ORCHARD WITH BLOSSOMING APRICOT TREES 1888, Van Gogh Museum, Amsterdam 64.5 X 80.5 cm
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Plate 38
AN OLD WOMAN OF ARLES 1888, Van Gogh Museum,Amsterdam 58 X 42.5 cm
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Plate 39
VIEW OF ARLES 1888, Van Gogh Museum, Amsterdam 54 X 65 cm
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Plate 40
FISHING BOATS ON THE BEACH AT SAINTES-MARIE 1888, Van Gogh Museum,Amsterdam 65 X 81.5 cm
54
Plate 41
PORTRAIT OF A ONE-EYED MAN 1888, Van Gogh Museum, Amsterdam 56 X 36.5 cm
55
Plate 42
THE LANGLOIS BRIDGE AT ARLES 1888, Van Gogh Museum, Amsterdam 59.5 X 74 cm
56
Plate 43
THE SEASCAPE AT SAINTES-MARIES 1888, Van Gogh Museum, Amsterdam 51 X 64 cm
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Plate 44
THE YELLOW HOUSE 1888, Van Gogh Museum, Amsterdam 72 X 91.5 cm
58
Plate 45
VINCENT’S BEDROOM IN ARLES 1888, Van Gogh Museum, Amsterdam 72 X 90 cm
59
Plate 46
GAUGUIN’S CHAIR 1888, Van Gogh Museum, Amsterdam 90.5 X 72.5 cm
60
Plate 47
SELF-PORTRAIT WITH FELT HAT 1888, Van Gogh Museum, Amsterdam 44 X 37.5 cm
61
Plate 48
BLOSSOMING ALMOND BRANCH IN A GLASS 1888, Van Gogh Museum, Amsterdam 24 X 19 cm
62
Plate 49
SELF-PORTRAIT AS AN ARTIST 1888, Van Gogh Museum, Amsterdam 65.5 X 50.5 cm
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Plate 50
THE ROAD MENDERS 1889, The Cleveland Museum of Art 73.7 X 92 cm
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Plate 51
ENCLOSED FIELD WITH RISING SUN 1889, Private Collection 71 X 90.5 cm
65
Plate 52
VINCENT’S CHAIR WITH HIS PIPE 1889, National Gallery Collection, London 93 X 73.5 cm
66
Plate 53
WHEATFIELD WITH CYPRESSES 1889, National Gallery Collection, London 72.5 X 91.5 cm
67
Plate 54
SELF-PORTRAIT 1889, Musee d’Orsay 65 X 54 cm
68
Plate 55
LILACE 1889, Hermitage, Leningrad 73 X 92 cm
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Plate 56
WHEATFIELD WITH REAPER AND SUN 1889, Van Gogh Museum, Amsterdam 73 X 92 cm
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Plate 57
CRAB ON ITS BACK 1889, Van Gogh Museum, Amsterdam 38 X 46.5 cm
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Plate 58
A PAIR OF WOODEN CLOGS 1889, Van Gogh Museum, Amsterdam 32.5 X 40.5 cm
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Plate 59
SUNFLOWERS 1889, Van Gogh Museum, Amsterdam 95 X 73 cm
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Plate 60
EVENING: THE WATCH (AFTER MILLET) 1889, Van Gogh Museum, Amsterdam 74.5 X 93.5 cm
74
Plate 61
OLIVE GROVE 1889, Van Gogh Museum, Amsterdam 45.5 X 59.5 cm
75
Plate 62
THE GARDEN OF SAINT PAUL’S HOSPITAL 1889, Van Gogh Museum, Amsterdam 71.5 X 90.5 cm
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Plate 63
UNDERDROWTH WITH IVY 1889, Van Gogh Museum, Amsterdam 49 X 64 cm
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Plate 64
PIETA (AFTER DELACROIX) 1889, Van Gogh Museum, Amsterdam 73 X 60.5 cm
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Plate 65
DEATH’S HEAD MOTH 1889, Van Gogh Museum,Amsterdam 33.5 X 24.5 cm
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Plate 66
THE CHURCH AT AUVERS 1890, Musee d’Orsay, Paris 94 X 74 cm
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Plate 67
PORTRAIT OF DR.GACHET 1890, Private Collection 67 X 56 cm
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Plate 68
MARGUERITE GACHET IN HER GARDEN 1890, Musee d’Orsay, Paris 45 X 55 cm
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Plate 69
THE GOOD SAMARITAN (AFTER DELACROIX) 1890, Rijksmuseum 73 X 60 cm+
83
Plate 70
PRISONERS EXERCISING (AFTER DORE) 1890, Pushkin Museum, Moscow 80 X 64 cm
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Plate 71
THATCHED COTTAGES IN CORDEVILLE 1890, Musee d’Orsay, Paris 72 X 91 cm
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Plate 72
PINE TREES WITH FIGURE IN THE GARDEN SAINT PAUL HOSPITAL 1890, Musee d’Orsay, Paris 58 X 45 cm
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Plate 73
THE GARDEN OF DR. GACHET IN AUVERS 1890, Musee d’Orsay, Paris 73 X 51.5 cm
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Plate 74
VILLAGE STREET AND STEPS IN AUVERS WITH FIGURES 1890, The Saint Louis Art Museum 49.8 X 70.1 cm
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Plate 75
NOON: REST FROM WORK 1890, Musee d’Orsay, Paris 73 X 91 cm
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Plate 76
PORTRAIT OF ADELINE RAVOUX 1890, Private Collection 73.7 X 54.7 cm
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Plate 77
IRISES 1890, Van Gogh Museum, Amsterdam 92 X 73.5 cm
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Plate 78
WHEATFIELD WITH CROWS 1890, Van Gogh Museum, Amsterdam 50.5 X 103 cm
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Plate 79
DAUBIGNY’S GARDEN 1890, Van Gogh Museum, Amsterdam 50.7 X 50.7 cm
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Plate 80
THE PLOUGH AND THE HARROW (AFTER MILLET) 1890, Van Gogh Museum, Amsterdam 72 X 92 cm
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Plate 81
LANDSCAPE WITH THE CHATEAU OF AUVERS AT SUNSET 1890, Van Gogh Museum, Amsterdam 50 X 101 cm
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Plate 82
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文森特·凡高Vincent van Gogh(1853～1890年)出生于荷兰赞德特镇一个新教牧师之家，24岁 之前，曾在海牙、伦敦、巴黎等地的古匹尔画店当店员。后来成为传教士，在比利时西南部的博 里纳日矿区传教，由于同情和支持穷苦矿工的要求而被解职。在度过了一段极度失望和贫困的生 活后，他决定在艺术的探求中完成自我的解脱。1880年以后，他到处求学，向比利时皇家美术学 院求教，向荷兰风景画家安东·莫夫学，但最后还是决定自学。他克服种种困难，努力按自己的 认识表现世界。在1886年以前，他的作品还都处于探索的时期，代表作有《吃土豆的人》、《纺 织工》等。1886年凡 ·高随他担任古匹尔画店高级职员的弟弟来到巴黎，结识了图鲁兹一劳特累 克、高更、毕沙罗、修拉和塞尚，并参加印象主义画家们的集会。从而使艺术眼界大为开阔，开 始以完全不同于过去的方法作画，画面色彩强烈，色调明亮。在他的画中，总是一片色彩和笔触 的狂欢，这种画面所造成的气氛效果表现出一种罕见的旺盛的生命力。1888年2月，他同高更结伴 同行，到法国南部的阿尔写生作画，长达一年之久。这是他艺术风格形成的最重要的时期，南国 的强烈阳光和阳光照耀下的市镇、田野、花朵、河流、农舍和教堂，使他禁不住一遍又一遍地高 喊：“明亮一些，再明亮一些!” 他和高更这时已经同印象主义的观点发生分歧，却同时对表现 主义或者象征主义发生浓厚的兴趣。因此，曾经有过建立“南方印象主义”或者“印象主义分离 派”的打算。后来因为2人的关系恶化，高更离去，凡·高在发生割下自己耳朵的事件之后精神逐 渐分裂。因此，他们没有结成任何团体。 1890年，经过圣雷米的德莫索尔精神病院的长期住院治 疗，病势稍有好转后，凡·高回到巴黎，住在瓦兹河畔的奥韦尔，接受伽塞医生的专门治疗，并 勤奋作画，作有《伽塞医生肖象》、《奥韦尔的教堂》等。但是，在1890年十月27日，在同伽塞 医生发生争吵之后，突然开枪自杀，结束了自己的生命。
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