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
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