chapter in Vincent’s collection of bizarre romances was begun when he met his parents’ neighbor, Margo Begemann, who fell deeply in love with Vincent and received strong opposition from her family for the union. The result was that she made an unsuccessful attempt at suicide and left Vincent quite shaken up over the incident.
Pastor Van Gogh, Vincent’s father, died suddenly in March 1885 from a heart attack. Because of the long strain in their relationship, Vincent was emotionally detached and therefore only mildly distracted from his work because of the death of his father. In fact, the very next month he began working on the painting that many say is his first great masterpiece – “The Potato Eaters”.
In October 1885, he painted “Still Life with Bible and Candle”, using his father’s bible as his model. Some think this may have been a sort of tribute to his late father. By the time he left Nuene, he had amassed 194 paintings while there.
Water Mill at Kollen Near Nuenen - May 1884
Still Life with Bible and Candle - October 1885
Drenthe, Netherlands September-November 1883
Vincent moved North to Drenthe, still smarting from his break-up with Sien and fantasizing about creating an artists’ community, a fantasy which would continue throughout his last years in France. He lived first in Hoogeveen and then Nieuw Amsterdam, and visited Zweeloo while he was here, taking in and reproducing the local people and scenery. He stayed here only briefly.
Landscape with a Church at Twilight - October 1883
Landscape with a Church at Twilight - October 1883
Hague, Netherlands Jan 1882-Aug 1883
Embittered by the latest episode with his family over the Kee Voss incident, Vincent returned to the Hague, where he took up more formal studies in art. He began experimenting with oil painting here in 1882 and doing more and more work in oil in 1883.
A common misconception about Vincent is that he either sold none of his art during his lifetime, or only one painting. It may be true that he (or rather, Theo) sold only one of his paintings, but when he was in the Hague this time, he sold some sketches to Herman Tersteeg, who ran the Goupil and Co. in Den Haag, and some others. His Uncle Cornelius commissioned him to do a series of drawings of views of Den Haag. In August 1882, Theo provided money for oil paint, and Vincent started exploring that genre in earnest.
He received some reproach from Theo about the Kee Vos incident, but urged him to begin their correspondence again. Vincent replied with an inquiry as to whether he should keep his letters stiff and formal and businesslike, or if he would be allowed to continue being himself.
It was while he was here that Vincent latched onto a strange superstition, based on what he’d read about the life and death of artist Guillaume Regamey: He determined that he had roughly six to ten more years left in his life expectancy to produce as an artist, and he was obsessed with making as much of the time left to him as possible. This could be literally a self-fulfilling prophecy – as it turns out, he only had seven more years left.
Vincent became involved with and planned to marry a pregnant, down-on-her-luck prostitute named Clasina Maria Hoornik, who is more often known as Sien. At first she and her child were just models for Vincent – she was the subject in his drawing “Sorrow”, in which her dejection is fully tangible.
But soon romance blossomed. Sien accepted the unconventional Vincent with open arms, which was a soothing balm to Kee’s most recent blunt rejection, and claimed not to mind that he was down on his luck as well, in a misery-loves-company mind set. Besides being on the rebound, Vincent’s involvement with Sien could be seen as a direct flaunting of his family’s values, based on their non-support given him during the Kee Vos incident. In any case, it caused more ripples in his relationship with his family. He heard that his father was seriously considering having him committed. His response to his family’s concern for her being of a “lower class” was, “I know that what I have to do is withdraw from the company of my own class, which cast me out a long time ago, as it is.” In other words, if my class is going to cast me out, let me show them how far out I will cast myself.” A self-fulfilling prophecy, as it were.
However, Sien’s and Vincent’s open-armed acceptance of each other wasn’t enough to give Sien the strength to stand up against her mother’s demanding ways, and she and Vincent disagreed constantly about this. Also, Sien’s new baby arrived, money was tight and Theo’s contributions were now having to stretch to take care of four, resulting in one of the few “common” life experiences for Vincent -- fighting with his significant other about money. Their differences ultimately led Vincent to break off with Sien and move on.
Sorrow (drawing) 10 April 1882
+10+April+1882.jpg)
A common misconception about Vincent is that he either sold none of his art during his lifetime, or only one painting. It may be true that he (or rather, Theo) sold only one of his paintings, but when he was in the Hague this time, he sold some sketches to Herman Tersteeg, who ran the Goupil and Co. in Den Haag, and some others. His Uncle Cornelius commissioned him to do a series of drawings of views of Den Haag. In August 1882, Theo provided money for oil paint, and Vincent started exploring that genre in earnest.
He received some reproach from Theo about the Kee Vos incident, but urged him to begin their correspondence again. Vincent replied with an inquiry as to whether he should keep his letters stiff and formal and businesslike, or if he would be allowed to continue being himself.
It was while he was here that Vincent latched onto a strange superstition, based on what he’d read about the life and death of artist Guillaume Regamey: He determined that he had roughly six to ten more years left in his life expectancy to produce as an artist, and he was obsessed with making as much of the time left to him as possible. This could be literally a self-fulfilling prophecy – as it turns out, he only had seven more years left.
Vincent became involved with and planned to marry a pregnant, down-on-her-luck prostitute named Clasina Maria Hoornik, who is more often known as Sien. At first she and her child were just models for Vincent – she was the subject in his drawing “Sorrow”, in which her dejection is fully tangible.
But soon romance blossomed. Sien accepted the unconventional Vincent with open arms, which was a soothing balm to Kee’s most recent blunt rejection, and claimed not to mind that he was down on his luck as well, in a misery-loves-company mind set. Besides being on the rebound, Vincent’s involvement with Sien could be seen as a direct flaunting of his family’s values, based on their non-support given him during the Kee Vos incident. In any case, it caused more ripples in his relationship with his family. He heard that his father was seriously considering having him committed. His response to his family’s concern for her being of a “lower class” was, “I know that what I have to do is withdraw from the company of my own class, which cast me out a long time ago, as it is.” In other words, if my class is going to cast me out, let me show them how far out I will cast myself.” A self-fulfilling prophecy, as it were.
However, Sien’s and Vincent’s open-armed acceptance of each other wasn’t enough to give Sien the strength to stand up against her mother’s demanding ways, and she and Vincent disagreed constantly about this. Also, Sien’s new baby arrived, money was tight and Theo’s contributions were now having to stretch to take care of four, resulting in one of the few “common” life experiences for Vincent -- fighting with his significant other about money. Their differences ultimately led Vincent to break off with Sien and move on.
Sorrow (drawing) 10 April 1882
Etten, Netherlands April-December 1881
Vincent moved here to live with his parents again, spent most of his time making figure studies on paper that Theo supplied. In August, his newly-widowed cousin Kee (Kay) Vos came for a visit, and he became smitten and summarily rebuffed in a very final manner. Whether it was because she genuinely was disinterested in him or because of the severe social taboo of becoming romantically involved with one’s cousin is not known, but her response to his interest was swift and certain: “No, never, not ever.” Yet again, he refused to take “no” for an answer, further straining his relationship with his immediate family and damaging his reputation with other relatives and others in the community. His intention was to “keep in good heart and not give up”, thinking that persistence was the key to winning her heart. This approach only alienated Kee and widened the rift between him and his parents, who opposed his actions strongly and vocally.
In the first documented case of his dramatic acting out, he held his hand over a burning lamp and asked to be allowed to see her “for as long as I can stand to have my hand over this fire”.
He chose to believe that his parents and her family were keeping them apart, not her choice. Already disenchanted with the ministry, he was further resentful toward religion because the heads of the two families were both clergymen, and their opposition to his pursuit of his beloved Kee caused him to develop a jaundiced view of religion in general. Again, his devotion to art continued to grow in direct proportion to the dissipation of his own faith and interest in religion.
Barn with Moss-Grown Roof (drawing) April-May 1881
+April-May+1881.jpg)
In the first documented case of his dramatic acting out, he held his hand over a burning lamp and asked to be allowed to see her “for as long as I can stand to have my hand over this fire”.
He chose to believe that his parents and her family were keeping them apart, not her choice. Already disenchanted with the ministry, he was further resentful toward religion because the heads of the two families were both clergymen, and their opposition to his pursuit of his beloved Kee caused him to develop a jaundiced view of religion in general. Again, his devotion to art continued to grow in direct proportion to the dissipation of his own faith and interest in religion.
Barn with Moss-Grown Roof (drawing) April-May 1881
Brussells, Belgium October 1880-Mar 1881
Vincent began formal studies in art and anatomy and composition at the art academy here. He fervently hoped to be able to support himself with his drawings. He was returning to a city he once swore he would never go back to again and studied under the artist Anton Van Rappard until he ran out of money, at which time he moved back with his parents in Etten.
Before the Hearth (drawing) - January 1881
+January+1881.jpg)
Before the Hearth (drawing) - January 1881
Borinage, Belgium December 1877-October 1880
Vincent was determined to pursue his religious passions, even if it meant bypassing the formal schooling, and he journeyed to the Borinage region in southern Belgium, first to a village named Wasmes and later, in 1879, to another called Cuesmes. He received some brief training for this from a missionary society in Brussells.
He felt deeply the bleakness of the people of the region and tried to reach out to them with his compassion and fervor, even going so far as giving away most of the money his family sent. Rather than embracing him and appreciating his efforts, the people found him eccentric and were put off by his overzealous nature and generally untidy appearance, which he later dismissed as his way of ensuring his needed solitude.
While in Cuesmes, his interest in religion began to wane in direct proportion to the increase in his interest in art. He decided then to pursue a career as an artist. He began drawing the miners and other laborers in the area.
He began writing to Theo again, hoping to reestablish their friendship and expressing the desire to mend fences with their father. In a very objective self-analysis, he wrote to Theo that he is “a man of passions, capable of and given to doing more or less outrageous things” which he later regrets, but he reckons, what can be done? “Should I consider myself a dangerous person unfit for anything?” He wished that the world at large (and his family in particular) would stop seeing him as a ne’er-do-well in the sense of being lazy and unwilling to conform to the demands of society in work and living, but felt he could accept the role of ne’er-do-well if people would understand he was more like a caged bird watching other free birds doing birdly things like building nests, hatching and raising their young and migrating – he knows he should do those things, but being in his own personal “cage”, he was unable to meet those demands.
In July 1880, Theo began providing him financial support, which would continue the rest of Vincent’s life to one degree or another.
Miners in the Snow at Dawn (drawing) - August 20, 1880 -- another letter sketch
+August+20,+1880.jpg)
He felt deeply the bleakness of the people of the region and tried to reach out to them with his compassion and fervor, even going so far as giving away most of the money his family sent. Rather than embracing him and appreciating his efforts, the people found him eccentric and were put off by his overzealous nature and generally untidy appearance, which he later dismissed as his way of ensuring his needed solitude.
While in Cuesmes, his interest in religion began to wane in direct proportion to the increase in his interest in art. He decided then to pursue a career as an artist. He began drawing the miners and other laborers in the area.
He began writing to Theo again, hoping to reestablish their friendship and expressing the desire to mend fences with their father. In a very objective self-analysis, he wrote to Theo that he is “a man of passions, capable of and given to doing more or less outrageous things” which he later regrets, but he reckons, what can be done? “Should I consider myself a dangerous person unfit for anything?” He wished that the world at large (and his family in particular) would stop seeing him as a ne’er-do-well in the sense of being lazy and unwilling to conform to the demands of society in work and living, but felt he could accept the role of ne’er-do-well if people would understand he was more like a caged bird watching other free birds doing birdly things like building nests, hatching and raising their young and migrating – he knows he should do those things, but being in his own personal “cage”, he was unable to meet those demands.
In July 1880, Theo began providing him financial support, which would continue the rest of Vincent’s life to one degree or another.
Miners in the Snow at Dawn (drawing) - August 20, 1880 -- another letter sketch
St. Remy de Provence May 1889-May 1890
Vincent was voluntary committed to St. Paul de Mausole asylum, diagnosed with a form of epilepsy, a diagnosis which still stands today. There are some who think the epilepsy and madness were part and parcel of one another, but in fact modern psychologists have also offered a diagnosis of bi-polar disorder, or manic depressive as it is formerly known. While one may have aggravated the other, the two disorders are mutually exclusive, and at that time there was not the advanced medical treatment for either one that is so readily available now. Vincent’s life-long severe highs and lows are so apparent in his art and his letters and his relationship history, but evidence of his epilepsy only comes in what, for him, was late in life. It was perhaps brought on or worsened by his addiction to absinthe, a high-proof liqueur so controversial, it has not been available in most European countries and the U.S. since just before World War I.
Vincent resumed painting, painted “Starry Night” while here. Theo married Johanna Bonger that spring, and his health, which had always been precarious, was worsening. Through the fall and the rest of 1889, they both stabilized somewhat, and Theo arranged an exhibition, “Les XX” in Brussells, featuring six of Vincent’s paintings. Vincent was enthusiastic and productive.
1890 began with extreme highs and lows for Vincent. In January, Theo made the first-ever sale of one of Vincent’s paintings (“Red Vineyard”) for 400 francs. (It was the only one of his paintings to sell during his lifetime.) He was the subject of a favorable January 1890 article called “The Isolated Ones”, written by art critic Albert Aurier which linked him to the Symbolist art movement. At the same time, Vincent’s seizures increased in frequency and severity, depleting his mental and physical health. Just as his health was reaching its lowest level, Vincent’s art began receiving critical acclaim, which only depressed him and made him long to be nearer Theo. This longing was made more poignant as Theo’s wife Johanna gave birth to a son on January 31, whom they named Vincent Willem after him.
Wheat Field with Cypresses - September 1889
Vincent resumed painting, painted “Starry Night” while here. Theo married Johanna Bonger that spring, and his health, which had always been precarious, was worsening. Through the fall and the rest of 1889, they both stabilized somewhat, and Theo arranged an exhibition, “Les XX” in Brussells, featuring six of Vincent’s paintings. Vincent was enthusiastic and productive.
1890 began with extreme highs and lows for Vincent. In January, Theo made the first-ever sale of one of Vincent’s paintings (“Red Vineyard”) for 400 francs. (It was the only one of his paintings to sell during his lifetime.) He was the subject of a favorable January 1890 article called “The Isolated Ones”, written by art critic Albert Aurier which linked him to the Symbolist art movement. At the same time, Vincent’s seizures increased in frequency and severity, depleting his mental and physical health. Just as his health was reaching its lowest level, Vincent’s art began receiving critical acclaim, which only depressed him and made him long to be nearer Theo. This longing was made more poignant as Theo’s wife Johanna gave birth to a son on January 31, whom they named Vincent Willem after him.
Wheat Field with Cypresses - September 1889
Auvers-sur Oise May-July 1890
After Vincent’s most serious attack to date took place in February, it was decided that he should be nearer Theo, and in May he moved to Auvers-sur-Oise near Paris and was put under the care of Dr. Joseph Gachet, who he said looked to be in worse health than he himself was. In fact, Vincent arrived in Paris looking robust and in fine health, whereas Theo, who had always suffered from ill health, looked to be the more unhealthy of the two brothers. Vincent spent three days in Paris visiting with Theo, Johanna and his namesake baby Vincent before retiring to Auvers-sur-Oise.
He rented a room and began painting again and seemed to be restored to some semblance of normalcy, or as close to it as he had ever been. He painted nearly one painting a day, consumed by his work.
Vincent made a visit to Theo and Johanna on July 6 after hearing about Theo and his son’s having been recently ill, and the tension in their home was quite palpable, so Vincent returned to Auver-sur-Oise after only a few hours. His letters over the next three weeks boasted his being happier, more settled and less restless. His actions soon after would hold these sentiments in complete contradictions.
Church at Auvers, The - June 1890
Catholic church of Auvers, which Vincent immortalized in his painting, refused to allow him to be buried in its cemetery because of his having committed suicide.
Daubigny's Garden - July 1890
One of two works believed by Van Gogh scholars to be Vincent's last works.
Cottages with Thatched Roofs and Figures
One of two works believed by Van Gogh scholars to be Vincent's final works.
Wheat Field With Crows - July 1890
Although popularly believed to be Vincent's last painting before he committed suicide, Van Gogh scholars believe it was painted more than two weeks before that.
On July 27, he took his easel and painting equipment and a gun out to the wheatfields and shot himself in the chest. He staggered back to the inn and the doctor was summoned and notified Theo immediately. Theo came the next afternoon, and he and Vincent spent Vincent’s last hours together, with Theo holding him and speaking to him in Dutch. Theo later wrote, “He himself wanted to die. He said the sadness will last forever.”
Vincent died after midnight that night, at 1:30 AM on July 29, 1890. His funeral, on July 30, was held exactly twenty-one years to the day after he had gone to work at his uncle’s art gallery in the Hague. The funeral was held at the nearby township of Mery after the Catholic church of Auvers, which he had immortalized in his painting, refused to allow him to be buried in its cemetery because of his having committed suicide.
After his funeral, his friend Emile Bernard wrote to Albert Aurier, author of “The Isolated Ones”:
My dear Aurier,
Our dear friend Vincent died four days ago. I think that you will have already guessed the fact that he killed himself.
On Sunday evening he went out into the countryside near Auvers, placed his easel against a haystack and went behind the chateau and fired a revolver shot at himself. …He finally died on Monday evening, still smoking his pipe which he refused to let go of, explaining that his suicide had been absolutely deliberate and that he had done it in complete lucidity. A typical detail that I was told about his wish to die was that when Dr. Gachet told him that he still hoped to save his life, he said, "Then I'll have to do it over again." But, alas, it was no longer possible to save him. . . .
On Wednesday 30 July, yesterday that is, I arrived in Auvers at about 10 o'clock. His brother, Theodore van gogh, was there together with Dr. Gachet. …The coffin was already closed, I arrived too late to see the man again who had left me four years ago so full of expectations of all kinds. . .
On the walls of the room where his body was laid out, all his last canvases were hung making a sort of halo for him and the brilliance of the genius that radiated from them made this death even more painful for us artists who were there. The coffin was …surrounded with masses of flowers, the sunflowers that he loved so much, yellow dahlias, yellow flowers everywhere. It was, you will remember, his favourite colour,
Near him also on the floor in front of his coffin were his easel, his folding stool and his brushes.
Many people arrived, mainly artists, among whom I recognized Lucien Pissarro and Lauzet, the others I did not know, also some local people who had known him a little, seen him once or twice and who liked him because he was so good-hearted, so human. . .
There we were, completely silent all of us together around this coffin that held our friend.. . .
At three o'clock his body was moved, friends of his carrying it to the hearse, a number of people in the company were in tears. Theodore Van gogh, who was devoted to his brother, who had always supported him in his struggle to support himself from his art was sobbing pitifully the whole time. . . .
We climbed the hill outside Auvers talking about him, about the daring impulse he had given to art, of the great projects he was always thinking about, and of the good he had done to all of us.
We reached the cemetery, a small new cemetery strewn with new tombstones. It is on the little hill above the fields that were ripe for harvest under the wide blue sky that he would still have loved. . . perhaps.
Then he was lowered into the grave. . .
Anyone would have started crying at that moment. . . the day was too much made for him for one not to imagine that he was still alive and enjoying it. . .
Dr. Gachet wanted to say a few words of homage about Vincent and his life, but he too was crying so much that he could only stammer a very confused farewell. . . (the most beautiful way, perhaps).
He briefly outlined Vincent's achievements, stating how sublime his goal was and how great an admiration he felt for him (though he had only known him a short time). He was, Gachet said, an honest man and a great artist, he had only two aims, humanity and art. It was art that he prized above everything and which will make his name live.
Then we returned. Theodore Van Gogh was broken with grief; everyone who attended was very moved….
You know how much I loved him and you can imagine how much I wept. You are his critic, so don't forget him but try and write a few words to tell everyone that his funeral was a crowning finale that was truly worthy of his great spirit and his great talent.
With my heartfelt wishes
Bernard
He rented a room and began painting again and seemed to be restored to some semblance of normalcy, or as close to it as he had ever been. He painted nearly one painting a day, consumed by his work.
Vincent made a visit to Theo and Johanna on July 6 after hearing about Theo and his son’s having been recently ill, and the tension in their home was quite palpable, so Vincent returned to Auver-sur-Oise after only a few hours. His letters over the next three weeks boasted his being happier, more settled and less restless. His actions soon after would hold these sentiments in complete contradictions.
Church at Auvers, The - June 1890
Catholic church of Auvers, which Vincent immortalized in his painting, refused to allow him to be buried in its cemetery because of his having committed suicide.
One of two works believed by Van Gogh scholars to be Vincent's last works.
Cottages with Thatched Roofs and Figures
One of two works believed by Van Gogh scholars to be Vincent's final works.
Wheat Field With Crows - July 1890
Although popularly believed to be Vincent's last painting before he committed suicide, Van Gogh scholars believe it was painted more than two weeks before that.
On July 27, he took his easel and painting equipment and a gun out to the wheatfields and shot himself in the chest. He staggered back to the inn and the doctor was summoned and notified Theo immediately. Theo came the next afternoon, and he and Vincent spent Vincent’s last hours together, with Theo holding him and speaking to him in Dutch. Theo later wrote, “He himself wanted to die. He said the sadness will last forever.”
Vincent died after midnight that night, at 1:30 AM on July 29, 1890. His funeral, on July 30, was held exactly twenty-one years to the day after he had gone to work at his uncle’s art gallery in the Hague. The funeral was held at the nearby township of Mery after the Catholic church of Auvers, which he had immortalized in his painting, refused to allow him to be buried in its cemetery because of his having committed suicide.
After his funeral, his friend Emile Bernard wrote to Albert Aurier, author of “The Isolated Ones”:
My dear Aurier,
Our dear friend Vincent died four days ago. I think that you will have already guessed the fact that he killed himself.
On Sunday evening he went out into the countryside near Auvers, placed his easel against a haystack and went behind the chateau and fired a revolver shot at himself. …He finally died on Monday evening, still smoking his pipe which he refused to let go of, explaining that his suicide had been absolutely deliberate and that he had done it in complete lucidity. A typical detail that I was told about his wish to die was that when Dr. Gachet told him that he still hoped to save his life, he said, "Then I'll have to do it over again." But, alas, it was no longer possible to save him. . . .
On Wednesday 30 July, yesterday that is, I arrived in Auvers at about 10 o'clock. His brother, Theodore van gogh, was there together with Dr. Gachet. …The coffin was already closed, I arrived too late to see the man again who had left me four years ago so full of expectations of all kinds. . .
On the walls of the room where his body was laid out, all his last canvases were hung making a sort of halo for him and the brilliance of the genius that radiated from them made this death even more painful for us artists who were there. The coffin was …surrounded with masses of flowers, the sunflowers that he loved so much, yellow dahlias, yellow flowers everywhere. It was, you will remember, his favourite colour,
Near him also on the floor in front of his coffin were his easel, his folding stool and his brushes.
Many people arrived, mainly artists, among whom I recognized Lucien Pissarro and Lauzet, the others I did not know, also some local people who had known him a little, seen him once or twice and who liked him because he was so good-hearted, so human. . .
There we were, completely silent all of us together around this coffin that held our friend.. . .
At three o'clock his body was moved, friends of his carrying it to the hearse, a number of people in the company were in tears. Theodore Van gogh, who was devoted to his brother, who had always supported him in his struggle to support himself from his art was sobbing pitifully the whole time. . . .
We climbed the hill outside Auvers talking about him, about the daring impulse he had given to art, of the great projects he was always thinking about, and of the good he had done to all of us.
We reached the cemetery, a small new cemetery strewn with new tombstones. It is on the little hill above the fields that were ripe for harvest under the wide blue sky that he would still have loved. . . perhaps.
Then he was lowered into the grave. . .
Anyone would have started crying at that moment. . . the day was too much made for him for one not to imagine that he was still alive and enjoying it. . .
Dr. Gachet wanted to say a few words of homage about Vincent and his life, but he too was crying so much that he could only stammer a very confused farewell. . . (the most beautiful way, perhaps).
He briefly outlined Vincent's achievements, stating how sublime his goal was and how great an admiration he felt for him (though he had only known him a short time). He was, Gachet said, an honest man and a great artist, he had only two aims, humanity and art. It was art that he prized above everything and which will make his name live.
Then we returned. Theodore Van Gogh was broken with grief; everyone who attended was very moved….
You know how much I loved him and you can imagine how much I wept. You are his critic, so don't forget him but try and write a few words to tell everyone that his funeral was a crowning finale that was truly worthy of his great spirit and his great talent.
With my heartfelt wishes
Bernard
Amsterdam, Netherlands May 1877-November 1878
Vincent became quite determined to study theology, and in May 1877 he moved to Amsterdam to take up formal studies to that end. He was unable to pass the necessary test to enter the seminary, and by the summer of 1878, he became somewhat overwhelmed by the idea of facing seven more years of formal schooling. As always, his impatience and intensity got the better of him – he wanted to do it HIS way, didn’t want anybody else telling him how to do it, and he wanted to do it NOW.
By the nature of his mercurial and passionate personality, Vincent had seemingly always caused consternation among his family members, and there had long been some degree of conflict between him and his parents, whose approval he so longed for, but now his father’s deep disappointment in Vincent’s lack of ambition and direction was acutely visible. He later described this period as “the worst time of my life”, which says a lot, considering his life.
The Cave of Machpelah (drawing) May 1877
+May+1877.jpg)
By the nature of his mercurial and passionate personality, Vincent had seemingly always caused consternation among his family members, and there had long been some degree of conflict between him and his parents, whose approval he so longed for, but now his father’s deep disappointment in Vincent’s lack of ambition and direction was acutely visible. He later described this period as “the worst time of my life”, which says a lot, considering his life.
The Cave of Machpelah (drawing) May 1877
Friday, January 31, 2014
Dordrecht, Netherlands January-April 1877
After a Christmas visit with his parents, Vincent decided to move to Dordrecht and briefly took a job at a bookstore, going into yet another family business, bookselling. He quickly became bored and once again was abrupt with customers, as he’d been during his last years with Goupils. He was now obsessed with going into the ministry, and one of his sisters referred to him as being “groggy with piety”. In his letters from here, he made mention of “The Great Church”, the construction of which was begun in 1182. The Tower was intended to be a great deal higher, but unlike other church towers which were not as high as intended due to budget constraints, this one had to be curtailed due to the wet and spongy ground which would not support its intended height.
Dordrecht is the oldest city in the Netherlands, and numerous painters hailed from or lived there, not the least of whom (besides Vincent) was Rembrandt van Rijn.
Mills in the Neighbourhood of Dordrecht -- April 1877
Dordrecht is the oldest city in the Netherlands, and numerous painters hailed from or lived there, not the least of whom (besides Vincent) was Rembrandt van Rijn.
Mills in the Neighbourhood of Dordrecht -- April 1877
Thursday, January 30, 2014
London, England April-December 1876
(Ramsgate April-July/Isleworth July-December 1876)
Ramsgate April - July 1876
.jpg)
View of Royal Road Ramsgate (drawing)-May 1876
+1876.jpg)
Isleworth July-December 1876
His interest in religion was growing, and he preached his first sermon at Isleworth in October 1876. Although no one could question Vincent’s sincerity in his religiosity, like his father, he was found wanting in his ability to reach and retain his audience, yet still he aspired to “a position in connection with the church” according to his letters and the resume he sent to Theo.
Churches at Petersham and Turnham Green - November 1876
Paris, France May 1875-March 1876
By 1875, there was strain in the relationship between Vincent and his London employers, and in May 1875 his father conferred with his uncles “Cent” and “Cor” and arranged for Vincent to be transferred with the company to the Paris branch of Goupil’s. Although as an art dealer he had met with relative success, he was becoming bored by art that generally didn’t appeal to his own personal taste. His lack of interpersonal skills and ineptitude as a salesman were combining to cause friction in the workplace.Vincent’s interests were moving increasingly toward religion, as evidenced by the content of his letters to Theo, which had begun taking on somewhat religious overtones, with a bent toward religious fanaticism.
Sketch of Westminster Bridge and the Houses of Parliament (drawing) - 24 July 1875
Drawn on a corner of business stationery, Vincent was drawing from memory places of London while now in Paris.
Sketch of Westminster Bridge and the Houses of Parliament (drawing) - 24 July 1875
Drawn on a corner of business stationery, Vincent was drawing from memory places of London while now in Paris.
London, England (Brixton) May 1873-May 1875
+1.jpg)
In May 1873, 20-year-old Vincent was promoted and transferred to the London branch of Goupil's. To get to work every day, he walked across Westminster Bridge and past the House of Parliament to the Art Gallery near the Strand. While living here, he visited Paris for the first time. He came to appreciate certain British artists and illustrators and developed a fondness for the writings of Charles Dickens.
Vincent’s sister Anna moved to London in 1874, and they both rented quarters in the same boarding house. They went on long walks together and explored London. Vincent soon had the first in a lifelong series of romantic misadventures and entanglements when he became enamoured of his landlady's daughter, Eugenie, who, alas, was secretly engaged to another. He behaved in what would become his trademark manner, refusing to take “no” for an answer, and his persistence caused things to be increasingly dicey with his and Anna’s landladies, whereupon they were asked to leave.
Old Woman Asleep (drawing) 1873
Vincent’s sister Anna moved to London in 1874, and they both rented quarters in the same boarding house. They went on long walks together and explored London. Vincent soon had the first in a lifelong series of romantic misadventures and entanglements when he became enamoured of his landlady's daughter, Eugenie, who, alas, was secretly engaged to another. He behaved in what would become his trademark manner, refusing to take “no” for an answer, and his persistence caused things to be increasingly dicey with his and Anna’s landladies, whereupon they were asked to leave.
Old Woman Asleep (drawing) 1873
Wednesday, January 29, 2014
Hague, the Netherlands 1869 (July 30) – June 1873
In 1869, Vincent moved to The Hague, or Den Haag, the capital of the Netherlands, to work as a clerk for Goupils and Company art dealers, for his Uncles "Cent" (Vincent) and “Cor” (Cornelius). There is a square in the town called Plaats at the end of the row of trees, which is where the art store is. It was while he was here, in 1872, that he began writing to his younger brother Theo, a correspondence that would one day become one of the most celebrated in the world, giving us valuable insight into his complex views and musings.
Country Lane (drawing) Autumn 1872 - Spring 1873
Country Lane (drawing) Autumn 1872 - Spring 1873
Zundert, the Netherlands (birthplace) 1853-1869
1.
Vincent was born on March 30, 1853, in Groot Zundert in the North Brabant region of the Netherlands. He was the oldest living son of Theodorus van Gogh, a clergyman in the reformed Dutch church, and Anna Cornelia Carbentus, the daughter of a bookseller. Vincent was born exactly one year to the day after Theodorus and Anna’s first child was stillborn. That child was also named Vincent Willem van Gogh. The rest of the family included brothers Theo and Cornelius and sisters Anna, Willemien and Elizabeth. Vincent’s early formal schooling ended when he was 15, and he lived in Zundert with his family until he was 16.
The Goat Herd (drawing) 9 October 1862
The Goat Herd (drawing) 9 October 1862
Subscribe to:
Posts (Atom)