Van Gogh

VAN COCH

SE,IWEN

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

5960

to

171819202122)a

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

r . lñ, . : . - rJ,- ñ-v.h¡t¡ . , . r t ñ,¡ht :ñ.

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

YOUNG SCHEVENINGEN WOMAN,KNITTING: FACING RIGHT

1BB1

Plate 1

L+

Plate 2THE PRAYER

1BB2

BEACH AT SCHEVENINGE,NTIN STORMY WEATHER

1BB2,Van Gogh Museum, Amsterdam34.5 X 51 cm

Plate 3

16

Plate 4COTTAGES

1883, Van Gogh Museum, Amsterdam35 X 55.5 cm

l7

Plate 5SPINI ' I I t {G WHEEL

1BB4,Van Gogh Museum, Amsterdam34X44cm

1B

Plate 6THE POTATO EATERS

1885, Van Gogh Museum,Amsterdam81.5X114.5cm

19

Plate 7THE OLD CEMETRY TOWER AT

l BB5,Van Gogh Museum, Amsterdam63X79cm

NUENEN

20

Plate 8COTTAGE AT NIGHTFALL

1 BB5,Van Gogh Museum,Amsterdam65.5 X 79 cm

2l

STILL LIFE WITH THREEAND EARTHENWARE

1 BBs, van Goshrvlus;:;, oru"|.o"r

BOTTLESVESSEL

Plate 9

22

Plate 10STILL LIFE WITH BIBLE

1885, Van Gogh Museum, Amsterdam65X78cm

23

Plate 11FORTRAIT OF AN OLD MAN WITH BEARD

1885, Van Gogh Museum, Amsterdam44.5 X 33.5 cm

24

Plate 12THE PARSONAGE AT NEUNTEN

1BB5,Van Gogh Museum, Amsterdam33X43cm

25

Plate 13A PAIR OF SHOES

1885, Van Gogh Museum,Amsterdam37.5 X 45 cm

26

Plate 14STILL LIFE WITH A BASKET OF POTATOES

1885, Van Gogh Museum, Amsterdam44.5 X 60 cm

27

Plate 15VASE WITH DAISIES

1886, Van Gogh Museum, Amsterdam40X56cm

2B

Plate 16SKULL WITH BURNING CIGARETTE


MONTMARTRE QUARRY,TIIE MILLS' l886, Van Gogh Museum, Amsterdam

32X41 cm

Plate 17

r .a. ; . .

.:

30

Plate 18BASKET WITH PAT{SIE S OT{ A TABLE

1886,Van GoEh Museum¡ Arnstefdam46X 55.5 cm

Plate 19VIEW OF THE ROOFS OF PARIS

1886, Van Gogh Museum, Amsterdam30X41 cm

32

OF SHOES,UPSIDE DOWN

1887, The Bal t imore Museum of Art34 X 41.5 cm

A PAIRSHOE

Plate 20ONE

33

IAPONAISERIE: THE BRIDGEIN THE RAIN (AFTER HIROSHIGE)

1 BB7, Rijksmuseum, Holland

Plate 21

31.5 X 22 cm

Plate 22FLOWERPOT WITH CHIVES

' lBB7, Van Gogh Museum, Amsterdam

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Plate 23GLASS OF ABSINTHE AND A CARAFE

1887, Van Goglr Museum, Amsterdam

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46.5 X 33 cm

36

Plate 24RESTAUI{ANT AT AS}. f IERES

1887, Van Goglr Museurn, Arnsterdam18.5 X 27 cm

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Plate 25TREES AND UNDERGROWTH

1887, Van Goglr Museum, Amsterdam46.5 X 55.5 cm

THE PONTTHE SEINE WITII

DE LA GRANDEl BB7,Van Gogh Museum, Amsterdam

32 X 40.5 cm

IATTEPlate 26

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93 X72 cm

Plate 27

l BBB Lausanne, Col lectonn Basi l p. and El ise Goulandr is

TIIE ALYSCAMPS

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Plate 28THE NOVEL READER

l BBB Japan, Private Collection

73X92 cm

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ENC-AMPME}.TT OF GYPSI ESWITtrJ CARl\V1\NS

1888 Paris, MLrsee d'Orsay45 X 51 cnr

Plate 29

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Plate 30SPECTATORS IN THE ARENA AT ARLES

1 BBB Hermitage, Lenningrad73X92cm

43

Plate 31THE RED VINEYARD

lBBB Moscow, Pushkin Museum75X93cm

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Plate 33A GARDEN WITII FLOWERS

1 BBB, Private Collection

61 X49cm

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Plate 34THE OLD MILL

l BBB, Albright-knox Art Gallery, Buffalo64.5 X 54 cm

47

Plate 35THE SOWER

' lBBB, Van Gogh Museum, Amsterdam32X40cm

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THE WII ITE ORCIIARD' lBBB, Van Gogh Museum, Amsterdam

60X81 cm

Plate 36

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Plate 37PII{K PE,ACH TREtr IN BLOSOM

1888, Van Gogh.lVluseum, Amsterdam

ORCHARD WITH BLOSSOMINGAPRICOT TREES

' *u u"" o:;.:

Y:sesum' Amsterdam

Plate 38

51

Plate 39AN OLD WOMAN OF ARLES

l BBB, Van Gogh Museum,Amsterdam58 X 42.5 cm

52

VIEW OF ARLES' lBBB, Van Gogh Museum, Amsterdam

54X65cm

Plate 40

53

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

Plate 42PORTRAIT OF A Ol ' IE-EYED MAI. I

l BBB, van Gosh.Ivlus;:;, or',"|'0u.

Plate ¡{3

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51 X64cm

Plate 44

IIII

57

Plate 45THE YELLOW HOUSE

1888, Van Gogh Museum, Amsterdam72X91.5 cm

5B

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Plate 47GAUGUIN, S CHAIR

l BBB, Van Gogh Museum, Amsterdam90.5 X 72.5 cm

60

Plate 48SELF-PORTRAIT WITH FtrLT HAT

t BBs,van co0hl{;seum, Amsterdam

BLOSSOMING ALMOND BRANCHIN A GLASS

l BBB, Van Gogh Museum, Amsterdam24X19cm

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Plate 49

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65.5 X 50.5 cm

Plate 50SELF-PORTRAIT AS AN ARTIST

l BBB,Van Gogh Museum, Amsterdam

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Plate 51THE ROAD ME}. t rDERS

1 BB9, The Cleveland Museum of Art73.7 X92 cm

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Plate 52ENCLOSED FIELD WITH RISING SUN

1 BB9, Private Collection71 X 90.5 cm

65

Plate 53VINCENT, S CHAIR WITH HIS PIPE

1 BB9, National Gallery Collection, London93 X 73.5 cm

Plate 54WIiEATFIELD WITIJ CYPRESSES

1889, National Gallery Collection, Londor'l72.5 X 91.5 cm

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Plate 55SELF-PORTRAIT

1889, Musee d'Orsay65X54cm

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Plate 56LILACE

1 BB9, Hermitage, Leningrad73X92 cm

69

Plate 57WHEATFIELD WITH REAPER AND SUN

1889, Van Gogh Museum, Amsterdam73 X92 cm

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Plate 58CRAB ON ITS BACK


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Plate 59A PAIR OF WOC)DEN CLOGS

' lBB9, Van Gogh Museurn, Amsterdam32.5 X 40.5 cm

72

Plate 60SUNFLOWERSlBB9, Van Gogh Museurn, Amsterdam

95X73cm

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Plate 61EVENI}. t rG: TI IE WATCII (AFTER MILLET)


74

Plate 62OLIVE GROVE


75

Plate 63THE GARDEN OF SAINTT PAUL


S HOSPITAL

76

Plate 64UI{DERDROWTH WITH

1889, Va n Gogh Museum¡ Arnsterdam49X64 cm

IVY

77

Plate 65PIETA (AFTER DELACROIX)


7B

Plate 66DEATH, S HEAD MOTH

1889, Van Gogh Museum,Amsterdam33.5 X 24.5 cm

79

Plate 67THE CHURCH AT AUVERS

1890, Musee d'Orsa, Paris94X74cm

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Plate 68PORTRAIT OF DR.GACHET

1 890, Private Collection67X56cm

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+

Plate 70

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72X91 cm

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PINE TREES WITH FIGUREIN THE GARDEN SAINT PAUL HOSPITAL

1890, Musee d'Orsa, Paris58X45cm

Plate 73

B6

THE GARDEN OF DR. GACHETIN AUVERS

1890, Musee d'Orsay, Paris

Plate 74

73 X 51.5 cm

87

VILLAGE STREET AND STEPSIN AUVERS WITII FIGURES

1B90,The Saint Louis Art Museum49.8 X 70.1 cm

Plate 75

BB

Plate 76NOON: REST FROM WORK

1890, Musee d'Orsay, Paris73X91 cm

B9

Plate 77

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Plate 78I I { ISES

1890, Varl Goglr Museunl, Arrstefdam

92 X 73.5 .m

Plate 79WHEATFIELD WITH

1890, Van Gogh Museum, Amsterdam50.5 X 103 cm

CROWS

92

Plate 80DAUBIGI. t rY, S GARDEN


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1890, Van Gog¡ü!seum, Amsterdam

Plate 82

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