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CONTE,NTSYoung Scheveningen Woman 1A
The Prayer l5Beach at ScheveninqenFarmhousesSpinning WheelThe Potato EatersThe Old Cemetnl Tower at NuenenCottage at Nightfal lStill Life with Th Fee BottlesStill Life with BiblePortrait of an Old Man with BeardThe Parsonage at Neunen
Vincent's Bedroom in ArlesGauguin's Chair
Blossoming Almond Branch ...........................62Self-Portrait as an Artis63 OJ
The Road Menders ...........64Enclosed Field with Risinq SunVincent's Chair with his Pipe .. . . . . . . . . . . . . . . . . . . . . .66Wheatfield with Cypresses ...........................67Self-PortraitLi lacsWheatfield with Reaoer and SunCrab on its Back 71A Pair Of Wooden ClogsSunflowersEvening: The Watch(after Millet)Olive GroveThe Garden of Saint Paul 's HosoitalUndergrowth with lvyPieta(after Delacroix) 78Death,S Head Moth 79The Church at AuversPortrait of Dr.GachetMarquerite Gachet in Her Garden
Prisoners Exercising(after Dore)Thatched Cottacles in Cordevi l lePine Trees with FigureThe Garden of Dr.GachetVillage Street and Steps
lr isesWheatfield with CrowsDaubigny's Garden
Landscaoe with the Chateau
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65
24 ov
70
72
7475/o
77313233
35Glass of Absinthe and a Carafe 8l
82
40
87
Trees and Undergrowth 38
The AlyscampsThe Seine
The Sower
39
Encampment of GypsiesThe Novel Reader
The Red Vineyard
41
SDectators in the Arena at Arles4243444546474849qn
Still Life: French NovelA Garden with Flowers 91The Old Mil l 92
93The White orchardPink Peach Tree in Blossom 95Orchard withAn Old WomaView of Arles
Blossoming Apricot Tress 51
53
Portrait of a One-Eved Man 55
Basket with Pansies on a TableView of the Roofs of ParisA Pair of ShoesJaponaiserieFlowerpot with Chives
Restau rant at Asnieres
Skull with Burning CigaretteMontmartre Quarry The Mil ls
...........................29?o
The Yellow House
INDE,XA Garden with Flowers Sti l l Li fe with Bible 23
A Pair of Shoes
52Basket with Pansies on a Table The AlyscampsBeach at Scheveninqen to The Church at AuversBlossoming Almond Branch 62 The Garden of Dr.GachetCottage at Nightfal l . . . . . . . . . . . . . The Garden of Saint Paul 's Hospital /o
R?
Death,S Head Moth
Evening The Watch(after Millet) The Parsonage at NeunenFarmhouses The Plough and the Harrow
79
7417
Still Life with Th Fee Bottles 2233 Still Life French Novel 45
73A\
A Pair Of Wooden ClogsAn Old Woman of Arles
SunflowersThatched Cottacles in Cordeville
40RO
3l
87.21
Crab on i ts Back
Gauguin's ChairGlass of Absinthe and a CarafeJaponaiserieLandscaoe with the ChateauLilacslr ises 91Marquerite Gachet in Her Garden 82Montmartre Quarry The Mil ls
The Potato EatersThe PrayerThe Red VineyardThe Road Menders ...........64
The Sower
71 The Good Samaritan
-)\
9419l5
9569 48
49The White orchard
Trees and UndergrowthThe Yellow House
Vase with DaisiesUndergrowth with lvy 77
Olive Grove 75Orchard with Blossoming Apricot Tress 51Pieta(after Delacroix)Pine Trees with FigurePink Peach Tree in BlossomPortrait of a One-Eyed ManPortrait of Adeline RavouxPortrait of an Old Man with Beard 24Portrait of Dr.GachetPrisoners Exercising(after Dore)Restaurant at Asnieres
Self-Portrait with Felt HatSkull with Burning Cigarette . . . . . . . . . . . . . . . . . . . . . . . .29Spectators in the Arena at ArlesSpinning Wheel 18
28View of Arles 53
3278 View of the Roofs of ParisVillage Street and StepsVincent 's Bedroom in Arles 59
55 Vincent's Chair with his Pipe oo
90 Wheatfield with Crows 92Wheatfield with Cypresses o/
8l Wheatfield with Reaoer and SunYoung Scheveningen Woman 14
6l
43
4
Still Life with a Basket of Potatoes
l ¡n l ¡ - h ]L¡ l - l t ¡ to n¡ l no n¡ o nlr
' .nd
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rn. : . l : :ñ r ,nt rñ¡ in:-- ,nf¡ , ñ t i -
ñrrntrn. - 1r : r rh:1r rr : n¡r ñr . t r r r : - ¡ f
o1
sunshine and color and lifé in all its
vibrant maniféstltions.
.h - , tL , ¡ ,1 \ / . . . ¡ . t \ h¡ , rd l ' ! ! I ! '
L
ofother arlsts . It was not unlL he moved
first to Pads and then the south ofFrance
. r r Pdxl x la !1
uninhibited eruberance.
l / rn.¡nt v:n G.of . . r r rL inol \ ¡ o:rrnr
d
, t f ¡m.¡ I
1890
, 80
¡:r ntr n o. th ¡ ¡r:.t n¡ ¡ mh¡¡ ¡ . ¡ ¡ ¡l¡¡¡w¡n because a number ofworks attdbuted to
hm- ¡ l ¡ ¡ l -n¡ l - n mh ^ l ¡ ¡ ¡ l ' ¡ r ¡ l nh l f m n nolr
r-n a¡oh ¡nlr on ¡ l ¡ - n no h- h ¡n ¡ l ¡ l ^ ln h ¡ l
Pd a!! ! !d a -
\ / -n ¡oh h¡ oh -n¡ l - ¡ l ¡ l ¡ l r
rh¡r , r l . , - r , r rn¡1, :ñ:rr : . lhr r f i r .L- : / l
r , r , - r , . ñ, ¡h l :ñ - r ,nr , l h: r , , , r r : .1 rr l
- f - ¡^ ¡ . I ¡ . - ¡ , , h
h- h . - . l ¡ f - , t \ mh - .
rh¡ ¡ ¡ l ¡ ¡ f m:¡ l o¡nrrr . :n¡ t . r t r r r ¡ ¡
artistic soul to such an ertent that he
. l : l ih: , r r : lv :n.¡r , , r . : .1 h¡r , r - ¡ f .n - rn i. f
to add to his adislc credentials.
he could féel Nature and félt his function
'n
P¿:
rh¡r ¡ r . f r ¡ ¡ r r ¡nr l \ ¡ :n rn¡r . : r i .n . f r f ¡
time ofyear in his work.
\ / . . \ / l l mr-n ¡oh ^-
¡ l ¡ n¡ l ¡ l f ¡m-l¡noln ¡ fu ht l f ¡m
ahu.hp¿ lor Hev" bornlhefir I of sin children on March 30J 1853) to
VINCENT VAN GOGH 1853
nf r¡- ¡ - ¡n h--¡-n nohr \ / . . \ - .a.of .
f ¡ - t h , ¡1. , - -ht , I f - m|¡ . ¡ f . l ¡ | -
haye shatteredauction records around the world all the more ironic,
5
Breda. in Br¿b¿nl where they l ived a
<rTé ñ'^, ,< mn,. lpcr h, ' ¡ '^ '^ '1," . .
respectable middle-class life. In later
years he would look back on this time
with great nostalgia and affection .
A s wel l ;s lhe chr rrch lheolherv¿n
Gogh family business was art-three of his
uncles were art dealers . In 1869, at age
16, Vincentbecame an apprentlce at
The Hague branch of Goupil et Cie,
one of the leading att dealers in Europe.
In 1873 his brother Theo , fi:ur years his
junior, also joined the firm.
As a reward for his hard work Vince¡t
was transferred to the London branch in
summer 1873 . But a long way from his
family his acute loneliness provoked
wh¿ | would become¿ lr ie- long slruggls
aga rnst melancholy and depression,
During this period Vincent started a
regular correspondence with Theo ,
who kept over 800 of his le l lers eosur ing
thatVincent's state of mind is well
documented.
Theo was Vincent's anchor-he relied
on h Lm u I ter ly . va lued h is op rnio ns .
and in short, idolized him . He wrote
lo hLm bul a lsoparnled ior hLm I indeed,
he saw Theo as being a co-creator in his
paintings .
In ¿boul l87J Vincenl was rejecled rn
lovea¡d lh is seems lo be lhe turning
point for his mania; he became isolated
and taciturn ,' and started to read the
Brble obsessively. His family became
rncre¿singly worrred by lhe Lmsel lhng
tone ofhis letters and arranged f:r his
transfer to the Paris branch of Goupil's
Thanks in part to his religious fanaticism,
the transfer was not a success and the
company dismissed him
By spring 1877 Vincent had decided to
become a clergyman and moved to
Amsterd¿m where he studied Latin,
6
Greek, and mathematics. BuL he gave up when it becanre obvious th¿t he would
fail his examinations. lmmersed in piety he identified with St Paul and rejected
worldly preoccupations , His personal hygiene suffered and he looked increasingly
unkempt and disreputable. His family despaired of him :. his father took him
home many times to try !o caln him do.,qn with the peace and quiet of home life ,
but the effects were at best only temporary.
Finálly,üe family agreed that Vincenl
should try lay preaching, and he was
sent to the Borinage,, a desperately poor
Belgian mining district: Vincent was
thrüed ¿r lhe prosped, Whrle there. he
lived the life of an ascetic-his food bread
and w¿ler l h is home, a near derel ic l
hut. He gave away most of his clothes
to needy miners and generally alarmed
his super iors so much wi lh his rel ig ious
enthusiasm that the EvangeLical
Committee declined to renew his contract.
However,and perhaps more importantb¡
to him , Vincelt was accepted by the miners and their families .
Vineent himself recognized that he was not suited to 1ay preaching and decided to
dedicate himself to ¿rt instead. He moved to Brirssels (wrth what was to become
regular financial help fom Theo ) to study art at the non-fee palmg Brussek
7
o
Academy. \Vhi1e there he practiced drawing exercises and copied well-larown
paintings to improve his technique , His relieved family generally approved, and
allowed him to move back home. But he was impossible to live with, his father
despaired of him, and he was asked to leave. He had fillen desperately in love
with his recently widowed cpusin, Kee. She and the famiLy were horrifiedathis
protestations of love which were so
improper in such a very conventional and
moral eowonmenr. A lerrible T¿m Lly
argument on Christmas Day 1881 resulted
in Vincenl leaüng home and moving lo
The Hague.
Still a young and inexperienced painter
Vincent's early work was conr¡entional-
often still lives of rustic simp'liciq¡ and
rather somber colors , He left the Bm¡sels
Academy and begán to self teach through
the use ofart instruclonbooks. Flealso
enjoyed eoplng illustrations , par-ticularly
the agricultural composilions of
romantic social realism by lean-Frangois Millet and Jü les Breton.
Craving feminine company Vincent became att¿ched to a 3O-year old prostitute
called Sien(Clasina Maria Hoomik) Condemned as a fal1en woman by socieq/,
she welcomed his support as she had a y,:ulg daughter and was expecting another
baby
It seems thatVincent was attracted to her by the very things that alienated her from
society-her süffering, her profession, her
povedy, even her smallpox-ravaged face,
His lamily were outraged but he was content,
al lhor-rgh they had no Incomeexcept Theo's
monthly allowance I since Vincent succeeded
rn stopping Sien working the streets while he
painted-often from dar¡.'n to dusk-but without
selling any work
Vincent took to parnting outside (a new
com'ention) around the fringes of The
Hague, in parfcular seaside scenes with
fishermen and boats. He enjoyedworking
close to the elemerts and would retüJn home
with sand caked into his paint. But the family
regularly went without food and Vincent
became so weak that he was unable to work.
Frustrated as Vincent bought art materials
r¿ther than food, Sien retumed to
prostitution-muqh to Vincent's disapproval.
Theo was appalled bltheir poverty and
squalor and conüncedVincent that the only
o
20 months, but Vincent acknowledged the wrsdom of parting and moved away to
live alone in Drente, an unfashionable remote
rural region of Holland, He stayed f:r three
months during which time he empathized and
admired the underprivilegedworkmen and
craftsmen in their daily toil with their digniq.,
solidarity, and work ethic . He painted the
peasants at work in the fields and their
coHages sel in lhe f l¿l rvrndswepl landscape.
But melancholia was his constant companion-
he was depressed and felt guilty about leaving
sien ¿¡d i ¡ f ¡ is patnbng he w¿s searching for
^l- ^ l l - l+, , - - ¡ +- , ,+L
Rural isolation was not the answer and in
December 1883 Vincent returned to his
pa ren ts who were now l i r ' rng in lhe r ' r l lage of
Nuenen in Brabant. He stayed for fivo ye¿rs,
the longest period he spent anf i'vhere as an
artrst. The stay was punctuated with
argnments with his father-mostly about
societyand conformity. He gravitated to the
poor pe¿s¿nls in lhe r . . r l lage-many of them
way he could devote hrmself to painting was to leave Sien. They had been together weavers-and was more readily accepted by them than his bourgeors peers .
B
In February 1884 Vincent agreed to send his paintings to Theo in Pans in
exchange f,:r money orders of 150 francs a month . They continued this
transaction fi:r Vincent's life even through their
periods of estrangement. This did not preclude
Vincent's frequent requests for more money-to
pay his models or i¡r more materials . Then,
suddenly, in March 1885 Vincent's father died
of ¿ sfoke. aged oJ. Famrly and r ' r l lagers fel t
Vincent was at least partially responsible . In
May he left the family home to rent a studio
nearby.
The t,:llowing month Vincent painted his first
real masterpiece. "The Potato Eaters" . All the
while he was thinking about the principles and
practice of art, which in turn made him
frustrated with his inability to interpret his rdeas
on canvas. Local politics and social niceties
were getting him down andVincent started to
halker f,:r the excitement of city life. Paris at
lhrs l rme w¿s ¿ m¿gnel for , r r l rs ls. bolh oi lhe
old conventional school as well as those at the
leading edge of modem paintrng. In October
he left f:r Paris, añiving there in February 1886 via Amsterdam and Ant\ rerp. He
moved in with Theo in Montmartre. and the brothers became closer than even.
Theo was making hisname as a specialist de¿ler in the work of young artists, and
V rncen I w¿s ¿ble to rn I rodu ce h ür In lo dv¿r I g¿ rde c rrc les
Vincentmet and made friends with numerous
artrsts and his paintings became more colorful
and optimistic. He was popular among his
contemporaries and his unconventional looks
and ma¡lers fitted perfectly with the notion of
how an artist should behave. His Paris period
was very proLific: in all he painted almost 230
works there , many of them experiments with
techniques and coloring developed by the
Lmpresstonis ls. BUl. on lhe negal tvestde. t l
w¿s in P¿ns lh¿l he sL¿ r led d rrnking hear ' r ly ,
Vincenf s primary irfluence at this time was
Japan and all things lapanese . lapan had
become a major cultural influence in the West
since the 1867 Paris World Fair and artists were
particularly susceptible to the new style. Van
Gogh had collected lapanese prints ofthe
Ukiyoye School since his days in Antrverp and
while in Paris collected literally hundreds of
lapanese woodcuts. He copied a number of his
favorite prints, particularly liking their decorative quality,with blocks of color,
f,:rms of contrast, unusual perspectives and use ofspace. All this had a profi:und
9
influence on his own style as he later $'rote from Arles in summer 1888, "My
whole work is fl:unded on the lapanese, so to speak..in its homeland lapanese
art is in a state ofdecline . but it is putting down new roots in French
Impressionism."
Unable to journey to lapan,
Vincent did what he
considered the next best
thing: he went to the South
of France. He wanted to
unite art and life . His first
destination was Aries where
he stayed in guesthouses. By
1888 he was painting very fast
and with great confidence.
He was happy at last-working
everyday, painting whatever
was in front of him . This is
the period of his principal
masterpieces ; his paintings
are full ofintense color, not
just because of the southern
light but as a continuation of
his lapanese influence, in deference to which he painted no shadows in his work.
Working feverishly every day he soon needed somewhere to store his canvases,
o
so in September 1888 he rented fuur rooms f,:r 15 francs amonth to use as a studio
in what became known as the"yellow house"on the Place Lamartine . Vincent was
soon sketching, using pen and ink drawings-an economy measure, inpartsohe
could during bouts of
madness . reduce his
r : - - - - , - l l^^^- l^--^ ^-! !d!r rdr uctrc luclr c u!
difficult time at work.
Typically he would work very
quickly, but he planned all
the elements first, and then
- . , , ,11 -++-- l -+L^ ^,^,^-+
one reason why his paintings
- - l l , - - . - - ^^ L-, ,^ ^, , -L
t--^¡ t - - , , - - ¡ , ;^^-! ! ! rcurdr l d lu vrÉur
Physically, Vincent's work
was taking a hear'y toll : he
was living on coffee, alcohol,
nicotine, and not much else.
He suflered from hangovers
and there were times he
couldn't think clearly. As he got worse he experienced hallucinations
InJu\ 1888 Vincent received some money with which he renovated and.
lurnished the"yellow house."FIe was excitedly anticipating a stay by le11ow artist
10
Paul Gauguin and was hopingto persuade him to remain there, the first olwhal
he hoped would become an artists' colony. The lamous sunflower paintings were
produced to decorate the house and to showoffhis artistic ability and his ftiend
was grati[.ingly impressed.
Gauguin reluctantly arríved in
Arles on October 23 he was to
spend ti'\¡o near liuitless months
there. They did not get on as
well as Vincent had hoped.
Gauguin felt superior both as an
artist and as a pelson, and hated
the provinciality and lack of
sophistication of Aries.
Vincentwas dístraught at the
way their relationship
deteriorated. On the evening of
December 23 he cut offhis right
earlobe, r'r,'rapped it in newspaper,
walked to the local brothel, and
- -^^^-+^r .+ +^ ¡
- -L ^1
prostitute there. She ealled the police who took him to hospital. He was lucky
not to bleed to death as he had severed arr artery. The following morning Gauguin
Ieft without seeing Vincent. They did not meet again although they resumed a
o
^-^-^ l : - - . - - -^^- ^- l ^- -^rPU-tdl l lL ( l r - t rs)P
Vincent uas critically ill for a time but withir two weeks had regained his strength
and resumed his former life.
The naFtre of Vincent's illness
has been wide$ speculated upon
but nouncontested conclusion
has been reached. Dirring
seizu re he he¿rd str¿ nge <ou¡ds
and voices-this might have been
schizophrenia, alcoholism,
slphilis , or something else
entirely: his physicians thought
i l was epikpsy. In February 1889
he sulfered a bout ofparanoia so
severe that he was hospitalized
for ten days. Some 80 or so
people from Ades petitioned the
ci|l authorities claiming that
Vincent Was a "publiC menace
and demanded that they lock
him up. In late Febnrarl. he was hospitalized as a lunatic,
Althoirgh his dementia only came in bouts V'incent voluntarily entered the
monastery of Saint-Paul-de-Mausole, an asylum at Saint-Rdmy.a fewmiles north
11
of Arles . He Was well aware of the romantic stereotype of the artist tortured by
talent. It is hard to say whether he deliberately lived up to this image, but he$'rote to
Theo assuring him that he was still hrmself apart from occasional mental lapses.
While hospitalized Vincent was
superwised at all times and was not
allowed to leave the hospital to find
subject matter to paint. In fact he
was rarely allowed to have his
parnting materials at a1 1 , He
missed his work terribly, but ulable
to search i:r inspiration, he turned
to copying his sunflowers and
painted three more versions .
Otherwise he painted views of the
hosprtal and gardens .
The asylum provided l-rim with
much needed isolation and
prevented him from abusing drink
¿nd lob¿cco, His parntrng hac
become his surwival technique and
his outputwas ceaseless, He tried
to use the energy createdby his madness as a positive f,:rce in l-us art. It was while
here that Vincent started using circular strokes and snaking lines on his paintings .
These have been interpreted as signs ofhis mental instability and obsessive nature.
His bouts of insanrty convinced him to turn his back on the world but as his health
improved he was allowed to go beyond the asylun precincts .
While incarcerated at Saint Rémy, Vincent produced 1,10 paintrngs, but only
<ronp¿l <pr¡en of thpm Hr<
recufring themes were now
landscapes featuring olive groves ,
cypress trees , and the mountarns
of the Alpilles .
All this time hispainüngs were
berng stockpr led. ¿ number oi
them in Paris witl-r Theo and another
pile with. Pére Tanguy. People
had heard about Vincent's work
- - ¡ - l - , , - -
- . , -^ ^+--+l-^ Tir^
subm r l led fwo p¿ in l rngs , Jnses
and 5Larry Nightover lhe Rhone
to the fiftl-r exhibition held by the
Salon des In édpendants in
September 1889. Itgothim
noticed, but Vincent f,:rbade Theo
to release any but minimal
inf,:rmation about himself, even to publicize l-ris work.
Then ten paintings were shoi'rm at the sirth Salon des Indépendants exhibition
and Vincent was lauded as one of the young lions ofmodern art. But success
l2
panicked him : he feared that its price would be too high in suffering, Greatly
alarmed, he retumed to copfng paintings by the greatmasters, especially Millet
and Delacroix, but putting his own interpretations into the work.
Vincent stayed in the asylum for a year , Accordrng to the director he was calm
and qurel for much oi lhe l rme bul parnled obsessrvely,
He suffered f,:ur mental episodes when he was
overwhehned by fears and paranoia. When this
happened, he would steal and drink kerosene intended
for the lamps and swallow toxic paint. But he had started
to long to go home, back to the cooler, greyer, north.
On May 16, 1890 he set off, alone, fl:r Paris.
Arriving in Paris at Theo's house Vincent seemed well
and happy to c,r tch up wrlh hrs l¿ m i ly and l rends, He
decamped to the rural town of Auvers-sur-Oise just
outside Paris on May 20 and started painting immediately.
Just as he had hoped. his p¿nUngs c¿me oul c¿lmer
without the ftenetic brushwork of recent ümes.
Vincent spent h^,¡o months in Auvers , during which he
painted eighf works and seemed (from his letters )
remarkably content, But on the evenrng of lu ly 27.
1890 , he shot himself in the chest with a revolver-where the gun came from and
where he was when he shot himselfno one knows . Badly injured, he returned to
his rented room . Theo rushed to his side the following day, the 28th . He fould
Vincent in bed, contentedly smoking his pipe . His lastwords are recorded as.,
" I wish i twere al l over now. "Hediedonlu1y29. 1890aged37.
There is no apparent reason f,lr Vincent's suicide. many theories have been
posited but none are entirely convincing. It is possible that he did it f,:r Theo who
was unappreciated by his employers and struggling atwork. Vincent hadbeen hrs
LifeJong financial burden u¡able to repay him in any way
except friendship Furthermore, Vincent knew and was
appalled by the way an artisfs paintings leapt up in value
the moment the artist died. FIe was leaving a large legacy
of painüngs to Theo and his family and maybe saw this as
the only way to t ru ly help them .
H rs cof l rn lay rn hrs Toom ¿bove lhe inn. decor¿ted
with sunflowers and yellow dahLias and his last paintings
were hungon the su rround rng w¿l ls , He w¿s bur ied lhe
next day in Auvers cemetery. Theo was devastated.
Two months later he was seized by delirium and within six
monlhs. he. too, w¿sde¿d, In l9 l1 hisrvtdowh¿d
him reinterred beside Vincent in Auvers . He died
without knowing thatVincent van Gogh would soon be
acknowledged as one of the greatest artists ofall time.
13
31.5 X 22 cm
Plate 22FLOWERPOT WITH CHIVES
' lBB7, Van Gogh Museum, Amsterdam
1
R¡r---; '
i:-'"¡, .li-',.1. : |
i;-=d.*'ir
THE PONTTHE SEINE WITII
DE LA GRANDEl BB7,Van Gogh Museum, Amsterdam
32 X 40.5 cm
IATTEPlate 26
,1
39
93 X72 cm
Plate 27
l BBB Lausanne, Col lectonn Basi l p. and El ise Goulandr is
TIIE ALYSCAMPS
I t r 'I i \ \
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40
ENC-AMPME}.TT OF GYPSI ESWITtrJ CARl\V1\NS
1888 Paris, MLrsee d'Orsay45 X 51 cnr
Plate 29
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Plate 34THE OLD MILL
l BBB, Albright-knox Art Gallery, Buffalo64.5 X 54 cm
47
THE WII ITE ORCIIARD' lBBB, Van Gogh Museum, Amsterdam
60X81 cm
Plate 36
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FIStr I INIG BOATS ON TIJE REAL-I I Plate 41A] 'S1\INTES-N4A11II ]
1888, Van Gogh l\4 useu m,Am ste rda m65 X 81.5 .m
54
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BLOSSOMING ALMOND BRANCHIN A GLASS
l BBB, Van Gogh Museum, Amsterdam24X19cm
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Plate 50SELF-PORTRAIT AS AN ARTIST
l BBB,Van Gogh Museum, Amsterdam
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Plate 54WIiEATFIELD WITIJ CYPRESSES
1889, National Gallery Collection, Londor'l72.5 X 91.5 cm
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Plate 57WHEATFIELD WITH REAPER AND SUN
1889, Van Gogh Museum, Amsterdam73 X92 cm
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Plate 69MARGUERITE GACIIET IN HER GARDEN
'1890, Musee d'Orsa, Paris45X55cm
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THE GOOD SAMARITAN(AFTER DELACROIX)
1890, Ri jksmuseum73 X 60 cm+
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PINE TREES WITH FIGUREIN THE GARDEN SAINT PAUL HOSPITAL
1890, Musee d'Orsa, Paris58X45cm
Plate 73
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VILLAGE STREET AND STEPSIN AUVERS WITII FIGURES
1B90,The Saint Louis Art Museum49.8 X 70.1 cm
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