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
-)\
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
6l
55 90 24 8l
........................29 43 18
4
48 49
77 28 53 32 59 oo
92 o/
14
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artisticsoul to suchan ertent that he .l :l i h :,
L ofother arlsts. It wasnot unlL he moved
r r :l v:n .¡ r ,,
r .:.1 h ¡ r ,r - ¡ f.n
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to add to his adislc credentials.
first to Padsand thenthe southofFrance he could féelNatureand félt his function .
rr
Pdxl
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uninhibitederuberance. l/ r n. ¡ nt v :n G.o f
P¿:
. .rrrL i n o l \¡ o :rrnr
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time ofyear in his work. \/.
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Hev" bornlhefir I of sinchildrenon March30J 1853) to
Br e d a . in B r¿b¿nlwherethey live da
thatVincent's stateof mind is well
<rTé
documented.
ñ ' ^ , ,<
m n ,.lp cr
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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
^l-
closeto the elemertsand would retüJnhome
^ l l -l + , ,
--¡
+ -, , + L
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
!!d!r
rdr
l ^^^-l ^--^
^c u!
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.
--l
He washappyat last-working
t--^ยกt--,,--ยก,;^^!!!rc urdr l dl u
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
-+ + --l -+ L ^
l ,--.--
^ , ^ , ^ -+
^^ L-,,^
^,,-L
v rร ur
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
^: -l l l L r P^U-^-tl d
he hoped would becomean artists'colony. The lamoussunflowerpaintingswere
(l rs^)P -.r-t ---^ -
^-
l ^-
-^
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
- -L ^1
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
-
l -, , --
-. , -^
^ + --+ l -^
Ti r^
a n d 5 L a r rN y i g h t o v e lrh e R h o n e
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
L+
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
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, vanGoshrvlus;:;, oru"|.o"r
22
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
1
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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
I
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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
,1
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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40
Plate28
THE
NOV E L
RE A DE R
l BBBJapan,PrivateCollection 73X92 cm
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Plate29
1888Paris, MLrsee d'Orsay 45X 51cn r
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Plate30
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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A GA RDE N
W ITI I
F L O WE RS
1BBB,PrivateCollection
61X49cm
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THE
OLD
MI L L
l BBB, Albright-knox Art Gallery, Buffalo 64.5X 54 cm
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THE
S OW E R
'lBBB, VanGoghMuseum, Amsterdam 32X40cm
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Plate36
THE
W IIITE
ORCI I A RD
'lBBB, VanGoghMuseum, Amsterdam 60X81cm
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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 '
*u u"" o:;.:
BLOSSOMING TREES
Amsterdam Y:sesum'
51
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
Plate41
Plate42
P ORTRA IT
OF A Ol' I E -E Y E D l BBB, vanGosh.Ivlus;:;,or',"|'0u.
MA I . I
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TIIE
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A T S A I NT E S -MA RI E S
'lBBB, VanGoghMuseum, Amsterdam 51X64cm
II
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57
Plate45
THE YELLOW
HOUSE
1888,VanGoghMuseum, Amsterdam 72X91.5cm
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GAUGUIN,
S CHAIR
l BBB, VanGoghMuseum, Amsterdam 90.5X 72.5cm
60
Plate48
SELF-PORTRAIT
WITH
FtrLT HAT
t BBs,van co0hl{;seum,Amsterdam
B LOS S OMING A LMO ND IN A GLA S S l BBB, VanGoghMuseum, Amsterdam 24X19cm
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Plate49
Plate50
AS A N A RT I S T
S E LF-P ORTRA IT
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
b4
Plate52
ENCLOS E D
FIE LD
WITH
1BB9,Private Collection 71X 90.5cm
65
RI S I NG
S UN
Plate53
VINCE NT,
S CHA IR
WI T H
1BB9,National GalleryCollection, London 93X 73.5cm
HI S P I P E
Plate54
WIiE A TFIE LD
WIT I J
CY P RE S S E S
1889,National GalleryCollection, Londor'l 72.5X 91.5cm
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Plate55
S E LF-P ORT RA I T 1889,Museed'Orsay 65X54cm .:* !! i; ยก u,.'
6B
Plate56
LILA CE 1BB9,Hermitage, Leningrad 73X92cm
69
Plate57
WH EA TFIE LD
W ITH
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
7l
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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Plate61
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
Plate65
P IE TA
(A FTE R
DE L A CRO I X )
1889,VanGoghMuseum, Amsterdam 73X 60.5cm
7B
Plate66
DE A TH,
S HE A D
MO T H
1889,VanGoghMuseum,Amsterdam 33.5X 24.5cm
79
Plate67
THE CHURCH
AT AUVERS
1890,Museed'Orsa,Paris 94X74cm
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PORTRAIT
O F DR.GACHET 1890,Private Collection 67X56cm
Plate69
M AR GUE RITE
GA CIIE T
I N HE R G A RDE N
'1890, Museed'Orsa,Paris 45X55cm
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T H E G O O D S AMARITAN ( A F T E R D E L A CROIX)
Plate70
1890,Rijksmus eum 73X 60cm+
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TIIAT CHE D
COTTA GE S
I N CO RDE V I L L E
'1890, Museed'Orsa,Paris 72X91cm
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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
B6
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
BB
Plate75
Plate76
NOON:
R E S T F ROM WORK 1890,Museed'Orsay, Paris 73X91cm
B9
Plate77
P t]RTT]"A IT' OF A DE L I NE
RA \ ' O UX
I 890,FrivateCollectio¡1 7 1 . 7X 5 4 . 7 .: m
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Plate78
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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