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Theo's wife later remarked that this was the best year of Vincent's life. He grew more isolated, and religiously fervent. His father and uncle arranged a transfer to Paris in , where he became resentful of issues such as the degree to which the firm commodified art, and was dismissed a year later.

In April he returned to England to take unpaid work as a supply teacher in a small boarding school in Ramsgate. When the proprietor moved to Isleworth in Middlesex, Van Gogh went with him.

He was unhappy in the position and spent his time doodling or translating passages from the Bible into English, French and German. To support his religious conviction and his desire to become a pastor, in the family sent him to live with his uncle Johannes Stricker , a respected theologian, in Amsterdam.

He undertook, but also failed, a three-month course at a Protestant missionary school in Laken , near Brussels. In January he took up a post as a missionary at Petit-Wasmes [45] in the coal-mining district of Borinage in Belgium.

To show support for his impoverished congregation, he gave up his comfortable lodgings at a bakery to a homeless person, and moved to a small hut where he slept on straw.

He stayed there until around March , [note 3] which caused concern and frustration for his parents. His father was especially frustrated and advised that his son should be committed to the lunatic asylum at Geel.

Van Gogh returned to Cuesmes in August , where he lodged with a miner until October. Van Gogh returned to Etten in April for an extended stay with his parents.

In August , his recently widowed cousin, Cornelia "Kee" Vos-Stricker, daughter of his mother's older sister Willemina and Johannes Stricker, arrived for a visit.

He was thrilled and took long walks with her. Kee was seven years older than he was, and had an eight-year-old son. Van Gogh surprised everyone by declaring his love to her and proposing marriage.

Mauve was the successful artist Van Gogh longed to be. Kee's father made it clear that her refusal should be heeded and that the two would not marry, largely because of Van Gogh's inability to support himself.

Mauve took Van Gogh on as a student and introduced him to watercolour, which he worked on for the next month before returning home for Christmas.

He liked the medium, and spread the paint liberally, scraping from the canvas and working back with the brush.

He wrote that he was surprised at how good the results were. By March , Mauve appears to have gone cold towards Van Gogh, and stopped replying to his letters.

She had previously borne two children who died, but Van Gogh was unaware of this; [74] on 2 July, she gave birth to a baby boy, Willem. Vincent at first defied him, [76] and considered moving the family out of the city, but in late , he left Sien and the children.

Poverty may have pushed Sien back into prostitution; the home became less happy and Van Gogh may have felt family life was irreconcilable with his artistic development.

Sien gave her daughter to her mother, and baby Willem to her brother. In December, driven by loneliness, he went to live with his parents, then in Nuenen , North Brabant.

In Nuenen, Van Gogh focused on painting and drawing. Working outside and very quickly, he completed sketches and paintings of weavers and their cottages.

They wanted to marry, but neither side of their families were in favour. Margot was distraught and took an overdose of strychnine , but survived after Van Gogh rushed her to a nearby hospital.

Van Gogh painted several groups of still lifes in His palette consisted mainly of sombre earth tones, particularly dark brown, and showed no sign of the vivid colours that distinguish his later work.

There was interest from a dealer in Paris early in One of his young peasant sitters became pregnant in September ; Van Gogh was accused of forcing himself upon her, and the village priest forbade parishioners to model for him.

Worn Out , pencil on watercolour paper, Van Gogh Museum, Amsterdam [90]. Van Gogh Museum, Amsterdam. Skull of a Skeleton with Burning Cigarette , — Art Gallery of Ontario , Toronto.

He moved to Antwerp that November, and rented a room above a paint dealer's shop in the rue des Images Lange Beeldekensstraat. Bread, coffee and tobacco became his staple diet.

In February he wrote to Theo that he could only remember eating six hot meals since the previous May.

His teeth became loose and painful. Van Gogh bought Japanese ukiyo-e woodcuts in the docklands, later incorporating elements of their style into the background of some of his paintings.

After his recovery, and despite his antipathy towards academic teaching, he took the higher-level admission exams at the Academy of Fine Arts in Antwerp, and in January matriculated in painting and drawing.

He became ill and run down by overwork, poor diet and excessive smoking. He quickly got into trouble with Charles Verlat , the director of the Academy and teacher of a painting class, because of his unconventional painting style.

Van Gogh had also clashed with the instructor of the drawing class Franz Vinck. Soon Siberdt and van Gogh came into conflict when the latter did not comply with Siberdt's requirement that drawings express the contour and concentrate on the line.

When van Gogh was required to draw the Venus of Milo during a drawing class, he produced the limbless, naked torso of a Flemish peasant woman.

Siberdt regarded this as defiance against his artistic guidance and made corrections to van Gogh's drawing with his crayon so vigorously that he tore the paper.

Van Gogh then flew into a violent rage and shouted at Siberdt: A woman must have hips, buttocks, a pelvis in which she can carry a baby!

The story that van Gogh was expelled from the Academy by Siberdt is therefore unfounded. In June the brothers took a larger flat at 54 rue Lepic.

In in Antwerp he had become interested in Japanese ukiyo-e woodblock prints, and had used them to decorate the walls of his studio; while in Paris he collected hundreds of them.

He tried his hand at Japonaiserie , tracing a figure from a reproduction on the cover of the magazine Paris Illustre , The Courtesan or Oiran , after Keisai Eisen , which he then graphically enlarged in a painting.

After seeing the portrait of Adolphe Monticelli at the Galerie Delareybarette, Van Gogh adopted a brighter palette and a bolder attack, particularly in paintings such as his Seascape at Saintes-Maries Van Gogh learned about Fernand Cormon 's atelier from Theo.

In , two large exhibitions were staged there, showing Pointillism and Neo-impressionism for the first time, and bringing attention to Georges Seurat and Paul Signac.

Theo kept a stock of Impressionist paintings in his gallery on boulevard Montmartre, but Van Gogh was slow to acknowledge the new developments in art.

Conflicts arose between the brothers. At the end of Theo found living with Vincent to be "almost unbearable". He adopted elements of Pointillism, a technique in which a multitude of small coloured dots are applied to the canvas so that when seen from a distance they create an optical blend of hues.

The style stresses the ability of complementary colours — including blue and orange — to form vibrant contrasts.

Bridgestone Museum of Art , Tokyo F Courtesan after Eisen , Flowering Plum Orchard after Hiroshige , In a contemporary account, Bernard wrote that the exhibition was ahead of anything else in Paris.

Discussions on art, artists, and their social situations started during this exhibition, continued and expanded to include visitors to the show, like Camille Pissarro and his son Lucien , Signac and Seurat.

In February , feeling worn out from life in Paris, Van Gogh left, having painted more than paintings during his two years there. Hours before his departure, accompanied by Theo, he paid his first and only visit to Seurat in his studio.

Ill from drink and suffering from smoker's cough, in February Van Gogh sought refuge in Arles. The Danish artist Christian Mourier-Petersen became his companion for two months, and at first Arles appeared exotic.

In a letter, he described it as a foreign country: The time in Arles became one of Van Gogh's more prolific periods: His paintings include harvests, wheat fields and general rural landmarks from the area, including The Old Mill , a picturesque structure bordering the wheat fields.

The portrayals of the Arles landscape are informed by Van Gogh's Dutch upbringing; the patchworks of fields and avenues appear flat and lacking perspective , but excel in their use of colour.

The rooms were unfurnished and had been uninhabited for months. The Yellow House had to be furnished before he could fully move in, but he was able to use it as a studio.

Vase with Twelve Sunflowers , all intended for the decoration for the Yellow House. Bedroom in Arles , The Old Mill , When Gauguin agreed to visit Arles in , Van Gogh hoped for friendship, and the realisation of his idea of an artists' collective.

While waiting, in August he painted Sunflowers. In preparation for Gauguin's visit, Van Gogh bought two beds on advice from the station's postal supervisor Joseph Roulin , whose portrait he painted.

On 17 September he spent his first night in the still sparsely furnished Yellow House. Van Gogh's Chair and Gauguin's Chair.

Among these "imaginative" paintings is Memory of the Garden at Etten. They often quarrelled; Van Gogh increasingly feared that Gauguin was going to desert him, and the situation, which Van Gogh described as one of "excessive tension", rapidly headed towards crisis point.

The Red Vineyard , November Pushkin Museum , Moscow. Sold to Anna Boch , Van Gogh's Chair , National Gallery , London. The exact sequence of events which led to Van Gogh's mutilation of his ear is not known.

Gauguin stated, fifteen years later, that the night followed several instances of physically threatening behaviour.

After the altercation with Gauguin, Van Gogh returned to his room, where he was assaulted by voices and severed his left ear with a razor either wholly or in part; accounts differ , [note 9] causing severe bleeding.

The ear was delivered to the hospital, but Rey did not attempt to reattach it as too much time had passed. Van Gogh had no recollection of the event, suggesting that he may have suffered an acute mental breakdown.

He arrived on Christmas Day and comforted Vincent, who seemed to be semi-lucid. That evening he left Arles for the return trip to Paris.

During the first days of his treatment, Van Gogh repeatedly and unsuccessfully asked for Gauguin, who asked a policeman attending the case to "be kind enough, Monsieur, to awaken this man with great care, and if he asks for me tell him I have left for Paris; the sight of me might prove fatal for him.

They continued to correspond and in Gauguin proposed they form a studio in Antwerp. Meanwhile, other visitors to the hospital included Marie Ginoux and Roulin.

Despite a pessimistic diagnosis, Van Gogh recovered and returned to the Yellow House on 7 January Paul Signac visited him twice in March; [] in April Van Gogh moved into rooms owned by Dr Rey after floods damaged paintings in his own home.

Around this time, he wrote, "Sometimes moods of indescribable anguish, sometimes moments when the veil of time and fatality of circumstances seemed to be torn apart for an instant.

The physician was not fond of the painting and used it to repair a chicken coop, then gave it away. Van Gogh had two cells with barred windows, one of which he used as a studio.

Some of his works from this time are characterised by swirls, such as The Starry Night. He was allowed short supervised walks, during which time he painted cypresses and olive trees, including Olive Trees with the Alpilles in the Background , Cypresses , Cornfield with Cypresses , Country road in Provence by Night In September he produced two further versions of Bedroom in Arles.

Limited access to life outside the clinic resulted in a shortage of subject matter. Van Gogh instead worked on interpretations of other artist's paintings , such as Millet 's The Sower and Noonday Rest , and variations on his own earlier work.

Van Gogh was an admirer of the Realism of Jules Breton , Gustave Courbet and Millet, [] and he compared his copies to a musician's interpreting Beethoven.

Tralbaut suggests that the face of the prisoner in the centre of the painting looking towards the viewer is Van Gogh himself; [] Jan Hulsker discounts this.

Between February and April Van Gogh suffered a severe relapse. Depressed and unable to bring himself to write, he was still able to paint and draw a little during this time, [] and he later wrote to Theo that he had made a few small canvases "from memory Hulsker believes that this small group of paintings formed the nucleus of many drawings and study sheets depicting landscapes and figures that Van Gogh worked on during this time.

He comments that this short period was the only time that Van Gogh's illness had a significant effect on his work.

Bührle Collection , Zurich, Switzerland. Kröller-Müller Museum, Otterlo [90]. Albert Aurier praised his work in the Mercure de France in January , and described him as "a genius".

Toulouse-Lautrec demanded satisfaction, and Signac declared he would continue to fight for Van Gogh's honour if Lautrec surrendered. De Groux apologised for the slight and left the group.

Gachet was an amateur painter and had treated several other artists — Camille Pissarro had recommended him. Van Gogh's first impression was that Gachet was "iller than I am, it seemed to me, or let's say just as much.

In July , Van Gogh completed two paintings of Daubigny's Garden , one of which is likely his final work. In each the emphasis is on Gachet's melancholic disposition.

In July, Van Gogh wrote that he had become absorbed "in the immense plain against the hills, boundless as the sea, delicate yellow".

In July he described to Theo "vast fields of wheat under turbulent skies". He wrote that they represented his "sadness and extreme loneliness", and that the "canvases will tell you what I cannot say in words, that is, how healthy and invigorating I find the countryside".

He was able to walk back to the Auberge Ravoux , where he was attended to by two doctors, but without a surgeon present the bullet could not be removed.

The doctors tended to him as best they could, then left him alone in his room, smoking his pipe. The following morning Theo rushed to his brother's side, finding him in good spirits.

But within hours Vincent began to fail, suffering from an untreated infection resulting from the wound. He died in the early hours of 29 July.

According to Theo, Vincent's last words were: Van Gogh was buried on 30 July, in the municipal cemetery of Auvers-sur-Oise. Theo had been ill, and his health began to decline further after his brother's death.

Weak and unable to come to terms with Vincent's absence, he died on 25 January at Den Dolder , and was buried in Utrecht.

There have been numerous debates as to the nature of Van Gogh's illness and its effect on his work, and many retrospective diagnoses have been proposed.

The consensus is that Van Gogh had an episodic condition with periods of normal functioning. Van Gogh drew, and painted with watercolours while at school, but only a few examples survive and the authorship of some has been challenged.

In early , his uncle, Cornelis Marinus, owner of a well-known gallery of contemporary art in Amsterdam, asked for drawings of The Hague.

Van Gogh's work did not live up to expectations. Marinus offered a second commission, specifying the subject matter in detail, but was again disappointed with the result.

Van Gogh persevered; he experimented with lighting in his studio using variable shutters, and with different drawing materials.

Later, they were recognised as early masterpieces. In August Theo gave Vincent money to buy materials for working en plein air. Vincent wrote that he could now "go on painting with new vigour".

He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, he destroyed them and turned to oil painting.

Van Gogh turned to well-known Hague School artists like Weissenbruch and Blommers , and received technical advice from them, as well as from painters like De Bock and Van der Weele , both of the Hague School's second generation.

The Potato Eaters and its companion pieces are the only ones to have survived. Theo criticised The Potato Eaters for its dark palette, which he thought unsuitable for a modern style.

Van Gogh came to believe that the effect of colour went beyond the descriptive; he said that "colour expresses something in itself".

He used yellow as a symbol for sunlight, life, and God. Van Gogh strove to be a painter of rural life and nature, [] and during his first summer in Arles he used his new palette to paint landscapes and traditional rural life.

Van Gogh stayed within what he called the "guise of reality", [] and was critical of overly stylised works. Between and his death in , Van Gogh appears to have been building an oeuvre , [] a collection that reflected his personal vision, and could be commercially successful.

He was influenced by Blanc's definition of style, that a true painting required optimal use of colour, perspective and brushstrokes.

Van Gogh applied the word "purposeful" to paintings he thought he had mastered, as opposed to those he thought of as studies.

With their broad brushstrokes, inventive perspectives, colours, contours and designs, these paintings represent the style he sought. Van Gogh's stylistic developments are usually linked to the periods he spent living in different places across Europe.

He was inclined to immerse himself in local cultures and lighting conditions, although he maintained a highly individual visual outlook throughout.

His evolution as an artist was slow, and he was aware of his painterly limitations. He moved home often, perhaps to expose himself to new visual stimuli, and through exposure develop his technical skill.

The portraits gave Van Gogh his best opportunity to earn. He believed they were "the only thing in painting that moves me deeply and that gives me a sense of the infinite.

The portraits of his mother were from photographs. In December he painted La Berceuse — a figure that he thought as good as his sunflowers.

It has a limited palette, varied brushstrokes and simple contours. The portraits show a shift in style from the fluid, restrained brushstrokes and even surface of Portrait of the Postman to the frenetic style, rough surface, broad brushstrokes and use of a palette knife in Madame Roulin with Baby.

Van Gogh created more than 43 self-portraits between and The self-portraits reflect an unusually high degree of self-scrutiny.

It is one of his most renowned self-portraits of that period, "with its highly organized rhythmic brushstrokes, and the novel halo derived from the Neo-impressionist repertoire was what Van Gogh himself called a 'purposeful' canvas".

They contain a wide array of physiognomical representations. Some show him with full lips, a long face or prominent skull, or sharpened, alert features.

His hair may be the usual red, or at times ash coloured. Van Gogh's gaze is seldom directed at the viewer. The portraits vary in intensity and colour, and in those painted after December especially, the vivid colours highlight the haggard pallor of his skin.

He can be seen with bandages in portraits executed just after he mutilated his ear. In only a few does he depict himself as a painter. Metropolitan Museum of Art, New York.

National Gallery of Art , Washington, D. Self-Portrait Without Beard , c. This painting may have been Van Gogh's last self-portrait.

He gave it to his mother as a birthday gift. Van Gogh painted several landscapes with flowers, including roses, lilacs , irises , and sunflowers.

Some reflect his interests in the language of colour, and also in Japanese ukiyo-e. The first was painted in Paris in and shows flowers lying on the ground.

The second set was completed a year later in Arles, and is of bouquets in a vase positioned in early morning light. In these series, Van Gogh was not preoccupied by his usual interest in filling his paintings with subjectivity and emotion; rather the two series are intended to display his technical skill and working methods to Gauguin, [] who was about to visit.

The paintings were created during a rare period of optimism for the artist. Vincent wrote to Theo in August , "I'm painting with the gusto of a Marseillais eating bouillabaisse, which won't surprise you when it's a question of painting large sunflowers If I carry out this plan there'll be a dozen or so panels.

The whole thing will therefore be a symphony in blue and yellow. I work on it all these mornings, from sunrise. Because the flowers wilt quickly and it's a matter of doing the whole thing in one go.

The sunflowers were painted to decorate the walls in anticipation of Gauguin's visit, and Van Gogh placed individual works around the Yellow House's guest room in Arles.

Gauguin was deeply impressed and later acquired two of the Paris versions. Today the major pieces of the series are among his best known, celebrated for the sickly connotations of the colour yellow and its tie-in with the Yellow House, the expressionism of the brush strokes, and their contrast against often dark backgrounds.

Vase with Twelve Sunflowers , August Neue Pinakothek , Munich. Paul Getty Museum , Los Angeles. Almond Blossom , Fifteen canvases depict cypresses , a tree he became fascinated with in Arles.

In mid, and at his sister Wil's request, Van Gogh painted several smaller versions of Wheat Field with Cypresses. During the last six or seven months of the year , he has also created at least fifteen paintings of olive trees, a subject which he considered as demanding and compelling.

In these works natural life is rendered as gnarled and arthritic as if a personification of the natural world, which are, according to Hughes, filled with "a continuous field of energy of which nature is a manifestation".

Theo, an art dealer, introduced his brother to the works of prominent Impressionist painters such as Claude Monet , Pierre-Auguste Renoir and Georges Seurat , all of which had strong influences on the artist's future paintings.

Vincent met and befriended the artist Paul Gauguin during this same period, and Gauguin's brilliantly hued paintings also exerted an influence of the Dutchman's art.

It was during this time of his life that the artist began developing an interest in Ukiyo-e, Japanese woodcut prints, which he and such contemporaries as Claude Monet and Edgar Degas began to collect, and which would inspire paintings reflecting the Japonaiserie influence on his artistic vision.

Van Gogh's interpretation of The Courtesan , a work by Keisai Eisen, features an infusion of brilliant colors that far outshine the original. He chose a background of a lily pond in place of Eisen's cherry blossoms.

In spring, he painted the blossoming landscapes of Provence as well as seascapes in nearby Saintes-Marie-de-la-Mer. During this productive period in the artist's life, he also did a number of portraits, including his series of the Roulin family.

As he was preparing a room in his Yellow House to accommodate Gauguin, who planned to visit Arles for an extended stay later in the year, Vincent was also working on his second series of the Sunflowers paintings.

He had created the first series while staying with his brother in Paris. The artist's sunflower paintings featured various backgrounds and arrangements of the large, golden flowers, each one similar yet distinct.

Art experts especially appreciate these works for their innovative expansion of the yellow color spectrum. Others appreciate the paintings for their unique blend of simplicity and richly evocative detail.

Although much-anticipated by van gogh, the arrival of Gauguin at the Yellow House in October did not end up as planned.

At first, both artists enjoyed a prolific period in their careers, but disagreements and arguments tainted the productive tenor of their visit.

Tensions between the two culminated in late December when Vincent purportedly attacked his colleague with a razor, and failing to engage, cut off part of his own ear.

Vincent spent the next few days in the Arles hospital. Subsequently, the artist entered care at the asylum at Saint-Remy-de-Provence, and although struggling with rapid mental deterioration, he produced a series of stylistically diverse paintings that depicted the hospital itself and well as the surrounding grounds, olive groves and cypress trees.

Vincent van Gogh painted his brilliant work, Irises , in the garden at Saint-Remy during his stay. The painting, which exhibits some characteristics of Japanese woodcuts as well as the artist's penchant for color and light, was part in the annual Societe des Artistes Independant exhibit in Paris, thanks to Theo's intervention, along with the Van Gogh painting, Starry Night Over the Rhone.

The prestigious exhibit introduced the artist's genius to a wider audience than ever before. With his illness exacting an increasing toll on his daily activities, the last months of Vincent van Gogh's life were nevertheless his most productive.

Amid gradually increasing recognition for his work, he entered a period of extreme fruitfulness during his final 60 days on earth.

Wheatfield with Crows is believed to be the last work of Vincent van Gogh. As he approached the end of his life, the artist transitioned to the green and blue color spectrum prominent in Thatched Cottages at Cordeville.

He also favored curved, undulating lines to indicate movement and energy, such as the fenceline in the foreground of the painting and the treetops behind.

The distortion of familiar shapes, such as the cottages themselves, takes the artwork beyond Impressionism toward new iterations of expression.

Vincent was establishing an entirely fresh Post-Impressionistic style as he advanced toward the day of his death, July 29, , at the age of Even though it garnered only a very limited following during his lifetime, Vincent van Gogh's artistic style had a considerable impact on scores of artists who followed.

His work heralded the development of the Fauvism, Expressionism and Modernism schools of the 20th century. In the decade following van Gogh's death, his former colleagues, including Gauguin, Paul Cezanne , and Henri de Toulouse-Lautrec as well as contemporaries such as Edvard Munch and Gustav Klimt continued to innovate, incorporating influences from the now-mainstream school of Impressionism as well as Van Gogh's brand of Post-Expressionism into new artistic styles.

Just like Shakespeare on literature, and Freud on psychology, Vincent van Gogh's influence on modern art is extraordinary. Van Gogh did not live to see his talent recognized.

Nor could he possibly ever have dream that he would be an enduring source of inspiration for subsequent generations of artists.

The intensity of his vision, his wonderful sense of color and the extraordinary boldness of his technique created masterpieces that exercised a profound influence on the art of the twentieth century.

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