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To Theo Van Gogh. Nuenen, on Or About Tuesday, 14 July 1885

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To Theo Van Gogh. Nuenen, on Or About Tuesday, 14 July 1885 To Theo van Gogh. Nuenen, on or about Tuesday, 14 July 1885. on or about Tuesday, 14 July 1885 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b456 a-c V/1962 Date: Dating two letters to Theo (515 and 519) and four to Van Rappard (514, 516, 517 and 520) in the month of July 1885 is tricky because there is very little to go on, although the order in which they were written can be reconstructed on the basis of the content. Letters 513 of about 12 July and 522 of 29 July bracket the period in which they must have been written. We have used the progression of Van Goghs correspondence with Van Rappard, the last letter of which in this month is dated 27 July (see letter 521), in order to arrive at a distribution of the letters and probable dates. Letter 520 must have been written between about Tuesday, 21 and Friday, 24 July 1885 (see letter 520, Date). Since Van Gogh let it be known in letter 520 that he was disappointed not to have had a reply to letter 517, several days must have elapsed between these two. We have therefore dated this letter on or about Thursday, 16 July 1885. Letters 518 and 519, which were written on the same day (the day Willem Wenckebach visited Van Gogh), have consequently been given this date. In the present letter Vincent reiterates that he wants to send Theo four works. This makes the present letter a follow-up to letter 513 of about 12 July, where he mentions this for the first time (ll. 4-8). Since the next letter dates from about 16 July (519), we have dated 515 on or about Tuesday, 14 July 1885. Additional: The letter is unsigned, and consequently may be incomplete. Original [1r:1] Waarde Theo, ik wou dat de 4 doeken waarover ik U schreef weg waren.1 Als ik er te lang hier houd, verschilder ik ze misschien weer en ik geloof t beter is ge ze krijgt zoo als ze uit de hei komen. 1 It is impossible to say with certainty which cottages Van Gogh wanted to send. See letter 513, n. 1, and n. 2 below. In the end the four were never sent. 1 2 To Theo van Gogh. Nuenen, on or about Tuesday, 14 July 1885. De reden waarom ik ze niet afzend is dat ik ze U niet ongefrankeerd wil afzenden op een moment waarop ge zegt dat gij misschien zelf krap zoudt zitten, en zelf kan ik ze ook niet frankeeren. Het huisje waarin Millet gewoond heeft, heb ik nooit gezien maar ik houd het er voor dat deze 4 menschen nestjes wel van t zelfde soort zijn. Het eene is de residentie van een heer die in de wandeling wordt genoemd het rouw boerke het andere wordt bewoond door een braaf mensch dat toen ik er kwam geen mysterieuser bezigheid verrigte dan haar aardappelkuil om te werken, doch evenwel ook moet kunnen tooveren, althans zij draagt den naam van den heksekop. 2 Ge herinnert U dat in t boek van Gigoux staat hoe het Delacroix gebeurde 17 schilderijen te gelijk werden afgewezen.5 Men ziet dunkt mij althans hieruit dat hij en anderen uit die periode staande voor kenners en niet kenners die geen van allen het t zij begrepen, t zij koopen wilden men ziet[1v:2] hieruit dat zij die teregt in t boek les vaillants7 worden genoemd, niet spraken van dat het een vechten tegen de bierkade was maar doorschilderden . Wat ik U nog eens wou zeggen is dat als wij dat van Delacroix tot uitgangspunt nemen, we er nog veel schilderen moeten. Ik ben in de noodzakelijkheid de onaangenaamste aller menschen te zijn, namelijk om geld te moeten vragen. En daar ik niet denk het de eerste dagen reeds een beter keer zal nemen wat betreft het verkoopen, is dit erg genoeg. Maar ik vraag het U, is het niet voor ons beiden aprs tout beter om hard te werken al zijn er beroerdigheden aan verbonden, dan in een tijd als nu te zitten philosopheeren. Ik weet de toekomst niet Theo maar ik ken wel de eeuwige wet dat alles verandert denk 10 jaar terug en de dingen waren anders, de toestanden, de stemming van de lui, alles enfin. En 10 jaar verder draait zeker ook weer veel om. Maar iets doen blijft en iets gedaan hebben, heeft men niet ligt spijt van. Hoe actiever hoe beter en ik had liever een mislukking dan een stilzitten.[1v:3] Het zij Portier al dan niet de man zij om iets met mijn werk te doen we hebben hem nu toch noodig. En ziehier 2 Van Hoek has identified two people that this could refer to: Johan van Lith3, the owner of a piece of land in Tongelre (near Nuenen) known as Rouwveldje or Raauwvelden, and Catharina Helena Bruininga4, who lived at this time in Huis te Coll in Tongelre. See Van Hoek 1995. In Dutch coll means witch. The first work, with the peasant (cf. l. 171), must have been Cottage with a man coming home (F 170 / JH 824); the second Cottage with woman digging (F 89 / JH 803) or possibly Cottage with tumbledown barn and a stooping woman (F 1669 / JH 825). 5 Gigoux6 mentions these dix-sept de refuss in Causeries sur les artistes de mon temps : see letter 490, n. 12. 7 Les vaillants is taken from Gigoux8s Causeries sur les artistes de mon temps : see letter 492, n. 4. To Theo van Gogh. Nuenen, on or about Tuesday, 14 July 1885. 3 wat ik geloof Na b.v. een jaar werken hebben we meer bij elkaar dan nu en ik weet zeker dat mijn werk beter zal doen naarmate ik t een met t ander completeer. De lui nu die wat sympathie hebben, die zoo als hij er over spreken het eens laten kijken ze zijn daarom nuttig omdat met b.v. nog een jaar werken er een en ander bijeen zal zijn bij hen dat van zelf wel iets zeggen zal, ook al zwegen ze geheel. Als gij Portier eens ziet, zeg hem gerust dat wel verre van het op te geven ik van plan ben hem nog veel meer te zenden. Blijf gij ook voortgaan met te laten kijken als ge lui ontmoet. Het zal zoo heel lang niet duren of hetgeen we kunnen laten zien zal belangrijker zijn. Ge ziet zelf wel en t is een verschijnsel dat mij verbazend veel pleizier doet dat men meer en meer begint tentoonstellingen te maken van 1 persoon of heel enkelen die bij elkaar hooren.9 Dat is een verschijnsel in den kunsthandel dat naar ik durf meenen meer avenir heeft dan andere ondernemingen. Het is goed men begint te begrijpen dat een Bouguereau niet goed kan doen naast een Jacque een figuur van Beyle of lHermitte niet goed naast een Schelfhout of Koekkoek. [1r:4] Verstrooi de teekeningen van Raffaelli en oordeel zelf of t mogelijk ware zich een goed begrip van dien eigenaardigen artist te vormen. Hij Raffaelli is anders dan Regamey maar ik vind hem net zoon persoonlijkheid. Als mijn werk bij mij bleef geloof ik dat ik er telkens aan zou verschilderen. Door het aan U te sturen en aan Portier zoo als t van buiten of uit de hutten komt, zal er wel eens een onder door loopen die niet deugt maar er zullen dingen bewaard blijven die er niet beter op worden zouden door ze dikwijls te verschilderen. Als ge nu deze 4 doeken hebt en nog een paar kleinere studies van hutten en iemand zag niets anders dan die van me, zouden ze noodwendig denken dat ik niets anders deed dan hutten schilderen. En eveneens met die serie koppen. Maar het boerenleven brengt zoo uiteenloopende dingen mede dat als Millet spreekt van travailler comme plusieurs ngres, 10 dit waarachtig dient te gebeuren wil men tot een geheel komen. Men moge er mee lagchen dat Courbet zegt: peindre des anges! qui est ce qui a vu des anges!13 Maar ik zou er nog wel bij willen zeggen 9 One-man exhibitions developed in part as a reaction against the way exhibitions were organized at the Salon and during the World Exhibitions. Since the mid-nineteenth century the usual retrospectives of dead artists had been joined by growing numbers of monographic exhibitions. Shows like these were usually staged by art dealers, and one important function of them was therefore to promote the artist concerned. See Ekkehard Mai, Expositionen. Geschichte und Kritik des Ausstellungswesens. Munich and Berlin 1986, pp. 32-42, and DoA, under Display of art and Exhibition. 10 See for this saying by Millet11, quoted in Sensier12, La vie et loeuvre de J.F. Millet : letter 210, n. 6. 13 Van Gogh took this expression from Paul Mantz14s article Le Salon ii in Le Temps of 17 May 1885 (p. 1), which Theo had sent him (letter 506). Mantz wrote: We remember the language so often used by this robust workman of painting. Angels, he cried, who has ever seen angels? This saying, which is spiritually absurd, was used to mean that the world of art is very restricted and that one must restrict oneself to painting things which the eye can see and the hand can touch. (On se rappelle le language qua tenu si souvent ce robuste ouvrier de la peinture. Des anges, scriait-il, qui est-ce qui a vu des anges? Ce mot, spirituellement absurde, voulait dire que le domaine de lart est fort restreint et quon doit se borner peindre les choses que loeil peut voir, que la main peut toucher.) Flix 4 To Theo van Gogh.
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