Van Gogh

Page 1


VAN

COCH

SE,IWEN


CONTE,NTS YoungScheveningen Woman The Prayer Beachat Scheveninqen Farmhouses Spinning Wheel The PotatoEaters TheOld CemetnlTowerat Nuenen Cottageat Nightfall StillLifewith Th FeeBottles StillLifewith Bible Portrait of an OldManwith Beard TheParsonage at Neunen

Skullwith BurningCigarette Montmartre QuarryTheMills Basketwith Pansies on a Table Viewof the Roofsof Paris A Pairof Shoes Japonaiserie Flowerpotwith Chives Glass of Absinthe anda Carafe Restau rantat Asnieres Treesand Undergrowth TheSeine TheAlyscamps The NovelReader Encampment of Gypsies SDectators in the Arenaat Arles TheRedVineyard StillLife: FrenchNovel A Gardenwith Flowers TheOld Mill The Sower TheWhiteorchard PinkPeachTreein Blossom Orchardwith Blossoming ApricotTress An Old Woma Viewof Arles Portraitof a One-Eved Man

TheYellowHouse

1A

l5

Vincent's Bedroomin Arles Gauguin's Chair

59 60

to

17 18 19 20 21 22 )a 24

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

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

51 53 55

Blossoming AlmondBranch Self-Portrait asan Artis63 The RoadMenders Enclosed Fieldwith RisinqSun Vincent's Chairwith hisPipe Wheatfieldwith Cypresses Self-Portrait Lilacs Wheatfieldwith Reaoerand Sun Crabon its Back A PairOf WoodenClogs Sunflowers Evening:TheWatch(after Millet) OliveGrove TheGardenof SaintPaul's Hosoital Undergrowthwith lvy Pieta(after Delacroix) Death,SHeadMoth The Churchat Auvers Portraitof Dr.Gachet Marquerite Gachetin HerGarden Prisoners Exercising(after Dore) Thatched Cottacles in Cordeville PineTreeswith Figure The Gardenof Dr.Gachet VillageStreetand Steps

...........................62 OJ

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

70 71 72 74 75 /o

77 78 79 8l

82

87

lrises Wheatfieldwith Crows Daubigny's Garden

91 92 93

Landscaoe with the Chateau

95


I N D E ,X A Gardenwith Flowers A Pairof Shoes A PairOf WoodenClogs An Old Womanof Arles Basketwith Pansies on a Table Beachat Scheveninqen Blossoming AlmondBranch Cottageat Nightfall............. Crabon its Back

62 .21 71

Death,SHeadMoth

79

EveningTheWatch(after Millet) Farmhouses

74 17

Gauguin's Chair Glassof Absinthe and a Carafe Japonaiserie Landscaoe with the Chateau Lilacs lrises MarqueriteGachetin HerGarden Montmartre QuarryTheMills

33 52 3l to

StillLifewith Bible StillLifewith Th FeeBottles StillLifeFrenchNovel Sunflowers ThatchedCottaclesin Cordeville TheAlyscamps The Churchat Auvers The Gardenof Dr.Gachet Hospital TheGardenof SaintPaul's TheGoodSamaritan

23 22 45 73

TheParsonage at Neunen ThePloughandthe Harrow The PotatoEaters The Prayer TheRedVineyard The RoadMenders

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A\

40 RO

87 /o R?

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

95 The Sower TheWhiteorchard TheYellowHouse Treesand Undergrowth Undergrowthwith lvy Vasewith Daisies Viewof Arles Viewof the Roofsof Paris VillageStreetand Steps Vincent's Bedroomin Arles Vincent's Chairwith hisPipe Wheatfieldwith Crows Wheatfieldwith Cypresses Wheatfieldwith Reaoerand Sun YoungScheveningen Woman

69

91 82

OliveGrove Orchardwith Blossoming ApricotTress Pieta(after Delacroix) PineTreeswith Figure PinkPeachTreein Blossom Portraitof a One-Eyed Man Portraitof AdelineRavoux Portrait of an OldManwith Beard Portraitof Dr.Gachet Prisoners Exercising(after Dore) Restaurant at Asnieres

75 51 78

Self-Portrait with FeltHat Skullwith BurningCigarette Spectators in the Arenaat Arles Spinning Wheel StillLifewith a Basketof Potatoes

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55 90 24 8l

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

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77 28 53 32 59 oo

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artisticsoul to suchan ertent that he .l :l i h :,

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to add to his adislc credentials.

first to Padsand thenthe southofFrance he could féelNatureand félt his function .

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Br e d a . in B r¿b¿nlwherethey live da

thatVincent's stateof mind is well

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respectablemiddle-classlife. In later

Theo wasVincent's anchor-herelied

yearshe would look back on this time

on h Lmu Iterly. valuedh isoprnions.

with greatnostalgiaand affection.

and in short, idolized him . He wrote

A s well ;s l h e c h r rrc h

l o h L mb u l a l s o p a r n l eido r h L mI i n d e e d ,

l h e o l h e rv ¿n

Gogh family businesswasart-threeof his

he sawTheo asbeinga co-creatorin his

uncleswereart dealers. In 1869, at age

paintings. In ¿boull87J Vincenlwasrejecled rn

16, Vincentbecamean apprentlceat The Haguebranchof Goupil et Cie,

l o v e a ¡ dl h i ss e e m lso b e l h et u r n i n g

one of the leadingatt dealersin Europe.

point for his mania; he becameisolated

In 1873his brother Theo , fi:ur yearshis

and taciturn ,' and startedto read the

junior, alsojoinedthefirm.

Brbleobsessively.His family became r n c r e ¿ s i n gwl yo r r r e db y l h eL m s e l l h n g

As a rewardfor his hard work Vince¡t wastransferredto the London branch in

tone ofhis lettersand arrangedf:r his

summer1873. But a long way from his

transferto the Parisbranchof Goupil's

family his acutelonelinessprovoked

Thanksin part to his religiousfanaticism,

wh¿| wouldbecome¿lrie-longslruggls

the transferwasnot a success and the

ag ar n stmelancholyand depressi o n ,

companydismissedhim

During thisperiod Vincent starteda

By spring 1877Vincent had decidedto

regular correspondencewith Theo ,

becomea clergymanand moved to

who keptover800of hislellers eosuring

Amsterd¿mwherehe studiedLatin,

6


o

Greek, and mathematics. BuLhe gaveup when it becanreobviousth¿t he would

Academy. \Vhi1ethere he practiced drawing exercisesand copied well-larown

fail his examinations. lmmersedin piety he identified with St Paul and rejected

paintings to improve his technique, His relievedfamily generallyapproved, and

worldly preoccupations, His personalhygienesufferedand he looked increasingly

allowedhim to move back home. But he wasimpossibleto live with, his father

unkempt and disreputable. His family despairedof him :. his father took him

despairedof him, and he was askedto leave. He had fillen desperatelyin love

home many times to try !o caln him do.,qnwith the peaceand quiet of home life ,

with his recentlywidowed cpusin, Kee.Sheand thefamiLywerehorrifiedathis

but the effectswere at best only temporary.

protestationsof love which wereso

Finálly,üe family agreedthat Vincenl

improper in such a very conventional and

should try lay preaching, and he was

moraleowonmenr. A lerribleT¿m Lly

sent to the Borinage,, a desperatelypoor

argumenton ChristmasDay 1881resulted

Belgian mining district: Vincent was

in Vincenlleaünghomeand movinglo

th r ü e d¿r lhe prosped, Whrlethere . h e

The Hague. Still a young and inexperiencedpainter

lived the life of an ascetic-hisfood bread an d w ¿lerl his home, a near dere lic l

Vincent's earlywork wasconr¡entional-

hut. He gaveawaymost of his clothes

often still livesof rustic simp'liciq¡and

to needy miners and generally alarmed

rathersombercolors, He left the Bm¡sels

his su p eriorsso much wilh his relig io u s

Academy and begán to selfteachthrough

enthusiasmthat the EvangeLical

the useofart instruclonbooks. Flealso

Committee declined to renew his contract.

enjoyed eoplng illustrations , par-ticularly

However,andperhapsmore importantb¡

the agriculturalcomposilionsof

to him , Vincelt was acceptedby the miners and their families.

romanticsocialrealismby lean-FrangoisMillet and JülesBreton.

Vineent himself recognizedthat he wasnot suited to 1aypreachingand decided to

Craving feminine company Vincent becameatt¿chedto a 3O-yearold prostitute

dedicate himself to ¿rt instead. He moved to Brirssels (wrth what was to become

called Sien(ClasinaMaria Hoomik) Condemned as a fal1enwoman by socieq/,

regularfinancialhelp fom Theo) to studyart at the non-feepalmg Brussek

shewelcomed his support asshehad a y,:ulg daughter and was expecting another baby

7


o

It seemsthatVincent wasattractedto her by the very thingsthat alienatedher from

20months, but Vincent acknowledgedthewrsdomof partingand moved awayto

society-hersüffering, her profession, her

live alonein Drente, an unfashionableremote

povedy, even her smallpox-ravagedface,

rural region of Holland, He stayedf:r three

His lamily wereoutragedbut he wascontent,

months during which time he empathizedand

theyhadno Incomeexcept allhor-rgh Theo's

admiredthe underprivilegedworkmenand

monthly allowanceI sinceVincent succeeded

craftsmenin their daily toil with their digniq.,

rn stoppingSienworking the streetswhile he

solidarity, and work ethic. He paintedthe

painted-oftenfrom dar¡.'nto dusk-butwithout

peasantsat work in the fieldsand their

sellinganywork

selin lhefl¿lrvrndswepl coHages landscape.

Vincent took to parntingoutside (a new

But melancholiawashis constantcompanion-

com'ention) around the fringesof The

he wasdepressedand felt guilty about leaving

Hague, in parfcular seasidesceneswith

sien¿¡d i¡ f¡ispatnbnghew¿ssearching for

fishermenand boats. He enjoyedworking

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closeto the elemertsand would retüJnhome

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Rural isolationwasnot the answerand in

with sandcakedinto his paint. But thefamily

December1883Vincent returnedto his

regularlywent without food and Vincent

parentswhowerenow lir'rngin lher'rllage of

becamesoweakthat he wasunableto work.

Nuenen in Brabant. He stayedfor fivo ye¿rs,

Frustratedas Vincent bought art materials

the longestperiod he spentanf i'vhereasan

r¿therthan food, Sienretumed to

artrst. The staywaspunctuated with

prostitution-muqhto Vincent's disapproval.

argnmentswith his father-mostlyabout

Theo wasappalledbltheir povertyand

societyandconformity. He gravitatedto the

squalorand conüncedVincent that the only

poor pe¿s¿nls in lher..rllage-many of them

way he could devotehrmselfto paintingwasto leaveSien. They had beentogether

weavers-and wasmore readilyacceptedby them than his bourgeorspeers.

B


In February1884Vincent agreedto sendhis paintingsto Theo in Pansin

Theo wasmaking hisnameasa specialistde¿lerin the work of young artists, and I w¿s¿bleto rnIroduce hür Inlo dv¿rI g¿rdec rrcles V rncen

exchangef,:r money ordersof 150francsa month . They continuedthis transactionfi:r Vincent's life eventhrough their

Vincentmet and madefriendswith numerous

periodsof estrangement.This did not preclude

artrstsand his paintingsbecamemore colorful

Vincent's frequentrequestsfor more money-to

and optimistic. He waspopular amonghis

pay hismodelsor i¡r more materials. Then,

contemporaries and his unconventionallooks

suddenly, in March 1885Vincent's fatherdied

and ma¡lers fitted perfectlywith the notion of

of ¿ sfoke. agedoJ. Famrlyand r'rllagers felt

how an artistshouldbehave. His Parisperiod

Vincent wasat leastpartiallyresponsible. In

wasvery proLific: in all he paintedalmost230

May he left the family home to rent a studio

works there, many of them experimentswith

nearby.

techniquesand coloring developedby the L m p r e s s t o n i s lBsU . l . o n l h en e g a l t v e s t d et l.

The t,:llowingmonth Vincent paintedhis first realmasterpiece. "The PotatoEaters". All the

w ¿ si n P ¿ n sl h ¿ lh es Lr¿l e dd r r n k i n gh e a r ' r l y , Vincenf s primary irfluence at this time was

while he wasthinking about the principlesand practiceof art, which in turn madehim

Japanand all thingslapanese. lapan had

frustratedwith his inability to interpret his rdeas

becomea major culturalinfluencein the West

on canvas. Local politicsand socialniceties

sincethe 1867ParisWorld Fair and artistswere

weregettinghim down andVincent startedto

particularlysusceptibleto the new style. Van

halker f,:r the excitementof city life. Parisat

Gogh had collectedlapaneseprints ofthe

l hr sl r m ew¿s¿ m¿gnel for,rrlrsls.bolho ilh e

Ukiyoye Schoolsincehis daysin Antrverpand

old conventionalschoolaswell asthoseat the

while in Pariscollectedliterallyhundredsof

leadingedgeof modem paintrng. In October

lapanesewoodcuts. He copied a number of his

he left f:r Paris, añiving therein February1886via Amsterdamand Ant\ rerp.He

favoriteprints, particularlyliking their decorativequality,withblocks of color,

moved in with Theo in Montmartre. and the brothersbecamecloserthan even.

f,:rmsof contrast, unusualperspectives and useofspace. All this had a profi:und

9


o

influenceon his own styleas he later$'rotefrom Arles in summer 1888, "My

so in September1888he rentedfuur rooms f,:r 15francsamonth to useasa studio

whole work is fl:unded on the lapanese, so to speak..inits homelandlapanese

in what becameknown asthe"yellowhouse"onthe PlaceLamartine. Vincent was

art is in a stateofdecline. but it is putting down new roots in French

soonsketching,usingpen and ink drawings-an economymeasure,inpartsohe

Impressionism."

could during bouts of

Unableto journey to lapan,

madness. reducehis r:----,-l

Vincent did what he

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uctrcluclr

consideredthe next best thing: he went to the South

difficult time at work.

of France. He wantedto

Typicallyhe would work very

unite art and life . His first

quickly, but he plannedall

destinationwasAries where

the elementsfirst, and then

he stayedin guesthouses.By

-. , , , 1 1

1888he waspaintingvery fast

one reasonwhy his paintings

and with greatconfidence.

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He washappyat last-working

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everyday, paintingwhatever

Physically, Vincent'swork

wasin front of him . This is

wastakinga hear'ytoll : he

theperiodof his principal

wasliving on coffee, alcohol,

masterpieces ; his paintings

nicotine,and not much else.

arefull ofintensecolor, not

He suflered from hangovers

just becauseof the southern

and thereweretimeshe

light but asa continuationof

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couldn't think clearly. As he got worsehe experiencedhallucinations InJu\ 1888Vincent receivedsomemoneywith which he renovatedand.

his lapaneseinfluence, in deferenceto which he paintedno shadowsin his work.

lurnishedthe"yellow house."FIewas excitedlyanticipatinga stayby le11owartist

Working feverishlyeveryday he soon neededsomewhereto storehis canvases,

10


o

Paul Gauguinand washopingto persuadehim to remainthere, the first olwhal

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he hoped would becomean artists'colony. The lamoussunflowerpaintingswere

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Vincent uas critically ill for a time but withir two weekshad regainedhis strength

producedto decoratethe houseand to showoffhis artisticabilityand his ftiend

and resumedhis former life.

wasgrati[.ingly impressed.

The naFtreof Vincent'sillness

Gauguin reluctantly arríved in

hasbeenwide$ speculatedupon

Arles on October23 he wasto

but nouncontestedconclusion

spendti'\¡onearliuitlessmonths

hasbeenreached. Dirring

there. They did not geton as

seizure he he¿rdstr¿nge<ou¡ds

well asVincent had hoped.

and voices-thismight havebeen

Gauguinfelt superiorboth asan

schizophrenia, alcoholism,

artistand asa pelson, and hated

slphilis , or somethingelse

the provincialityand lack of

entirely: his physiciansthought

sophisticationof Aries.

il wasepikpsy. In February 1889

Vincentwas dístraughtat the

he sulfereda bout ofparanoiaso

way their relationship

severethat he washospitalized

deteriorated. On the evening of

for ten days. Some80 or so

December23 he cut offhis right

peoplefrom Ades petitionedthe

earlobe,r'r,'rapped it in newspaper,

ci|l authoritiesclaimingthat

walkedto the localbrothel,and

Vincent Was a "publiCmenace

--^^^-+^r

.+ + ^ ¡

and demandedthat theylock

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prostitute there. Sheealledthe police who took him to hospital. He was lucky

him up. In lateFebnrarl.he washospitalizedasa lunatic,

not to bleed to death ashe had severedarr artery. The following morning Gauguin

Althoirgh his dementiaonly camein boutsV'incentvoluntarily enteredthe

Ieftwithout seeingVincent. They did not meetagainalthoughtheyresumeda

monasteryof Saint-Paul-de-Mausole,an asylumat Saint-Rdmy.afewmilesnorth

11


of Arles. He Waswell awareof the romantic stereotypeof the artisttorturedby

His bouts of insanrtyconvincedhim to turn hisback on the world but ashis health

talent.It is hard to saywhetherhe deliberatelylived up to this image,but he$'roteto

improved he wasallowedto go beyondthe asylun precincts.

Theo assuringhim that he wasstill hrmselfapartfrom occasionalmentallapses.

While incarceratedat Saint Rémy, Vincent produced 1,10paintrngs, but only

While hospitalizedVincent was

<ronp¿l <pr¡en of thpm

Hr<

superwised at all timesand wasnot

recufringthemeswerenow

allowedto leavethe hospitalto find

landscapes featuringolive groves,

subjectmatterto paint. In facthe

cypresstrees, and the mountarns

wasrarelyallowedto havehis

of theAlpilles.

parntingmaterialsat a11 , He

All this time hispainüngswere

missedhis work terribly,but ulable

berngstockprled.¿ numberoi

to searchi:r inspiration, he turned

them in Pariswitl-rTheo and another

to copyinghis sunflowersand

pilewith. PéreTanguy. People

paintedthreemore versions.

had heardaboutVincent'swork

Otherwisehe paintedviewsof the

--¡

hosprtaland gardens.

s u b mr l l e df w op ¿i nl r n g s, J n s e s

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The asylumprovided l-rimwith much neededisolationand

to the fiftl-rexhibition held by the

preventedhim from abusingdrink

SalondesIn édpendantsin

¿ndlo b ¿cco,Hisparntrng hac

September 1889. Itgothim

becomehis surwivaltechniqueand

noticed, but Vincent f,:rbadeTheo

his outputwasceaseless,He tried

to releaseanybut minimal

to usethe energycreatedbyhis madnessasa positivef,:rcein l-usart. It waswhile

inf,:rmationabout himself,evento publicizel-riswork.

herethat Vincent startedusingcircularstrokesand snakinglineson his paintings.

Then ten paintingswereshoi'rmat the sirth SalondesIndépendantsexhibition

Thesehavebeeninterpretedassignsofhis mental instabilityand obsessive nature.

and Vincent waslaudedasone of theyoung lions ofmodern art. But success

l2


"I wishitwereallovernow. "Hediedonlu1y29. 1890aged37.

panickedhim : he fearedthat its pricewould be too high in suffering, Greatly alarmed, he retumed to copfng paintingsby the greatmasters, especiallyMillet

Thereis no apparentreasonf,lr Vincent'ssuicide. many theorieshavebeen

and Delacroix, but putting his own interpretationsinto the work.

positedbut none areentirelyconvincing. It is possiblethat he did it f,:r Theo who

Vincent stayedin the asylumfor a year, Accordrngto the director he wascalm

wasunappreciatedby his employersand strugglingatwork. Vincent hadbeen hrs

an d q u r elfor muchoi lhe lrmebul pa rn le do b s e s s rv e ly ,

LifeJongfinancialburden u¡able to repayhim in any way

He sufferedf,:ur mentalepisodeswhen he was

exceptfriendshipFurthermore, Vincent knew and was

overwhehnedby fearsand paranoia. When this

appalledby the way an artisfs paintingsleaptup in value

happened, he would stealand drink keroseneintended

themoment the artistdied. FIewasleavinga largelegacy

for the lampsand swallowtoxic paint. But he had started

of painüngsto Theo and his family and maybesawthis as

to long to go home, back to the cooler, greyer,north.

t h eo n l yw a yt o t r u l yh e l pt h e m. H rscoflrnlayrn hrsToom¿bovelhe inn. decor¿ted

On May 16, 1890he setoff, alone, fl:r Paris. Arriving in Parisat Theo's houseVincent seemedwell

with sunflowersand yellow dahLias and his lastpaintings

an d h a p pyto c,rtchup wrlhhrsl¿mily a n d lre n d s , He

werehungonthesurroundrngw¿lls, He w¿sburiedlhe

decampedto the rural town of Auvers-sur-Oisejust

next day in Auverscemetery. Theo wasdevastated.

outsideParison May 20 and startedpaintingimmediately.

Two months laterhe wasseizedby delirium and within six

c ¿ meo u l c ¿ lme r Justash e hadhoped. hisp¿nUngs

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

without the fteneticbrushwork of recentümes.

him reinterredbesideVincent in Auvers. He died

Vincent spenth^,¡o months in Auvers, during which he

without knowing thatVincent van Gogh would soonbe

paintedeighf works and seemed(from his letters)

acknowledgedasone of the greatestartistsofall time.

r e m a r kably content, B ut on the e v e n rn go f lu ly 2 7 . 1890, he shot himselfin the chestwith a revolver-wherethe gun camefrom and wherehe waswhen he shothimselfno one knows. Badlyinjured, he returnedto his rentedroom . Theo rushedto his sidethe following day, the 28th. He fould Vincent in bed, contentedlysmokinghis pipe . His lastwordsarerecordedas.,

13


YOUNG S CHE V E NING E N K NITTING: FA CI NG 1BB1

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WO MA N, RI G HT

Plate1


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 GoghMuseum, 1BB2,Van Amsterdam 34.5X 51cm

16

Plate3


Plate4

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

l7


Plate5

S P INI'IIt{G

WHE E L

GoghMuseum, Amsterdam 1BB4,Van 34X44cm

1B


Plate6

THE

P OTA TO

E A T E RS

1885,VanGoghMuseum,Amsterdam 81.5X114. 5c m

19


Plate7

TH E

OLD

CEMETRY

T OWER

l BB5,Van GoghMuseum, Amsterdam 63X79cm

20

AT NUE NE N


Plate8

COTTAGE

A T NIGHTFALL

1BB5,Van GoghMuseum,Amsterdam 65.5X 79cm

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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, vanGoshrvlus;:;, oru"|.o"r

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Plate9


Plate10

S TILL

LIFE WI T H

BIBLE

1885,VanGoghMuseum, Amsterdam 65X78c m

23


P l ate11

FORTRAIT

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

24

W ITH

BEARD


Plate12

THE

P A RS ONA GE

A T NE UNT E N

1BB5,Van GoghMuseum, Amsterdam 33X43cm

25


Plate13

A P A IR

OF S HO E S

1885,VanGoghMuseum,Amsterdam 37.5X 45cm

26


Plate14

STILL

LIFE W ITH

A BASKET

1885,VanGoghMuseum, Amsterdam 44.5X 60 cm

27

OF POTATOES


Plate15

VASE

W ITH

DA I S I E S

1886,VanGoghMuseum, Amsterdam 40X56cm

2B


Plate16

SKULL

WITH

B URNIN G

CI G A RE T T E

1886,VanGoghMuseum, Amsterdam 32X 24.5cm


Plate17

M ONTMA RTRE

QUA RRY , T I I E

'l886,VanGoghMuseum, Amsterdam 32X41cm

r.a.;.. .:

30

MI L L S


Plate18

BA S K E T W I T H

P A T {SIE S OT{ A TABLE

1886,Van GoEhMuseumยก Arnstefdam cm 4 6 X5 5 . 5


Plate19

V IE W

OF THE

ROO F S

O F P A RI S

1886,VanGoghMuseum, Amsterdam 30X41cm

32


A P A IR

ONE

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

33

Plate20


THE BRIDGE IAPONAISERIE: IN T H E R A I N ( A F T ER HIROSHIGE) 1BB7,Rijksmuseum, Holland

Plate21


Plate22

FLOWE RP OT

WITH

CHI V E S

'lBB7, VanGoghMuseum, Amsterdam 31.5X 22cm

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Plate23

G LA S S OF A B S INTHE

A ND

1887,VanGoglrMuseum, Amsterdam 46.5X 33cm

=

36

A CA RA F E


Plate24

AT A S } . f I E RE S

RE S TA UI{A NT

1887,VanGoglrMuseurn, Arnsterdam 18.5X 27cm

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Plate25

TRE E S A ND

UNDE RG RO WT H

1887,VanGoglrMuseum, Amsterdam 46.5X 55.5cm


THE

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

Plate26

IATTE

l BB7,Van GoghMuseum, Amsterdam 32X 40.5cm

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39


Plate27

TIIE

A LY S CA MP S

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

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Plate28

THE

NOV E L

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l BBBJapan,PrivateCollection 73X92 cm

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SPE C T A T O R S

I N T H E ARENA 1BBBHermitage, Lenningrad 73X92cm

43

AT ARLES


Plate31

THE

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

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THE

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THE

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Plate36

THE

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P I I {K

P E , A C H T R Etr IN BLOSOM 1888,VanGogh.lVluseum, Amsterdam


ORCHARD WITH APRICOT '

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Amsterdam Y:sesum'

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Plate38


Plate39

A N OLD

W OMA N

O F A RL E S

l BBB, VanGoghMuseum,Amsterdam 58X 42.5cm

52


Plate40

V IE W

OF A RL E S

'lBBB, VanGoghMuseum, Amsterdam 54X65cm

53


FIS trIINIG B OA TS O N T I J E RE A L -I I A ]'S 1\INTE S -N4 A 1 1 I I ] 1888,VanGoghl\4useum,Amsterdam 65 X 81.5.m

54

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Plate42

P ORTRA IT

OF A Ol' I E -E Y E D l BBB, vanGosh.Ivlus;:;,or',"|'0u.

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Plate45

THE YELLOW

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1888,VanGoghMuseum, Amsterdam 72X91.5cm

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GAUGUIN,

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SELF-PORTRAIT

WITH

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Plate50

AS A N A RT I S T

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l BBB,Van GoghMuseum, Amsterdam 65.5X 50.5cm

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Plate51

THE ROAD

ME}.trDERS

1BB9,TheCleveland Museumof Art 73.7X92 cm

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Plate52

ENCLOS E D

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WITH

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Plate53

VINCE NT,

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Plate54

WIiE A TFIE LD

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1889,National GalleryCollection, Londor'l 72.5X 91.5cm

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S E LF-P ORT RA I T 1889,Museed'Orsay 65X54cm .:* !! i; ยก u,.'

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Plate56

LILA CE 1BB9,Hermitage, Leningrad 73X92cm

69


Plate57

WH EA TFIE LD

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RE A P E R

1889, VanGoghMuseum, Amsterdam 73X92 cm

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Plate58

C R A B O N I T S BACK 1889,VanGoghMuseum, Amsterdam 38X 46.5cm

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Plate59

A P A IR

OF W OC)DE N 'lBB9, VanGoghMuseurn, Amsterdam 32.5X 40.5cm

72

CL O G S


Plate60

S UNFLOWE RS lBB9,VanGoghMuseurn, Amsterdam 95X73cm

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EVENI } . t r G : T I I E W A T C I I

(AFTER

1889,VanGoghMuseum, Amsterdam 74.5X 93.5cm

74

MILLET)


Plate62

OLIV E

GRO V E

1889,VanGoghMuseum, Amsterdam 45.5X 59.5cm

75


Plate63

THE

GA RDE N

OF S A INTT P A UL 1889,VanGoghMuseum, Amsterdam 71.5X 90.5cm

76

S HO S P I T A L


Plate64

U I {D E R D R O W T H

WITH

1889, Van GoghMuseumยก Arnsterdam 49X64cm

77

IVY


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P IE TA

(A FTE R

DE L A CRO I X )

1889,VanGoghMuseum, Amsterdam 73X 60.5cm

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Plate66

DE A TH,

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MO T H

1889,VanGoghMuseum,Amsterdam 33.5X 24.5cm

79


Plate67

THE CHURCH

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1890,Museed'Orsa,Paris 94X74cm

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PORTRAIT

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TIIAT CHE D

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P INE TRE E S W IT H F I G URE IN THE GA RDE N S A INT P A UL HO S P I T A L 1890,Museed'Orsa,Paris 58X45cm

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Plate73


T H E G A R D E N O F DR. GACHET I N A U V ERS 1890,Museed'Orsay, Paris 73X 51.5c m

87

Plate74


V ILLA GE S TRE E T A ND S T E P S IN A UV E RS WIT I I F I G URE S 1B90,The SaintLouisAr t M us eum 49.8X 70.1cm

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Plate75


Plate76

NOON:

R E S T F ROM WORK 1890,Museed'Orsay, Paris 73X91cm

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Plate77

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II{IS E S 1890,VarlGoglrMuseunl,Arrstefdam 9 2 X 7 3 . 5. m


Plate79

WHEATFIELD

WITH

CROW S

Amsterdam 1890,VanGoghMuseum, 50.5X 103c m

92


Plate80

DAUBIGI.trY,

S GARDEN

1890,VanGoghMuseum, Amsterdam 50.7X 50.7cm

93


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95

Plate82


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