DOCSLIB.ORG

To Theo Van Gogh and Jo Van Gogh-Bonger. Auvers-Sur-Oise, Tuesday, 20 May 1890

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
To Theo Van Gogh and Jo Van Gogh-Bonger. Auvers-Sur-Oise, Tuesday, 20 May 1890 To Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, Tuesday, 20 May 1890. Tuesday, 20 May 1890 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. no. b684 V/1962 Date: The letter was most likely written on the day of Van Goghs arrival in Auvers. In this letter he tells about his first visit to Gachet and reflects on his stay in Paris. Dr Gachet noted in his diary on 20 May: M. Van Gogh. See Paul Gachet, Deux amis des impressionnistes: le docteur Gachet et Murer. Paris 1956, p. 106. On 20 May 1890 Jo van Gogh-Bonger made entries in her Household book for railway and carriage (0.20 en 2.00 francs, respectively). These expenses presumably indicate that Vincent went to the station that day (Wednesday, 21 May contains no entries that could be connected with his departure on that day). See Household book of Mrs Theodorus van Gogh-Bonger, April 1889 - September 1891 (FR b2211). Jos brother, Andries Bonger, wrote on 21 May 1890 to his parents: Vincent the painter has already left (FR b1852). On the basis of this information, we have dated Van Goghs letter to Tuesday, 20 May 1890. Twenty-five years later, however, Jo said that Vincent had left on 21 May (Brieven 1914, p. lxi), though her reasons for saying this are not clear. Additional: Original [1r:1] Mon cher Theo et chre Jo Aprs avoir fait connaissance avec Jo il me sera dsormais difficile dcrire Theo seul mais Jo me permettra jespre decrire en franais parceque aprs deux ans dans le midi reellement je crois, ainsi faisant, mieux vous dire ce que jai dire. Auvers est bien beau beaucoup de vieux chaume entre autres, ce qui devient rare. 1 2 To Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, Tuesday, 20 May 1890. Jesprerais donc quen faisant quelques toiles de cela bien serieusement il y aurait une chance de rentrer dans les frais du sjour car reellement cest gravement beau, cest de la pleine campagne caracteristique et pittoresque. Jai vu M. le Dr Gachet qui a fait sur moi limpression dtre assez excentrique mais son exprience de docteur doit le tenir lui-mme en quilibre en combattant le mal nerveux duquel certes il me parait attaqu au moins aussi gravement que moi.[1v:2] Il ma pilot dans une auberge o lon demandait 6 francs par jour. De mon ct jen ai trouv une o je payerai 3.50 par jour. 1 Et jusqua nouvel ordre je crois devoir y rester. Lorsque jaurai fait quelques tudes je verrai si il y aurait avantage changer. mais cela me parait injuste lorsquon veut et peut payer et travailler comme un autre ouvrier, davoir payer quand mme le double presque parceque lon travaille de la peinture. Enfin je commence par lauberge 3.50. Probablement tu verras le Dr Gachet cette semaine il a un trs beau Pissaro, hiver avec maison rouge dans la neige.5 et deux beaux bouquets [1v:3] de Cezanne.7 Aussi un autre Cezanne du village.9 Moi mon tour je veux volontiers, trs volontiers donner ici un coup de brosse. Jai dit M. le Dr Gachet que pour 4 francs par jour je trouverais lauberge indique par lui preferable mais que 1 Gachet2 had presumably recommended the Auberge Saint-Aubin. See Coquiot 1923, p. 244. This inn was not in rue Rmy, as recorded in Ravoux 1957, p. 7 and exhib. cat. New York 1986, p. 197, but in rue de Pontoise (now rue Franois Villon). Van Gogh, however, preferred the less expensive Auberge Ravoux, on the place de la Mairie. It was managed by the wine dealer Arthur Gustave Ravoux3 and his wife Adeline Louise Touillet4. See Mothe 1987, p. 220, and Leaf and Leeman 2001, p. 79. 5 Camille Pissarro6, Chestnut trees at Louveciennes, 1869-1870 (Paris, Muse dOrsay). Ill. 313. 7 Paul Czanne8, Geraniums and coreopsis in a small Delft vase, 1873 (private collection), Ill. 684; and Bouquet in a small Delft vase (Dahlias), 1873 (Paris, Muse dOrsay). Ill. 683. 9 Paul Czanne10, Doctor Gachets house, 1872-1873 (Paris, Muse dOrsay). Ill. 685. To Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, Tuesday, 20 May 1890. 3 6 tait 2 francs trop cher pour les dpenses que je fais. Il a beau dire que jy serai plus tranquille, assez cest assez. Sa maison lui est pleine de vieilleries noires noires noires, lexeption des quelques esquisses dimpressionistes nommes. 11 Malgr que cest un drle de bonhomme limpression quil a faite sur moi nest pas defavorable. Causant de la Belgique13 et des jours des anciens peintres, sa figure raidie par le chagrin redevient souriante et je crois bien [1r:4] que je resterai amis avec lui et que je ferai son portrait. Puis il me dit quil faut beaucoup travailler hardiment et ne pas du tout songer ce que jai eu. Jai bien senti Paris que tout le bruit de l-bas nest pas ce quil me faut. Que je suis content davoir vu Jo et le petit et ton apartement qui certes est mieux que lautre. 15 Vous souhaitant bonne chance et sant et esprant vous revoir sous bien peu, bonnes poignes de main Vincent. Translation [1r:1] My dear Theo and dear Jo17 After making Jo18s acquaintance it will be difficult for me from now on to write to Theo alone, but Jo will permit me, I hope, to write in French, because after two years in the south I really think, in doing so, that I tell you better what I have to say. Auvers is really beautiful among other things many old thatched roofs, which are becoming rare. Id hope, then, that in doing a few canvases of that really seriously, there would be a chance of recouping some of the costs of my stay for really its gravely beautiful, its the heart of the countryside, distinctive and picturesque. Ive seen Dr Gachet19, who gave me the impression of being rather eccentric, but his doctors experience must keep him balanced himself while combating the nervous ailment from which it seems to me hes certainly suffering at least as seriously as I am. [1v:2] 11 Gachet12 lived in the former girls boarding school, which he had bought in 1872, in what is now rue du Dr Gachet. For his collection and photographs of the interior of his house, see exhib. cat. Paris 1999. 13 In his youth Gachet14 had lived in Mechelen in Belgium. 15 Theo and Jo16 lived at 8 cit Pigalle. Their old apartment was at 54 rue Lepic. 17 Johanna (Jo or Net) Gezina van Gogh-Bonger (1862-1925) wife of Theo van Gogh 18 Johanna (Jo or Net) Gezina van Gogh-Bonger (1862-1925) wife of Theo van Gogh 19 Paul-Ferdinand Gachet Sr (1828-1909) doctor in Auvers-sur-Oise 4 To Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, Tuesday, 20 May 1890. He directed me to an inn where they were asking 6 francs a day. For my part Ive found one where Ill pay 3.50 a day.20 And until theres a change of circumstances I think I ought to stay there. When Ive done a few studies Ill see if there would be any advantage in moving. But it seems unjust to me, when one wants to and can pay and work like any other workman, to have to pay almost double all the same because one works at painting. Anyway Im starting with the 3.50 inn. Youll probably see Dr Gachet24 this week he has a very fine Pissarro25, winter with red house [1v:3] in the snow,26 and two fine bouquets by Czanne28.29 Also another Czanne31 of the village.32 Myself, in my turn Ill gladly, very gladly give a stroke of the brush here. I told Dr Gachet34 that I would find the inn he suggested preferable at 4 francs a day, but that 6 was 2 francs too dear for the expenses Im having. Its all right for him to say that Ill be quieter there, enough is enough. His own house is full of old things, dark, dark, dark, with the exception of a few sketches by Impressionists I mentioned.35 Despite the fact that hes an odd fellow, the impression he made on me isnt unfavourable. Chatting of Belgium37 and the days of the old painters, his grief-stiffened [1r:4] face took on a smile again, and I really think that Ill stay friends with him and that Ill do his portrait. Then he tells me that I must work a great deal, boldly, and not think at all about what Ive had. I really felt in Paris that all the noise there wasnt what I need. How pleased I am to have seen Jo39 and the little one40 and your apartment, which is indeed better than the other one.41 Wishing you good luck and health, and hoping to see you again very soon, good handshakes Vincent. 20 Gachet21 had presumably recommended the Auberge Saint-Aubin. See Coquiot 1923, p. 244. This inn was not in rue Rmy, as recorded in Ravoux 1957, p. 7 and exhib. cat. New York 1986, p. 197, but in rue de Pontoise (now rue Franois Villon). Van Gogh, however, preferred the less expensive Auberge Ravoux, on the place de la Mairie. It was managed by the wine dealer Arthur Gustave Ravoux22 and his wife Adeline Louise Touillet23. See Mothe 1987, p.
Load more

Recommended publications
  • Paris and Normandy River Cruise
    Paris and Normandy River Cruise Through the Eyes of a Woman! April 22 - May 2, 2019 WO MEN OF N EBRASKA Travel Solo Tog ether Dear Women of Nebraska, Join me on a once-in-a-lifetime journey to Northern France! Join our exceptional Paris-Normandy river cruise on board the deluxe AmaLyra of AmaWaterways along the Seine River and through the heart of Normandy. With a capacity of 74 outside staterooms only, this cruise gives us the private feeling we are looking for. Our 11-day tour begins in Paris, the City of Light, with its iconic landmarks, aristocratic lifestyle, romantic ardor, architectural splendor, animated sidewalk cafes and, world-class fashion and shopping. Ahead of us awaits Monet’s Gardens in Giverny and Rouen’s Cathedral of Notre Dame. The charming harbor town of Honfleur will inspire you the same way as they inspired the great Impressionists. We will get to see some of these very same places and landmarks that the Impressionist Masters captured on canvas at the Musée d’Orsay, during our stay in Paris. For an inspiration of a different kind, we travel the “Routes des Abbayes” (Route of the Historic Norman Abbeys), visiting some of the most magnificent monasteries, and to the unforgettable beaches of Normandy where Allied forces landed during WWII’s D-Day invasion. We reflect on Journal Star Destinations the “longest day” and honor the sacrifices made in changing history not once, but twice. We will relive the grandeur of royalty at Château Malmaison, the former home of Napoleon and Josephine Bonaparte, and at Chateau de Bizy, once referred to as “the Versailles of Normandy.” Blend a passion for the good life with culture, art, architecture and timeless landscapes, and you have Northern France! Come, join me! Solo or two-by-two! Sincerely, Sally Dunham Ambassador, Women of Nebraska Call Executive Travel’s Group Department today at 402-435-8888.
    [Show full text]
  • Paris & Normandy Cruise
    www.EO.travel/mytrip Tour = RC19 Date = 061219 Code = P Guest Speaker Bishop Larry M. Goodpaster Paris &Normandy Cruise 9 Days - June 12-20, 2019 www.EO.travel • 800-247-0017 - Paris & Normandy - June 12 - DEPART USA the region, including chocolate, cheese and cider. (B,L,D) Board your overnight flight to Paris, France. June 18 - VERNON June 13 - ARRIVE IN PARIS, FRANCE - EMBARKATION Sail along picturesque Seine to Vernon, where you will have a Arrive in Paris, one of world’s most romantic cities, and board your choice of three exciting excursions. Art lovers who choose to visit luxurious ship. (D) Claude Monet’s gardens in Giverny will immediately recognize images immortalized in Monet’s most beloved paintings—such as June 14 - LES ANDELYS water lilies, Japanese bridges and graceful willow trees. Wander Uncover the history of Château Gaillard, the former stronghold around his famous gardens and home where he lived for more than of Richard the Lionheart, situated on the chalk cliffs high above four decades. You also have the choice to explore the 18th-century the Seine, on a tour. Or, if you prefer a more active adventure, you Château de Bizy, inspired by the opulence of Versailles. Or for those can hike there from the banks of the Seine, admiring the scenic who wish a more active adventure, you can go on a guided bike views along the way. For those who wish to explore the area on tour, taking in the enchanting beauty of the region. (B,L,D) two wheels, join a guided bike tour through the charming town of Les Andelys.
    [Show full text]
  • Discovery of the Place Where Van Gogh Painted His Last Masterpiece
    This page was exported from - Digital meets Culture Export date: Thu Sep 30 2:46:05 2021 / +0000 GMT Discovery of the place where Van Gogh painted his last masterpiece img. Post card ?rue Daubigny, Auvers-sur-Oise' covered with the painting ?Tree Roots' (1890) by Van Gogh, ©arthénon, courtesy Van Gogh Museum. The discovery of the exact location where Vincent van Gogh painted his last artwork Tree Roots was made by Wouter van der Veen, the scientific director of the Institut van Gogh (Auvers-sur-Oise). Van der Veen found a post card dating from 1900 to 1910 featuring a scene including tree trunks and roots growing on a hillside. He has described and documented his discovery in a book, Attacked at the Roots, written specially for the occasion. Tree Roots is in the collection of the Van Gogh Museum in Amsterdam. Highly plausible discovery Van der Veen submitted his discovery to Louis van Tilborgh and Teio Meedendorp, senior researchers at the Van Gogh Museum, almost immediately. Bert Maes, a dendrologist specialising in historical vegetation, was also consulted. Based on Van Gogh's working habits and the comparative study of the painting, post card and current condition of the hillside, the experts concluded that it is ?highly plausible' that the correct location has been identified. Wouter van der Veen (scientific director of the Institut van Gogh): ?Every element of this mysterious painting can be explained by observation of the post card and the location: the shape of the hillside, the roots, their relation to each other, the composition of the earth and the presence of a steep limestone face.
    [Show full text]
  • Affordable First Class Vacations
    2020 Affordable First Class Vacations USA • Canada • Europe • European River Cruises International Tours • Ocean & Steamboat Cruises Dear Travelers, Welcome to the 38th year of incredible travel adventures with AFC Vacations, the easy, fun and affordable way to explore the world! I have some exciting news to share with you. For 2020, AFC Vacations will be "taking it to the next level" with an expansion of product and exciting customer benefits. Look at what's NEW for 2020: • New Vacations & Experiences: Over 20 NEW tours & cruises to the USA/Canada & International programs, including the Passion Play in Germany. Also, note our expanded line up of European River Cruise Charters and new National Park tours to the Grand Canyon, Redwoods, and Badlands. • Solo Travelers: AFC has expanded our popular 50% Off the Single Supplement offer. For 2020, AFC will have 45 tours with 93 departures offering this valuable money saving program. • NEW USTOA Membership: AFC is now a member brand of the prestigious USTOA (US Tour Operator Association), an elite group of the finest tour operators in the US. • NEW Consumer Protection Plan: For added peace of mind, AFC now has coverage under the USTOA $1 Million Travelers Assistance Program which is available to customers in the unlikely event of bankruptcy. • NEW Affordable Travel & Cancellation Protection Plan: For all tours, we now offer a travel protection SINCE 1982 plan which features a "cancel for any reason" benefit. ANNIVERSARY With all of these new features, AFC offers you both a quality product AND enhanced service and benefits, all designed to make your next vacation the "trip of a lifetime".
    [Show full text]
  • Van Gogh Museum Journal 1995
    Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions.
    [Show full text]
  • Snobs Stop Van Gogh Coming Home
    1. News Snobs stop Van Gogh coming home French officialdom has stymied a plan to exhibit in the inn where he died, writes John Lichfield in Auvers-sur-Oise John Lichfield Sunday 21 June 1998 IN JUNE 1890, Vincent Van Gogh wrote to his brother, Theo: "Some day or other, I believe I will find a way of having an exhibition in a cafe." Six weeks later - the six most frenetically productive weeks of his life - Van Gogh shot himself and staggered home to die in the cafe, or inn, where he was staying just north of Paris. "Some day or other" before the end of this year, Vincent Van Gogh's modest ambition may finally be realised. One of the artist's finest but least- known paintings, one not seen in the West for 89 years, is to be displayed in the tiny attic room of a small inn near Paris - the very room in which Vincent died. The Pushkin Museum in Moscow has agreed to lend the painting, Paysage d'Auvers apres la pluie, to the Auberge Ravoux in the small town of Auvers- sur-Oise. The French government has approved the loan. The auberge, part of a shrine to Van Gogh brilliantly restored to its 1890s condition over the past 10 years, has installed a hi-tech, armoured-glass safe, covering an entire wall of Van Gogh's bedroom to guarantee the painting's security. (It is estimated to be worth pounds 35m.) There is only one problem: no painting has arrived. The trouble is not at the Russian end; it is at the French end.
    [Show full text]
  • Van Gogh's Suicide: Ten Reasons Why the Murder Story Is a Myth All the Evidence Suggests It Was the Artist Who Fired the Fatal Shot
    AiA news-service BLOG ADVENTURES WITH VAN GOGH Adventures with Van Gogh is a weekly blog by Martin Bailey, our long-standing correspondent and expert on the artist. Published every Friday, his stories will range from newsy items about this most intriguing artist to scholarly pieces based on his own meticulous investigations and discoveries. Van Gogh's suicide: Ten reasons why the murder story is a myth All the evidence suggests it was the artist who fired the fatal shot MARTIN BAILEY 6th September 2019 11:07 BST Vincent van Gogh, Self-portrait (1889), given to Dr Paul Gachet © Photo: Distribution RMN Musée d'Orsay, Paris/Patrice Schmidt A few years ago, the question I was most often asked about Vincent van Gogh was, “Why did he cut off his ear?” Now it's, “Did he commit suicide, or was he actually murdered?” The story of his extraordinary life has always excited just as much interest as his pathbreaking art. The theory that Van Gogh’s death was murder (or manslaughter) first surfaced seriously in 2011, in a comprehensive biography by two American writers, Steven Naifeh and Gregory White Smith. They wrote that Van Gogh was shot in the abdomen on 27 July 1890 by 16-year-old René Secrétan, a summer visitor in Auvers-sur-Oise who taunted the artist. Van Gogh managed to stagger back to his inn, dying two days later from his wounds. The two authors based their theory on their imaginative interpretation of an interview that Secrétan gave in 1957, a few months before his death.
    [Show full text]
  • Van-Gogh-LM0918 Lores-1.Pdf
    LUXURYLUXURY MAGAZINE FALL 2018 ARTIST PROFILE Garden at Arles, 1888, oil on canvas, 73 x 92 cm, located at Haags Gemeentemuseum, The Hague, the Netherlands LOVING VINCENT VINCENT VAN GOGH has long been a mainstay of popular culture and international exhibitions, and now he is the subject of a new book and Hollywood film, proving the fascination with the fabled painter has not abated. by Jason Edward Kaufman NY HIP / Art Resource, 182 Fall 2018 Fall 2018 183 Van Gogh painted more than three dozen self-portraits, a self-examination rivaling that of Rembrandt. The 1889 picture, created after he injured himself, seems to show a restored left ear, but depicts his right ear seen in reverse in the mirror. From left: Self-portrait with Straw Hat, 1887, oil on cardboard, 40.9 cm x 32.8 cm, located at the Van Gogh Museum, Amsterdam, the Netherlands; Self-Portrait as a Painter (Self-portrait before Easel), 1887-1888, oil on canvas, 65.1 x 50 cm, located at the Van Gogh Museum, Amsterdam, the Netherlands; Self-Portrait, 1887, oil on canvas, 44.1 x 35.1 cm, located at Musée d’Orsay, Paris; Self-Portrait Dedicated to Paul Gauguin, 1888, oil on canvas, 61 x 50 cm, located at the Fogg Art Museum, Harvard Art Museums, Cambridge, MA; Self-Portrait, 1889, oil on canvas, 65 x 54.5 cm, located at Musée d’Orsay, Paris. ince he died from a self-inflicted gunshot wound in 1890, the world has venerated Vincent van Gogh. SFew artists have been as obsessively studied and perhaps none is more adored by the general public.
    [Show full text]
  • Vincent Van Gogh El Alma Japonesa De Arlés
    Vincent Van Gogh El alma japonesa de Arlés GRADO EN HISTORIA DEL ARTE AÑO ACADÉMICO: 2019-2020 TRABAJO REALIZADO POR: DANIEL MARTÍN HERNÁNDEZ DIRIGIDO POR: CARMEN MILAGROS GONZÁLEZ CHÁVEZ 2 Índice 1. Introducción ............................................................................................................ 3 1.1. Objetivos ............................................................................................................ 3 1.2. Plan de Trabajo .................................................................................................. 4 2. Desarrollo y Análisis ............................................................................................... 5 2.1. Contexto Histórico ............................................................................................. 5 2.2. Japonismo y Exposiciones Universales ............................................................. 7 2.3. Marchantes, galeristas, coleccionistas y publicaciones ..................................... 9 2.4. Temas, Producción y características del Ukiyo-e ............................................ 12 3. Vincent Van Gogh, El alma japonesa de Arlés ..................................................... 14 3.1. Etapa Parisina .................................................................................................. 18 3.2. Etapa Arlesiana ................................................................................................ 24 3.3. Etapa Saint-Rémy y su final en Auvers-sur-Oise ...........................................
    [Show full text]
  • Camille Pissarro's Jardinière (1884-1885) in the Context of His
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23” black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. 8710060 Walls, Gary Neil METAPHORICAL RELEVANCE AND THEMATIC CONTINUITY IN THE EARLY PAINTINGS OF PAUL CEZANNE, 1865-1877 The Ohio State Universily Ph.D. 1987 University Microfilms International300 N. Zeeb Road. Ann Arbor, Ml 46106 Copyright 1987 by Wells, Gary Neil All Rights Reserved PLEASE NOTE: in all cases this material has been filmed In the best possible way from the available copy.
    [Show full text]
  • Auvers-Sur-Oise Village D'artistes
    AUVERS-SUR-OISE VILLAGE D’ARTISTES PRESS RELEASE THE 2015 CULTURAL SEASON Press Release “In the footsteps of Van Gogh” Auvers-sur-Oise // 4 April – 20 September 2015 THE 2015 CULTURAL SEASON IN AUVERS-SUR-OISE IS DEDICATED TO VINCENT VAN GOGH In 2015 a great number of European places and institutions will be organizing a variety of exhibitions, experiences and events to commemorate the 125th anniversary of the death of Vincent van Gogh on 29th July 1890. In a short life of just 37 years the artist had no fewer than 38 different addresses in The Netherlands, Belgium, the United Kingdom and finally France. It was in France, his adoptive country, that Van Gogh in just under five years painted all the pictures that were to make him famous. It was also in France, in the village of Auvers-sur-Oise, that his doom-haunted existence came to an end. This was where he breathed his last in tragic circumstances that are destined forever to be veiled in mystery. Should it be regarded as the culmination of a yearning for the infinite, or the brutal rupture of a mythic destiny? Van Gogh carried the answer with him to his tomb… Today Auvers-sur-Oise is a veritable open-air museum where there is a kind of emotional truth that counts for more than historical fact. Auvers-sur-Oise is where one comes to meditate at the twin tombs of the Van Gogh brothers and commune with their occupants. Just a few feet away, over the cemetery wall, the communicant can see and hear the wind whistling in the fields of wheat, all the while listening to the tolling of the bells in the church immortalized by Vincent.
    [Show full text]