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To Theo Van Gogh. Saint-Rmy-De-Provence, on Or About Sunday, 3 November 1889

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To Theo Van Gogh. Saint-Rmy-De-Provence, on Or About Sunday, 3 November 1889 To Theo van Gogh. Saint-Rmy-de-Provence, on or about Sunday, 3 November 1889. on or about Sunday, 3 November 1889 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. no. b661 V/1962 Date: The painting described in ll. 21-22, Rain (F 650 / JH 1839), was probably made during the heavy rainfall on 31 October 1889 (see Hendriks and Van Tilborgh 2001, p. 155). Moreover, Van Gogh writes At home theyll have moved by now (l. 71); that move took place on Saturday, 2 November. Taking this into account, we have dated the letter to about Sunday, 3 November 1889. Additional: The order for paints that Van Gogh enclosed in this letter has not been preserved. Original [1r:1] Mon cher Theo, Ci inclus je tenvoie une liste de couleurs quil me faudrait encore le plus tt possible. Tu mas fait un bien grand plaisir en menvoyant ces Millet, 1 jy travaille avec zle. force de ne jamais rien voir dartistique je mavachissais et cela me ranime. Jai fini la Veille3 et ai en train les bcheurs4 et lhomme qui met sa veste, 5 toiles de 30, 1 Theo had sent Vincent prints after Millet2s Diggers , The sower , Winter: The plain of Chailly and The four times of the day ; see letter 805, nn. 7 -10. 3 Evening (after Millet) (F 647 / JH 1834), after the print Evening in the series The four times of the day. 4 Diggers (after Millet) (F 648 / JH 1833). 5 1 2 To Theo van Gogh. Saint-Rmy-de-Provence, on or about Sunday, 3 November 1889. et le semeur plus petit.6 La Veille est dans une gamme de violets et lilas tendres avec lumire de la lampe citron ple puis la lueur orange du feu et lhomme en ocre rouge. Tu verras cela. il me semble que faire de la peinture daprs ces dessins de Millet soit les traduire dans une autre langue bien plutt que de les copier. A part cela jai un effet de pluie7 en train et un effet de [1v:2] soir avec des grands pins . 8 Et aussi une chte des feuilles.9 La sant va fort bien sauf souvent beaucoup de mlancolie cependant mais je me sens bien bien mieux que cet t et mme mieux que lorsque je venais ici et mme mieux qu Paris. Aussi pour le travail les ides deviennent ce quil me parait plus fermes. Mais alors je ne sais trop si tu aimeras ce que je fais maintenant. Car malgr ce que tu dis dans ta lettre prcdente, que la recherche du style fait souvent du tort dautres qualits, 10 le fait est que je me sens beaucoup pouss chercher du style si tu veux mais jentends par l un dessin plus mle et plus volontaire. Si cela me fera davantage ressembler Bernard ou Gauguin je ny pourrais rien. Mais suis port croire qu la longue tu ty ferais.[1v:3] Car oui, il faut sentir lensemble dune contre nest ce pas l ce qui distingue un Czanne dautre chse. Et Guillaumin que tu cites, lui en a tant de style et de dessin personnel. Enfin je ferai comme je pourrai. present que la plupart des feuilles sont tombes The end of the day (after Millet) (F 649 / JH 1835), after the print The end of the day in the series The four times of the day. 6 Sower (after Millet) (F 689 / JH 1836). The canvas measures 64 x 55 cm (no. 15 canvas), the other three works were no. 30 canvases (72 x 92 cm). The second version, mentioned in letter 850 of 1 February 1890, was F 690 / JH 1837. See exhib. cat. Paris 1998, p. 123 and Homburg 1996, pp. 91-92. For another interpretation, see cat. Otterlo 2003, pp. 338-339. 7 Rain (F 650 / JH 1839). 8 This refers to the same painting mentioned in ll. 113-115: The garden of the asylum (F 660 / JH 1849). See Hendriks and Van Tilborgh 2001, pp. 155-156. 9 The garden of the asylum (Leaf-fall) (F 651 / JH 1844). 10 Theo wrote this in letter 813. To Theo van Gogh. Saint-Rmy-de-Provence, on or about Sunday, 3 November 1889. 3 le paysage ressemble davantage au nord et alors je sens bien que si je revenais dans le Nord jy verrais plus clair quauparavant. La sant est une grande chse et beaucoup depend de l aussi quant au travail. Heureusement ces abominables cauchemars ne me tourmentent plus. Jespre aller Arles de ces jours ci. Je voudrais bien que Jo voie la veille, je crois que je te ferai un envoi sous peu mais cela sche fort mal cause de lhumidit de latelier. Ici il ny a gure de cave ou de fondements dans les maisons et on sent lhumidit davantage que dans le nord. A la maison on aura dmenag, je joindrai au prochain envoi 6 toiles pour eux. 11 Est ce necessaire de les faire encadrer, peut tre pas car cela nen vaut pas la peine. Surtout ne fais pas encadrer les etudes que je tenvoie de temps en temps, on pourra le faire plus tard, inutile que cela prenne trop de place. [1r:4] Jai aussi fait une toile pour m. Peyron, une vue de la maison avec un grand pin. 14 Jespre que ta sant et celle de Jo continuent aller bien. Jen suis si heureux que tu ne sois plus seul et que tout soit plus normal quauparavant. Est ce que Gauguin est de retour, et que fait Bernard?16 bientt, je te serre bien la main toi, Jo, aux amis et crois moi t. t. Vincent Je cherche autant que possible simplifier la liste des couleurs20 ainsi cest tres souvent que jemploie comme autrefois les ocres. Je sais bien que les tudes dessines avec de grandes lignes sinueuses du dernier envoi netaient pas ce que cela doit devenir, pourtant 11 Van Gogh had promised his mother12 and Willemien13 seven paintings; see letter 811. 14 View of the asylum with a pine tree (F 653 / JH 1840). According to De la Faille 1970, the canvas was in the possession of Dr Joseph Peyron (this should be Thophile Peyron15). 16 Gauguin17 had been with De Haan18 in Le Pouldu since 2 October, and would not return to Paris until 8 February 1890. See Gauguin lettres 1983, p. 137, and letter 852. Bernard19 was in Paris from September to December 1889. See exhib. cat. Mannheim 1990, pp. 98-99. 20 This refers to the order placed in ll. 1*-3, which is no longer extant. 4 To Theo van Gogh. Saint-Rmy-de-Provence, on or about Sunday, 3 November 1889. jose tengager croire que dans le paysage on continuera chercher masser les chses par le moyen dun dessin qui cherche exprimer lenchevtrement des masses. Ainsi te rappelles tu le paysage de Delacroix, la lutte de Jacob avec lange.21 Et il y en a dautres de lui! par ex. les falaises23 et justement les fleurs dont tu parles quelquefois.25 Bernard a reellement trouv des choses parfaites l-dedans. Enfin ne prends pas trop vite un parti pris contre. Enfin tu verras que dans un grand paysage avec des pins, des troncs ocre rouge arrets par un trait noir, 27 il y a dj davantage de caractre que dans les precedents.28 Translation [1r:1] My dear Theo, Enclosed Im sending you a list of colours I need as soon as possible. You gave me very great pleasure by sending me those Millet29s,30 Im working on them zealously. I was growing flabby by dint of never seeing anything artistic, and this revives me. Ive finished The evening32 and am working on The diggers33 and the man whos putting his jacket on,34 no. 30 canvases, and The sower, smaller.35 The evening is in a range of violets and soft lilacs, with light from the lamp pale citron, then the orange glow of the fire and the man in red ochre. You will see it. It seems to me that doing painting after these Millet drawings is much rather to translate them into another language than to copy them. Apart from that I have a rain effect36 on the go, [1v:2] and an evening effect with tall pines.37 21 Eugne Delacroix22, Jacob wrestling with the angel, 1855-1861, a mural in the Church of Saint-Sulpice in Paris. Ill. 71. 23 It cannot be ascertained which work or works by Delacroix24 Van Gogh is referring to here. Two paintings are known with the title Cliffs: the panel Cliffs near Fcamp, 1854? (present whereabouts unknown) and the painting Cliffs at Etretat: the Porte dAval, 1849? (present whereabouts unknown). See Johnson 1981-1989, vol. 3, pp. 256, 293-294, cat. nos. 488, L210. 25 Theo had written about Delacroix26s flower studies (see letter 781, n. 1). 27 The garden of the asylum (F 660 / JH 1849) measures 73 x 92.5 cm. See Hendriks and Van Tilborgh 2001, p. 155. 28 The previous ones refer to the studies drawn with long, sinuous lines (ll. 100 ff.) from the previous consignment of paintings (regarding this consignment, see letter 806). Vincent is presumably reacting here to Theos cautious criticism (voiced in letter 813) of the new canvases, such as Starry night (F 612 / JH 1731) and The Alpilles with a hut (F 622 / JH 1766). The previous ones was previously thought to refer to the paintings Trees in the garden of the asylum (F 642 / JH 1798) and Pine trees in the garden of the asylum (F 643 / JH 1799), described in letter 810.
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