VAN

COCH

SE,IWEN

CONTE,NTS
YoungScheveningen Woman The Prayer Beach Scheveninqen at Farmhouses Spinning Wheel The PotatoEaters TheOld Cemetnl Towerat Nuenen Cottage Nightfall at StillLifewith Th FeeBottles StillLifewith Bible Portrait an OldManwith Beard of TheParsonage Neunen at
1A

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Vincent's Bedroom Arles in Gauguin's Chair Blossoming AlmondBranch Self-Portrait an Artis63 as The RoadMenders Enclosed Field with Risinq Sun Vincent's Chair with hisPipe Wheatfield with Cypresses Self-Portrait Lilacs Wheatfield with Reaoer and Sun Crabon its Back A PairOf Wooden Clogs Sunflowers Evening:TheWatch(after Millet) OliveGrove TheGarden Saint of Paul's Hosoital Undergrowth with lvy Pieta(after Delacroix) Death,S HeadMoth The Church Auvers at Portrait Dr.Gachet of Marquerite Gachet HerGarden in Prisoners Exercising(after Dore) Thatched Cottacles Cordeville in PineTrees with Figure The Garden Dr.Gachet of VillageStreet and Steps

59 60 ...........................62
OJ

17 18 19 20 21 22 )a 24

...........64 65 .......................66 ...........................67

ov

70 71 72 74 75
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Skull with Burning Cigarette Montmartre The Quarry Mills Basket with Pansies a Table on Viewof the Roofs Paris of A Pair Shoes of Japonaiserie Flowerpot with Chives Glass Absinthe a Carafe of and Restau at Asnieres rant Trees and Undergrowth TheSeine TheAlyscamps The NovelReader Encampment Gypsies of SDectators the Arena Arles in at TheRedVineyard StillLife: French Novel A Garden with Flowers TheOld Mill The Sower TheWhiteorchard PinkPeach Treein Blossom Orchard with Blossoming Apricot Tress An Old Woma Viewof Arles Portrait a One-Eved of Man

...........................29 ?o 31 32 33 35

77 78 79
8l

82

38 39 40 41 42 43 44 45 46 47 48 49
qn

87

lrises Wheatfield with Crows Daubigny's Garden Landscaoe the Chateau with

91 92 93 95

51 53 55

TheYellow House

I N D E ,X
A Garden with Flowers A Pair Shoes of A PairOf Wooden Clogs An Old Woman Arles of Basket with Pansies a Table on at Beach Scheveninqen Blossoming AlmondBranch Cottage Nightfall at ............. Crabon its Back Death,S HeadMoth 33 52 3l
to

62 .21 71 79

Still Lifewith Bible StillLifewith Th FeeBottles StillLifeFrench Novel Sunflowers Thatched Cottacles Cordeville in TheAlyscamps at The Church Auvers The Garden Dr.Gachet of of Paul's Hospital TheGarden Saint TheGoodSamaritan

23 22 45 73
A\

40
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87
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Evening Watch(after The Millet) Farmhouses

74 17

Gauguin's Chair Glass Absinthe a Carafe of and Japonaiserie Landscaoe the Chateau with Lilacs lrises Marquerite Gachet HerGarden in Montmartre The Quarry Mills OliveGrove Orchard with Blossoming Apricot Tress Pieta(after Delacroix) Pine Trees with Figure Treein Blossom PinkPeach Portrait a One-Eyed of Man of Portrait AdelineRavoux Portrait an OldManwith Beard of Portrait Dr.Gachet of Prisoners Exercising(after Dore) Restaurant Asnieres at

TheParsonage Neunen at andthe Harrow ThePlough The PotatoEaters The Prayer TheRedVineyard The RoadMenders

-)\

94 19 l5 ...........64

95
69

91 82

75 51 78

55 90 24
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The Sower TheWhiteorchard House TheYellow Trees and Undergrowth Undergrowth with lvy Vase with Daisies Viewof Arles Viewof the Roofs Paris of VillageStreet and Steps Vincent's Bedroom Arles in Vincent's Chair with hisPipe Wheatfield with Crows Wheatfield with Cypresses Wheatfield with Reaoer and Sun Young Scheveningen Woman

48 49

77 28 53 32 59
oo

92
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14

Self-Portrait FeltHat with Skull with Burning Cigarette Spectators the Arena Arles in at Spinning Wheel StillLifewith a Basket Potatoes of

6l

........................29 43 18

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artisticsoul to suchan ertent that he

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thatVincent's state mind is well of documented. Theo wasVincent's anchor-herelied on h Lm Iterly valuedh isoprnio . u ns . and in short, idolized him . He wrote l o h L m u l a l s o p a r n l eid r h L m i n d e e d , b o I he sawTheo asbeinga co-creatorin his paintings . was In boull87J Vincenl rejecled rn o l o v e a dl h i ss e e m ls b e l h et u r n i n g point for his mania; he became isolated and taciturn ,' and startedto read the Brbleobsessively.His family became wo r n c r e s i n g l y r r r e d y l h eL m s e l l h n g b tone ofhis lettersand arranged his f:r transfer the Parisbranchof Goupil's to Thanksin part to his religiousfanaticism, the transfer wasnot a success the and companydismissed him By spring 1877Vincent had decidedto becomea clergymanand moved to Amsterdmwherehe studiedLatin,

respectable middle-class life. In later yearshe would look back on this time with greatnostalgia and affection .
A s well ;s l h e c h r rrc h l h e o l h e rv n

Gogh family business art-threeof his was uncleswereart dealers In 1869, at age . 16, Vincentbecamean apprentlce at The Haguebranchof Goupil et Cie, one of the leadingatt dealers Europe. in In 1873his brother Theo , fi:ur yearshis junior, alsojoinedthefirm. As a rewardfor his hard work Vincet wastransferred the London branch in to summer1873 But a long way from his . provoked family his acuteloneliness wh wouldbecome longslruggls | lrieag a n stmelancholy r and depressi o n , a During thisperiod Vincent started regular correspondence with Theo , who keptover800of hislellers eosuring

Greek, and mathematics. BuLhe gaveup when it becanre obvioustht he would fail his examinations. lmmersedin piety he identified with St Paul and rejected worldly preoccupations His personal hygienesuffered and he looked increasingly , unkempt and disreputable. His family despairedof him :. his father took him home many times to try !o caln him do.,qnwith the peaceand quiet of home life , but the effectswere at best only temporary. Finlly,e family agreedthat Vincenl should try lay preaching, and he was poor sent to the Borinage,, a desperately Belgian mining district: Vincent was th r e dr lhe prosped, Whrlethere . h e lived the life of an ascetic-his food bread an d w lerl his home, a near dere lic l hut. He gaveawaymost of his clothes to needy miners and generally alarmed so his su p eriors much wilh his relig io u s enthusiasmthat the EvangeLical Committee declined to renew his contract.

Academy. \Vhi1ethere he practiced drawing exercises and copied well-larown paintings to improve his technique, His relievedfamily generallyapproved, and allowedhim to move back home. But he wasimpossible live with, his father to despaired him, and he was askedto leave. He had fillen desperately love of in with his recentlywidowed cpusin, Kee.Sheand thefamiLy werehorrifiedathis protestations love which wereso of improper in such a very conventional and moraleowonmenr. A lerribleTm Lly argumenton Christmas Day 1881resulted lo in Vincenl leang homeand moving The Hague. Still a young and inexperiencedpainter Vincent's earlywork wasconrentionaloften still livesof rustic simp'liciqand rathersombercolors, He left the Bmsels Academy and begn to selfteachthrough the useofart instruclonbooks. Flealso enjoyed eoplng illustrations , par-ticularly the agricultural composilionsof romanticsocialrealismby lean-Frangois Millet and JlesBreton. Craving feminine company Vincent becameattchedto a 3O-yearold prostitute called Sien(Clasina Maria Hoomik) Condemned as a fal1en woman by socieq/, shewelcomed his support asshehad a y,:ulg daughter and was expecting another baby

perhaps However,and more importantb

to him , Vincelt was acceptedby the miners and their families. preachingand decided to Vineent himself recognizedthat he wasnot suited to 1ay dedicate himself to rt instead. He moved to Brirssels (wrth what was to become regularfinancialhelp fom Theo) to studyart at the non-feepalmg Brussek

It seems thatVincent wasattracted her by the very thingsthat alienated from to her sffering, her profession, her society-her povedy, even her smallpox-ravaged face, His lamily wereoutraged he wascontent, but they allhor-rgh hadno Incomeexcept Theo's monthly allowance sinceVincent succeeded I rn stoppingSienworking the streets while he painted-often from dar.'n dusk-butwithout to sellinganywork Vincent took to parntingoutside (a new com'ention) around the fringesof The Hague, in parfcular seaside scenes with fishermen and boats. He enjoyedworking closeto the elemertsand would retJnhome with sandcakedinto his paint. But thefamily regularlywent without food and Vincent becamesoweakthat he wasunableto work. Frustratedas Vincent bought art materials rtherthan food, Sienretumed to prostitution-muqhto Vincent's disapproval. Theo wasappalled bltheir povertyand squalorand conncedVincent that the only way he could devotehrmself paintingwasto leaveSien. They had beentogether to

20months, but Vincent acknowledged wrsdomof partingand moved awayto the live alonein Drente, an unfashionable remote rural region of Holland, He stayedf:r three months during which time he empathized and admiredthe underprivilegedworkmen and craftsmen their daily toil with their digniq., in solidarity, and work ethic. He paintedthe peasants work in the fieldsand their at sel coHages in lhefllrvrndswepl landscape. But melancholia his constantcompanionwas he wasdepressed felt guilty about leaving and searching siend i fis patnbng ws he for
^l^ l l -l + , , -- + -, , + L

Rural isolationwasnot the answer and in December1883Vincent returnedto his paren whowerenow lir'rng lher'rllage ts in of Nuenen in Brabant. He stayed fivo yers, for the longest period he spentanf i'vhere an as artrst. The staywaspunctuated with argnments about with his father-mostly societyandconformity. He gravitated the to poor pesnls lher..rllage-many in of them peers weavers-and more readilyaccepted them than his bourgeors was by .

In February1884Vincent agreed sendhis paintingsto Theo in Pansin to f,:r exchange money ordersof 150francsa month . They continuedthis transaction Vincent's life eventhrough their fi:r periodsof estrangement.This did not preclude Vincent's frequentrequests more money-to for pay hismodelsor ir more materials Then, . suddenly, in March 1885Vincent's fatherdied of sfoke. aged oJ. Famrly and r'rllagers felt Vincent wasat leastpartiallyresponsible In . May he left the family home to rent a studio nearby. The t,:llowingmonth Vincent paintedhis first realmasterpiece. "The PotatoEaters" All the . while he wasthinking about the principlesand practiceof art, which in turn madehim frustratedwith his inability to interpret his rdeas on canvas. Local politicsand socialniceties weregettinghim down andVincent started to halker f,:r the excitement city life. Parisat of l hr sl r m ews mgnel for,rrlrsls. bolho ilh e old conventional schoolaswell asthoseat the leadingedgeof modem paintrng. In October he left f:r Paris, aiving therein February1886 Amsterdamand Ant\ rerp.He via moved in with Theo in Montmartre. and the brothersbecame closerthan even.

Theo wasmaking hisname a specialist as deler the work of young artists, and in I to I rde V rncenws ble rnIrodu hr Inlo dvr g c rrcles ce Vincentmet and madefriendswith numerous artrsts and his paintingsbecame more colorful and optimistic. He waspopular amonghis contemporaries his unconventional and looks and malers fitted perfectly with the notion of how an artistshouldbehave. His Parisperiod wasvery proLific: in all he paintedalmost230 works there, many of them experiments with by techniques coloring developed the and L m p r e s s t o n i s l sU l . o n l h en e g a l t v e s t d e l. B. t l w s n P n sh lh es Lr l e dd r r n k i n g e a r ' r l y , i h Vincenf s primary irfluence at this time was and all thingslapanese lapan had . Japan becomea major culturalinfluence the West in sincethe 1867 were ParisWorld Fair and artists particularlysusceptible the new style. Van to Gogh had collectedlapanese prints ofthe Ukiyoye Schoolsincehis daysin Antrverpand while in Pariscollected literallyhundredsof woodcuts. He copied a number of his lapanese favoriteprints, particularlyliking their decorative quality,withblocks of color, f,:rmsof contrast, unusualperspectives useofspace. All this had a profi:und and

influenceon his own styleas he later$'rotefrom Arles in summer 1888, "My whole work is fl:unded on the lapanese, so to speak..in homelandlapanese its art is in a state ofdecline. but it is putting down new roots in French Impressionism." Unableto journey to lapan, Vincent did what he considered next best the thing: he went to the South of France. He wantedto unite art and life . His first destinationwasAries where he stayed guesthouses.By in 1888he waspaintingvery fast and with greatconfidence. He washappyat last-working everyday, paintingwhatever wasin front of him . This is theperiodof his principal masterpieces his paintings ; arefull ofintense color, not just because the southern of light but asa continuationof his lapanese influence, in deference which he paintedno shadows his work. to in Working feverishly everyday he soon neededsomewhere storehis canvases, to

so in September 1888he rentedfuur rooms f,:r 15francsamonth to useasa studio in what became known asthe"yellowhouse"onthe Place Lamartine. Vincent was soonsketching,usingpen and ink drawings-an economy measure,inpartsohe could during bouts of madness reducehis .
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difficult time at work. Typicallyhe would work very quickly, but he plannedall the elements first, and then
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one reason why his paintings

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Physically, Vincent'swork wastakinga hear'ytoll : he wasliving on coffee, alcohol, nicotine,and not much else. He suflered from hangovers and thereweretimeshe couldn't think clearly. As he got worsehe experienced hallucinations InJu\ 1888Vincent received somemoneywith which he renovated and. lurnishedthe"yellow house."FIe was excitedlyanticipatinga stayby le11ow artist

10

Paul Gauguinand washopingto persuade to remainthere, the first olwhal him he hoped would becomean artists'colony. The lamoussunflowerpaintingswere producedto decorate houseand to showoffhis artisticabilityand his ftiend the wasgrati[.ingly impressed. Gauguin reluctantly arrved in Arles on October23 he wasto spendti'\o nearliuitlessmonths there. They did not geton as well asVincent had hoped. Gauguinfelt superiorboth asan artistand asa pelson, and hated the provincialityand lack of sophistication Aries. of Vincentwas dstraughtat the way their relationship deteriorated. On the evening of December23 he cut offhis right earlobe, r'r,'rappedin newspaper, it walkedto the localbrothel,and
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Vincent uas critically ill for a time but withir two weekshad regainedhis strength and resumed former life. his The naFtreof Vincent'sillness upon hasbeenwide$ speculated but nouncontested conclusion hasbeenreached. Dirring str seizu he herd nge<ouds re and voices-this might havebeen schizophrenia, alcoholism, slphilis , or something else entirely: his physicians thought il was epikpsy. February In 1889 he sulfered bout ofparanoiaso a severe he washospitalized that for ten days. Some80 or so peoplefrom Ades petitionedthe ci|l authorities claimingthat Vincent Was a "publiC menace and demanded that theylock him up. In lateFebnrarl. washospitalized a lunatic, he as Althoirgh his dementiaonly camein boutsV'incentvoluntarily enteredthe fewmilesnorth monasteryof Saint-Paul-de-Mausole,an asylumat Saint-Rdmy.a

prostitute there. Sheealledthe police who took him to hospital. He was lucky not to bleed to death ashe had severed artery. The following morning Gauguin arr Vincent. They did not meetagainalthoughtheyresumeda Ieftwithout seeing

11

of Arles. He Waswell aware the romantic stereotype the artisttorturedby of of talent.It is hard to saywhetherhe deliberately lived up to this image,but he$'roteto Theo assuring him that he wasstill hrmself apartfrom occasional mentallapses. While hospitalized Vincent was superwised all timesand wasnot at allowedto leavethe hospitalto find subject matterto paint. In facthe wasrarelyallowedto havehis parntingmaterials a11 , He at missedhis work terribly,but ulable to search inspiration, he turned i:r to copyinghis sunflowers and paintedthreemore versions . Otherwise paintedviewsof the he hosprtal and gardens . The asylumprovided l-rim with much neededisolationand prevented him from abusingdrink ndlo b cco,Hisparntrng hac becomehis surwival techniqueand his outputwasceaseless, tried He to usethe energycreatedbyhis madness a positivef,:rcein l-us as art. It waswhile herethat Vincent started usingcircularstrokes and snakinglineson his paintings . Thesehavebeeninterpretedassignsofhis mental instabilityand obsessive nature.

His bouts of insanrtyconvincedhim to turn hisback on the world but ashis health improved he wasallowedto go beyondthe asylun precincts . While incarcerated Saint Rmy, Vincent produced 1,10 at paintrngs, but only
<ronpl <pren of thpm Hr<

recufringthemes werenow landscapes featuringolive groves , cypress trees and the mountarns , of theAlpilles. All this time hispainngs were stockprled. number berng oi them in Paris witl-rTheo and another pilewith. PreTanguy. People had heardaboutVincent'swork
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s u b m l l e df w op i nl r n g s J n s e s r , a n d 5 L a r rN i g h t o v e l h eR h o n e y r to the fiftl-rexhibition held by the SalondesIn dpendants in September 1889. Itgothim noticed, but Vincent f,:rbadeTheo to release but minimal any inf,:rmationabout himself,evento publicizel-ris work. Then ten paintings wereshoi'rm the sirth SalondesIndpendants at exhibition and Vincent waslaudedasone of theyoung lions ofmodern art. But success

l2

panickedhim : he fearedthat its pricewould be too high in suffering, Greatly alarmed, he retumed to copfng paintingsby the greatmasters, especially Millet and Delacroix, but putting his own interpretations into the work. in Vincent stayed the asylumfor a year, Accordrngto the director he wascalm an d q u r elfor muchoi lhe lrmebul pa rn le d b s e s s rv e ly , o He suffered f,:ur mentalepisodes when he was overwhehned fearsand paranoia. When this by intended happened, he would stealand drink kerosene for the lampsand swallowtoxic paint. But he had started to long to go home, back to the cooler, greyer,north. On May 16, 1890 setoff, alone, fl:r Paris. he Arriving in Parisat Theo's houseVincent seemed well to an d h a p py c,rtch wrlhhrslmily a n d lre n d s , He up just decamped the rural town of Auvers-sur-Oise to outsideParison May 20 and started paintingimmediately. as c o Just h e hadhoped. hispnUngs me u l c lme r without the fteneticbrushwork of recentmes. Vincent spenth^,o months in Auvers, during which he (from his letters) paintedeighf works and seemed r e m a r kably content, B ut on the e v e n rn g f lu ly 2 7 . o 1890 he shot himselfin the chestwith a revolver-where gun camefrom and the , wherehe waswhen he shothimselfno one knows. Badlyinjured, he returnedto his rentedroom . Theo rushedto his sidethe following day, the 28th. He fould Vincent in bed, contentedly smokinghis pipe . His lastwordsarerecordedas.,

"I wishitwereallovernow. "Hediedonlu1y29. 1890aged37. Thereis no apparent reason Vincent'ssuicide. many theories f,lr havebeen positedbut none areentirelyconvincing. It is possible that he did it f,:r Theo who by and struggling atwork. Vincent hadbeen hrs wasunappreciated his employers LifeJong financialburden uable to repayhim in any way exceptfriendshipFurthermore, Vincent knew and was appalled the way an artisfs paintingsleaptup in value by themoment the artistdied. FIewasleavinga largelegacy of painngs Theo and his family and maybesawthis as to t h eo n l yw a yt o t r u l yh e l pt h e m. lhe H rscoflrnlayrn hrsToom bove inn. decorted with sunflowers yellow dahLias his lastpaintings and and lhe were hungonthesurround wl , He ws rng ls buried next day in Auverscemetery. Theo wasdevastated. Two months laterhe wasseized delirium and within six by m o n l h s . h e . t o o , w s d e d ,I n l 9 l 1 h i s r v t d o w h d him reinterredbeside Vincent in Auvers. He died without knowing thatVincent van Gogh would soonbe acknowledged one of the greatest artists ofall time. as

13

YOUNG S CHE V E NING E N K NITTING: FA CI NG

1BB1

WO MA N, RI G HT

Plate1

L+

Plate2

THE

P RA Y E R
1BB2

B E A C H A T S C H E VENINGE,NT I N S T O R M Y WEATHER
Gogh 1BB2,Van Museum, Amsterdam 34.5 51cm X

Plate3

16

Plate 4

C O T T A G ES
1883, GoghMuseum, Van Amsterdam 35 X 55.5 cm

l7

Plate5

S P INI'IIt{G

WHE E L

GoghMuseum, Amsterdam 1BB4,Van 34X44cm

1B

Plate 6

THE

P OTA TO

E A T E RS

1885, GoghMuseum,Amsterdam Van 81.5X114. 5c m

19

Plate7

TH E

OLD

CEMETRY

T OWER

AT NUE NE N

l BB5,Van GoghMuseum, Amsterdam 63X79cm

20

Plate 8

COTTAGE

A T NIGHTFALL

1BB5,Van GoghMuseum,Amsterdam 65.5 79cm X

2l

S T I L L L I F E W I T H T HREE B O T T L E S A N D E A R T H E N W A RE VESSEL
1BBs, Goshrvlus;:;, van oru"|.o"r

Plate 9

22

Plate 10

S TILL

LIFE WI T H

BIBLE

1885, GoghMuseum, Van Amsterdam 65X78c m

23

P l ate 11

FORTRAIT

O F A N O L D MAN
1885, GoghMuseum, Van Amsterdam 44.5 33.5 X cm

W ITH

BEARD

24

Plate 12

THE

P A RS ONA GE

A T NE UNT E N

1BB5,Van GoghMuseum, Amsterdam 33X43cm

25

Plate 13

A P A IR

OF S HO E S

Van 1885, GoghMuseum,Amsterdam 37.5 45cm X

26

14 Plate

STILL

LIFE W ITH

A BASKET

OF POTATOES

1885, GoghMuseum, Van Amsterdam 44.5 60 cm X

27

Plate 15

VASE

W ITH

DA I S I E S

1886, GoghMuseum, Van Amsterdam 40X56cm

2B

Plate 16

SKULL

WITH

B URNIN G

CI G A RE T T E

1886, GoghMuseum, Van Amsterdam 32X 24.5 cm

Plate 17

M ONTMA RTRE

QUA RRY , T I I E

MI L L S

'l886, GoghMuseum, Van Amsterdam 32X41cm

r.a.;.. .:

30

Plate18

BA S K E T W I T H

P A T {SIE S OT{ A TABLE

1886,Van Museum GoEh Arnstefdam c 4 6 X5 5 . 5 m

Plate 19

V IE W

OF THE

ROO F S

O F P A RI S

1886, GoghMuseum, Van Amsterdam 30X41cm

32

A P A IR

ONE

OF S HO E S , S HOE UP SI DE DO WN
1887, BaltimorMus eum Ar t The e of 34X 41.5 cm

Plate20

33

THE BRIDGE IAPONAISERIE: IN T H E R A I N ( A F T ER HIROSHIGE)

1BB7, Rijksmuseum, Holland

21 Plate

Plate22

FLOWE RP OT

WITH

CHI V E S

'lBB7, GoghMuseum, Van Amsterdam 31.5 22cm X

Rr---;

'

i:-'", .li-',
.1.:|

i;-=d.*'ir

Plate23

G LA S S OF A B S INTHE

A ND

A CA RA F E

1887, GoglrMuseum, Van Amsterdam 46.5X 33cm

36

Plate24

RE S TA UI{A NT

AT A S } . f I E RE S

1887, GoglrMuseurn, Van Arnsterdam 18.5 27cm X

!:i'

:17

Plate25

TRE E S A ND

UNDE RG RO WT H

1887, GoglrMuseum, Van Amsterdam 46.5 55.5 X cm

THE

THE S E INE WI T I I P ONT DE LA G RA NDE

l BB7,Van GoghMuseum, Amsterdam 32X 40.5 cm

Plate26

IATTE

,1

39

Plate27

TIIE
I
f

A LY S CA MP S

l BBB Lausanne, Collectonn ip.andEl i s e Bas l Goul andr i s 93X72 cm

I tr'
I i \\

fi
I

40

Plate28

THE

NOV E L

RE A DE R

l BBB Japan,Private Collection 73X92 cm

.),

4l

E NC-A MP ME }.TT O F G Y P S I E S W I T t r J C A R l\V1\NS

1888Paris, MLrsee d'Orsay 45X 51cn r

Plate29

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if

42

Plate30

SPE C T A T O R S

I N T H E ARENA
1BBB Lenningrad Hermitage, 73X92cm

AT ARLES

43

31 Plate

THE

RE D V IN E Y A RD
lBBB Moscow, Pushkin Museum 75X93cm

F,;:jfr, ,. ..,. q_ll

4+

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