To Theo Van Gogh. Arles, Tuesday, 1 May 1888

Total Page:16

File Type:pdf, Size:1020Kb

To Theo Van Gogh. Arles, Tuesday, 1 May 1888 To Theo van Gogh. Arles, Tuesday, 1 May 1888. Tuesday, 1 May 1888 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b520 a-b V/1962 Date: Vincent reports that he has rented the Yellow House today (l. 21); we can assume that the tenancy started on the first day of the month. He wishes Theo a happy birthday, which was 1 May (ll. 167-168 and 231), and he thanks him for sending his allowance, so we have dated the letter Tuesday, 1 May 1888. Additional: Original [1r:1] Mon cher Theo merci beaucoup de ta lettre et du billet de 50 fr. quelle contenait. Ce nest pas en noir que je vois lavenir mais je le vois trs hriss de difficults et par moments je me demande si ces dernieres ne seront pas plus fortes que moi. Cela cest surtout dans les moments de faiblesse physique et la semaine dernire je souffrais dun mal de dents assez cruel pour quil maie bien malgr moi fait perdre du temps. Pourtant je viens de tenvoyer un rouleau de petits dessins la plume, une douzaine je crois. 1 Par o tu verras 1 The wording a dozen I think (une douzaine, je crois) means roughly twelve drawings. By small drawings Van Gogh must mean the ones measuring about 25 x 35 cm; in letter 601 he said he had finished four of them. Less than a week later Vincent sent Theo five more small drawings: see letter 605, n. 9. It is not possible to say for certain which drawings made up the respective consignments. The first batch must in any event have included Public garden and pond in front of the Yellow House (F 1513 / JH 1412) (see n. 2 below), as well as two others of the park (see n. 5 below). Other candidates are Landscape with a path and pollard willows (F 1499 / JH 1372), which Van Gogh dated Arles Mars 1888 (Arles, March 1888), the four drawings that Van Gogh said he had finished in letter 601, probably including Field with farmhouses (F 1474 / JH 1407) and Farmhouse in a wheatfield (F 1415 / JH 1408); and the drawings The public garden (F 1421 / JH 1414), Field with a factory (F 1500 / JH 1373) and Landscape with trees, a ploughman and houses (F 1517 / JH 1374), which are very similar to this first group in terms of composition and subject. Going by the subject, the following two drawings are also 1 2 To Theo van Gogh. Arles, Tuesday, 1 May 1888. que si javais cess de peindre jai pas cess de travailler. Tu y trouveras un croquis hatif sur papier jaune, une pelouse dans le square qui se trouve lentre de la ville.2 et au fond une batisse peu prs comme ceci. Eh bien jai aujourdhui lou laile droite de cette construction qui contient 4 pieces ou plutt deux avec deux cabinets. Cest peint en jaune dehors, blanchi la chaux linterieur en plein soleil. [1v:2] Je lai lou raison de 15 francs par mois. 3 Maintenant mon dsir serait de meubler une piece, celle du premier tage, pour pouvoir y coucher. Cela restera latelier, le magasin, pour tout le temps de la campagne ici dans le midi et alors jai mon indpendance des chicanes des htelleries qui sont ruineuses et mattristent. Justement Bernard mcrit quil a aussi une maison entire mais lui la pour rien. 4 Quelle chance. Je ten ferai surement un nouveau dessin, mieux que le premier croquis. Et ds maintenant jose ten parler que jai lintention dinviter Bernard et dautres menvoyer des toiles pour les montrer ici si loccasion se prsente et certes elle se prsentera Marseille. Jespre tre bien tomb cette fois ci tu comprends, jaune en dated early and assumed to have been in the first batch: Men working in a field (F 1090 / JH 1406), and Tiled roof with chimneys and church tower (F 1480a / JH 1403). It emerges from letter 631 that Canal with bridge and washerwomen (F 1473 / JH 1405) was also in one of the two consignments. In view of the subject, the stylistically similar drawing The Rhne with boats and a bridge (F 1472 / JH 1404) may have been made during the mistral Van Gogh mentioned (letter 605) and would consequently have belonged to the first batch. Altogether there are 18 known sketchbook pages of about 25 x 35 cm that date from the early months in Arles. As well as the 12 drawings mentioned above (F 1513 is not a sketchbook sheet) they are Landscape with windmills at Fontvieille (F 1496 / JH 1496), Field with houses (F 1506 / JH 1375), Landscape with hut (F 1498r / JH 1457) with on the verso A lane in the public garden with benches (F 1498v / JH 1614), The road to Tarascon with a man walking (F 1502 / JH 1492), Road with trees (F 1518a / JH 1495) and Landscape with a tree in the foreground (F 1509 / JH 1494). See cat. Amsterdam 2007, p. 5, nn. 26, 27. The larger drawing The Langlois bridge (F 1470 / JH 1377, 35 x 47 cm) is dated to mid-May 1888 so it did not go in either of the first two consignments. See also letter 615, n. 9. 2 Public garden and pond in front of the Yellow House (F 1513 / JH 1412), which was indeed drawn on yellow paper; other drawings from this period (in the collection of the Van Gogh Museum) are on cream paper. 3 Van Gogh rented the right-hand side of this house, shown in the small sketch and to become known as the Yellow House, from 1 May. It was at number 2 place Lamartine, on the northern edge of the city (lot 398). Ill. 2180. He set up his studio in it, but did not start living there until September, once the house had been redecorated and furnished. He officially registered himself at this address on 16 October 1888 (FR b2949 and cf. letter 677). There is a floor plan on blue paper, showing the layout in 1922, made by Lon Ramser (FR b3317). Ill. 2181. See for old photographs of the Yellow House: Dorn 1990, ills. 2-5. 4 Bernard5 stayed in Saint-Briac in Brittany from 25 April until about 10 August. See letter 664, n. 2. He lived in a small house attached to the inn run by Mrs Lemasson. He wrote to his parents6 on 26 April 1888: Ive got my old house, where Ive settled in, I do as I please. The garden, the first and second floors and the attic are entirely at my disposal. (Jai eu mon ancienne maison o je suis install, je fais ce que je veux. Le jardin, tout le premier, le deuxime, le grenier sont ma disposition.) See Harscot-Maire 1997, pp. 163, 181 (n. 6). To Theo van Gogh. Arles, Tuesday, 1 May 1888. 3 dehors, blanc en dedans, en plein soleil, je verrai enfin mes toiles dans un interieur bien clair. le parquet est en briques rouges. et dehors le jardin du square duquel tu trouveras encore deux dessins. 7 Les dessins, jose te lassurer, deviendront encore mieux. Jai eu une lettre de Russell qui a achet un Guillaumin et 2 ou 3 Bernard.8 [1v:3] Cela me fait enormement plaisir, il mcrit aussi quil me fera un change dtudes.12 Je naurais peur de rien si ntait cette sacr sant. Et pourtant je vais mieux qu Paris et si mon estomac est devenu excessivement faible cest un mal que jai attrapp l-bas probable en grande partie par le mauvais vin dont jai trop bu. Ici le vin est aussi mauvais seule- ment je nen bois que fort peu. Et le cas est donc que ne mangeant gure et ne buvant gure je suis trs faible mais le sang se refait au lieu de se gter. Encore une fois donc cest la patience quil me faut dans le cas et persvrance. Ayant reu la toile absorbante, 14 de ces jours ci je commence une nouvelle toile de 30 qui jespre sera mieux que les autres.15 Te rappelles tu dans la recherche du bonheur le bonhomme qui a achet autant de terre quil peut en envelopper dans une course circulaire dune journe. 16 Eh bien avec ma decoration des vergers jai plus ou moins t cet homme-l, une demi douzaine dune douzaine je les ai pourtant, mais les 6 autres ne sont pas aussi bien et je regrette de ne pas plutot en avoir fait 2 au lieu des 6 derniers. Enfin, je tenverrai toujours une dizaine de ces jours ci. 18 [1r:4] 7 It is not possible to say for certain which two drawings these were. The most likely candidates are Path in the public garden (F 1476 / JH 1409) and Public garden with benches (F 1487 / JH 1410). See cat. Amsterdam 2007, p. 5, n. 26. 8 We do not know which paintings by Guillaumin9 and Bernard10 were in Russell11s possession. 12 Van Gogh suggested such an exchange to Russell13 in letter 598. 14 Van Gogh had asked for 3 metres of absorbent canvas in letter 597. It emerges from letter 610 that it came from Tasset. 15 There is no known painting of these dimensions dating from early May 1888 nor one on a smaller, no. 25 canvas, which Van Gogh sometimes called a no. 30 (see letter 594, n. 2). He most likely painted the smaller Farmhouse in a wheatfield (F 408 / JH 1417) on the new canvas. This is probably absorbent canvas, but finer in texture than F 555 (see letter 594, n.
Recommended publications
  • Van Gogh Museum Journal 2002
    Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh.
    [Show full text]
  • Gallery Texts Van Gogh En Japan
    Gallery texts exhibition Van Gogh & Japan Inhoud Gallery texts exhibition Van Gogh & Japan ................................................................ 1 Inhoud......................................................................................................................... 1 Floor -1 ....................................................................................................................... 4 Introduction Van Gogh & Japan .............................................................................. 4 Painting: Vincent van Gogh, Flowering Plum Orchard (after Hiroshige), 1887 .... 4 Gallery text: Discovering Japanese prints ............................................................... 4 Colour woodcut: Utagawa Hiroshige, Ishiyakushi: The Yoshitsune Cherry Tree near the Noriyori Shrine, from the series Famous Places near the 53 Stations [Along the Tōkaidō], 1855 .................................................................................... 5 Colour woodcut: Togaku, Finches and Pomegranates, from the series Illustrations of Plants, Trees, Flowers and Birds .................................................. 5 Magazine in showcase: Cover of Paris Illustré, Le Japon, 1 May 1886 ............... 5 Gallery text: Japonisme in Paris .............................................................................. 5 Painting: Vincent van Gogh, In the Café: Agostina Segatori in Le Tambourin, 1887 .................................................................................................................... 6 Painting:
    [Show full text]
  • October Annex Auction
    October Annex Auction Michaan's Auctions Tuesday, October 8, 2019, 10am 2701 Monarch Street (lots 1-1184) Alameda, CA 94501 Phone: (800)380-9822 or Wednesday, October 9, 2019, 10am (510) 740-0220 (lots 1185 - 2346) Fax: (510) 749-7517 www.michaans.com Previews [email protected] Sunday, Octoer 6, 9am to 5pm Monday, October 7, 9am to 5pm Days of sale from 9am to end of auction Bid Increments Minimum Value Maximum Value Expected Bid Increment from US $ 0 to US $ 49 US $ 5 from US $ 50 to US $ 199 US $ 10 from US $ 200 to US $ 499 US $ 25 from US $ 500 to US $ 999 US $ 50 from US $ 1,000 to US $ 1,999 US $ 100 from US $ 2,000 to US $ 4,999 US $ 250 from US $ 5,000 to US $ 9,999 US $ 500 from US $ 10,000 to US $ 19,999 US $ 1,000 from US $ 20,000 and above US $ 2,500 Michaan’s Auctions - Terms and Conditions of Sale STANDARD CONDITIONS OF SALE DEFINITIONS These Conditions of Sale are binding on all purchasers at Auction. Please Hammer price: The highest bid received for a lot upon the fall of the read carefully. auctioneer’s hammer. By registering to bid at auction, in person, or through an agent, by absentee Buyer’s premium: The amount paid by the buyer as a percentage of the bid, or telephone or any other means including the Internet and e-mail, hammer price and in addition thereto. you agree to be bound by these Conditions of Sale (and changes made as Purchase price: The aggregate of the hammer, buyer’s premium and ap- noted below.) plicable taxes or other fees, if any, as may be required by law.
    [Show full text]
  • ONE HUNDRED DRAWINGS and WATERCOLOURS Dating from the 16Th Century to the 20Th Century
    O N E H U N D R E D ONE HUNDRED D R A W I N DRAWINGS G S & W A AND T E R C O L O WATERCOLOURS U R S S T E P H E N O N G P I N G U Y P E P P I A T T Stephen Ongpin Fine Art Guy Peppiatt Fine Art Ltd. 2 0 1 5 Riverwide House - 2 0 6 Mason’s Yard 1 Duke Street, St James’s 6 London SW1Y 6BU GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 20th Century WINTER CATALOGUE 2015–2016 to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk 1 We are pleased to present our eighth annual Winter catalogue of One Hundred Drawings and Watercolours, which will, as usual, be accompanied by an exhibition in our London gallery. This catalogue includes a wide range of British and European drawings, watercolours and oil sketches, placed more or less in chronological order, ranging in date from the 16th century to the first half of the 20th century. Although the areas of Old Master drawings, early British watercolours, 19th Century drawings and Modern drawings have long been regarded as disparate fields, each with their own enthusiasts, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas.
    [Show full text]
  • Loans in And
    LOANS TO THE NATIONAL GALLERY April 2018 – March 2019 The following pictures were on loan to the National British (?) The Fourvière Hill at Lyon (currently Leighton Archway on the Palatine Gallery between April 2018 and March 2019 on loan to the Ashmolean Museum, Oxford) Leighton Houses in Venice *Pictures returned Bürkel Distant View of Rome with the Baths Leighton On the Coast, Isle of Wight of Caracalla in the Foreground (currently on loan Leighton An Outcrop in the Campagna THE ROYAL COLLECTION TRUST / to the Ashmolean Museum Oxford) Leighton View in Capri (currently on loan HER MAJESTY THE QUEEN Buttura A Road in the Roman Campagna to the Ashmolean Museum, Oxford) Fra Angelico Blessing Redeemer Camuccini Ariccia Leighton A View in Spain Gentile da Fabriano The Madonna and Camuccini A Fallen Tree Trunk Leighton The Villa Malta, Rome Child with Angels (The Quaratesi Madonna) Camuccini Landscape with Trees and Rocks Possibly by Leighton Houses in Capri Gossaert Adam and Eve (currently on loan to the Ashmolean Mason The Villa Borghese (currently on loan Leighton Cimabue’s Celebrated Madonna is carried Museum, Oxford) to the Ashmolean Museum, Oxford) in Procession through the Streets of Florence Cels Sky Study with Birds Michallon A Torrent in a Rocky Gorge (currently Pesellino Saints Mamas and James Closson Antique Ruins (the Baths of Caracalla?) on loan to the Ashmolean Museum, Oxford) Closson The Cascade at Tivoli (currently on loan Michallon A Tree THE WARDEN AND FELLOWS OF to the Ashmolean Museum, Oxford) Nittis Winter Landscape ALL
    [Show full text]
  • Download Catalogue
    S D R E U S R G O D L N D I N O N U W C A A H R R E E T D N A O W ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT 2018-2019 GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 21st Century WINTER CATALOGUE 2018–2019 to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk We are delighted to present our eleventh annual Winter catalogue of One Hundred Drawings and Watercolours, which includes a wide range of both British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the late 16th century to the present day. Although the areas of Old Master drawings, early British drawings and watercolours, 19th Century and Modern drawings have long been regarded as disparate fields, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas. The works we have selected for this catalogue will hopefully show that a fine drawing or watercolour – whoever the artist and whatever the date – is always worthy of note. As the enclosed price list shows, the prices of the drawings in this catalogue are equally broad in scope – from well under £1,000 to around £15,000 – with most of the works at the lower end of this range.
    [Show full text]
  • André Lhote and His International Students
    Zeynep Kuban, Simone Wille (eds.) André Lhote and His International Students innsbruck university press EDITED VOLUME SERIES innsbruck university press Zeynep Kuban, Simone Wille (eds.) André Lhote and His International Students Zeynep Kuban Faculty of Architecture, Istanbul Technical University Simone Wille Institut für Kunstgeschichte, Universität Innsbruck Austrian Science Fund (FWF): Project Number P 29536-G26 Gefördert durch das Vizerektorat für Forschung, den Forschungsschwerpunkt ‚Kulturelle Begegnungen – Kulturelle Konflikte‘ und das Dekanat der Philosophisch- Historischen Fakultät der Universität Innsbruck. Diese Publikation wurde mit finanzieller Unterstützung des Frankreich-Schwerpunkts sowie des Vizerektorats für Forschung der Universität Innsbruck gedruckt. © innsbruck university press, 2020 Universität Innsbruck 1st edition All rights reserved. Cover: The Academy around 1948: standing in the background, Solveig Olson; in front of Lhote, Olle Baertling (moustache and white handkerchief); to his left Günnel Heineman. In the centre (striped tie) Salah Yousry. In the background, right, Sabri Berkel and Eren Eyüboglu,˘ and at the top left, near the stove, Hasan Kavruk. Photo © Archives André Lhote © ADAGP. Layout: Romana Fiechtner www.uibk.ac.at/iup ISBN 978-3-903187-78-8 Table of Contents ZEYNEP KUBAN, SIMONE WILLE: Introduction and Acknowledgments ............ 7 DOMINIQUE BERMANN MARTIN: The Life of André Lhote ............................. 17 FANNY DRUGEON: From Paris to Mirmande, International Aspects of Lhote’s Academy through
    [Show full text]
  • Van Gogh Lecture Jaap Van Duijn
    Vincent and his changing image of God Lecture by Jaap van Duijn, 2019 We will look into the different phases in the life of Vincent van Gogh. His religious experience and his image of God in addition to the artistic development of Vincent van Gogh's work. Sometimes they go together with his change of residence. Emo Verkerk, Vincent and his mother • That Van Gogh still inspires people needs no explanation. For example, look at the painting that modern portrait painter Emo Verkerk made in honor of Van Gogh's 125th year of death. So 2015. The painting is part of a series of Van Gogh portraits and depicts the strictly Reformed mother Anna and Vincent as an art dealer in London (based on one of the few photos known by Vincent). It shows well the relationship between Vincent and his mother. • Vincent's enormous drive and passion for painting is known. Many people, including myself, have traveled all places where Vincent lived and worked out of fascination for the artist. The website vangoghroute.nl was created from this. All places of residence are described on this website. The development was done by Stichting Gifted Art By Judith de Bruijn, art historian. 1 2 Van Gogh family The family: father Theo van Gogh the pastor and mother Anna Carbentus. The children: Vincent, Anna, Theo, Lies, Wil and Cor Vincent's birth certificate First of all, a look at his childhood: • Vincent is born on March 30, 1853. • He lives with his family in the rectory on the Markt in Zundert.
    [Show full text]
  • Loans to the National Gallery 2007-2008
    loans in.qxd 16/12/08 17:30 Page 1 Loans to the National Gallery Closson The Cascade at Tivoli Valenciennes Cow-shed and Houses on the The following pictures were on loan at the National Attributed to Coignet River Landscape Palatine Hill Gallery between April 2007 and March 2008 Attributed to Constantin Bridge at Subiaco Wallis Rocks, Tree Trunks and Branches * Pictures returned Attributed to Corot Staircase in the Entrance to the Wals The Walls of Rome Villa of Maecenas at Tivoli Warren The Crystal Palace, from Penge Her Majesty The Queen Costa After a Shower near Pisa Attrib. to Watts Panoramic Landscape with a Workshop of Fra Angelico Blessing Redeemer Costa Porto d’Anzio Farmhouse Gentile da Fabriano The Madonna and Child with Danby A Boat-Builder’s Yard Angels (The Quaratesi Madonna) Degas Promenade beside the Sea The Government Art Collection Gossaert Adam and Eve Denis View of the Cascades at Tivoli Gabrielli National Gallery 1886, Interior of Room 32 Leighton Cimabue’s Celebrated Madonna is carried Denis A Torrent at Tivoli in Procession through the Streets of Florence Attributed to Desportes Study of Two Trees Graff Diamonds Ltd Pesellino Saints Mamas and James (Framed with Dunouy Panoramic View of the Bay of Naples Pissarro Portrait Of Cézanne Pesellino, The Pistoia Santa Trinita Altarpiece Fearnley Coast Scene, possibly Capri NG727, 3162, 3230, 4428 and 4868) Fleury View in the Villa Borghese: the Casino del HM Government Muro Torto and the Aqueduct of Acqua Felice Richard Parkes Bonington La Ferté The Trustees of the Abercorn
    [Show full text]
  • Northwest Impressionism, 1910-1935
    Hidden in Plain Sight: Northwest Impressionism, 1910-1935 John E. Impert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Susan Casteras, Chair René Bravmann Douglas Collins Program authorized to Offer Degree: Art History University of Washington Abstract Hidden in Plain Sight: Northwest Impressionism, 1910-1935 John E. Impert Chair of the Supervisory Committee: Professor Susan Casteras Art History Northwest Impressionist artists are among the forgotten figures in American art history. Responsible for bringing Modernism to Washington and Oregon, they dominated the art communities in Seattle and Portland from about 1910 to 1928, remaining influential until the mid 1930’s. After describing the artists briefly, this dissertation summarizes and evaluates the slim historiography of Northwest Impressionism. Impressionism and Tonalism are contrasted in order to situate these artists within the broad currents of American art history. Six important artists who have not been studied in the past are each accorded a chapter that summarizes their educations, careers, and artistic developments. In Seattle, Paul Gustin, the early leader of the Seattle art community, was most closely associated with images of Mount Rainier. Edgar Forkner, a well established Indiana artist, moved to Seattle and painted numerous canvases of old boats at rest and still lifes of flowers. Dorothy Dolph Jensen, a latecomer, emphasized shoreline and harbor scenes in her work. In Portland, Charles McKim traded complete anonymity in Portland, Maine for the leadership of the Oregon art community, creating a variety of landscapes and seascapes. Clyde Keller produced an enormous output of landscapes over a long career that extended to California as well as Oregon.
    [Show full text]
  • A Finding Aid to the Richard York Gallery Records, Circa 1865-2005, Bulk 1981-2004, in the Archives of American Art
    A Finding Aid to the Richard York Gallery Records, circa 1865-2005, bulk 1981-2004, in the Archives of American Art Sarah Haug Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care Fund March 15, 2011 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical Note.................................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1975-2005.................................................................... 5 Series 2: Artists' Artwork Files, circa 1865-2004................................................... 10 Series 3: Client Files, 1965,
    [Show full text]
  • Libretto by J
    V I N C E N T Opera in Two Acts Music by Bernard Rands Libretto by J. D. McClatchy WORLD PREMIERE: April, 2011 Indiana University Bloomington, IN Commissioned by the Board of Trustees of Indiana University CHARACTERS in order of vocal appearance (featured singers in boldface) Vincent van Gogh Theo van Gogh, his brother The Director, of the Goupil gallery Man 1, at the gallery Lady 1, at the gallery Lady 2, at the gallery Daughter 1, at the gallery Daughter 2, at the gallery Woman 1, at the mine Woman 2, at the mine Miner 1, at the mine Miner 2, at the mine Miners 3, 4, 5, at the mine Woman 2, 3, 4, at the mine Anna van Gogh, his mother Elders of the Missionary Society Theodorus van Gogh, his father Sien (Clasina Hoornik), a prostitute, Vincent’s mistress Painter 1, at Le Tambourin Painter 2, at Le Tambourin Painter 3, at Le Tambourin Henri Toulouse-Lautrec, the painter Customer 1, at Le Tambourin Customer 2, at Le Tambourin Agostina Segatori, proprietress of Le Tambourin and Vincent’s mistress Paul Gauguin, the painter Dr. Théophile Peyron, director of the Saint-Paul-de-Mausole asylum Marguérite Gachet, daughter of Dr. Gachet Dr. Paul Gachet Chorus A C T I CD 1 [1] Scene 1 Saint-Rémy, 1889 The show-curtain is a front scrim on which is the word “Vincent” (in VvG’s signature). As the house darkens and the music begins, a late self-portrait appears on the scrim. [All future scenes will start which a self-portrait as an indicator of his age.] The light comes up on a man sitting in a chair, his back to the audience.
    [Show full text]