To Theo van Gogh. Arles, on or about Monday, 19 November 1888.

on or about Monday, 19 November 1888

Metadata Source status: Original manuscript

Location: Amsterdam, Van Gogh Museum, inv. nos. b610 a-b V/1962

Date: The letter was written between the second and third payment of the November allowance meaning between letter 719 of Sunday, 11 or Monday, 12 November and letter 722, written on or about 21 November. Van Gogh reports that he and Gauguin are managing well with 150 francs each per month (ll. 113-114); Gauguin had been in Arles since 23 October. Furthermore, Gauguin has retouched the painting that Theo sent on 13 November; the retouching did not take long (see n. 1). It had taken four or five days for the painting, which Theo had sent rolled up, to reach Arles (see Correspondance Gauguin 1984, p. 288 and Dorn 1990, p. 522). On the basis of this information we have dated the present letter to about Monday, 19 November 1888.

Additional: Original [1r:1] Mon cher Theo, la toile de Gauguin, Enfants Bretons, est arrive et il la trs trs bien change. 1

1 Paul Gauguin2, Breton girls dancing, 1888 (W296/W251) (Washington, National Gallery of Art, lent by Mr and Mrs Paul Mellon). Ill. 102. The canvas was one of Gauguins recent paintings from Pont-Aven, which Theo was exhibiting in the gallery (cf. letter 704, n. 1). Theo had written to Gauguin on 13 November 1888: I shall still be able to sell the dance of the little Breton girls, but there will be a small bit of retouching to be done. The little girls hand that comes to the edge of the frame assumes an importance that it does not seem to have when you see just the canvas. The collector would like you to alter the shape of this hand a little, without changing anything else in the painting. It doesnt seem to me that that will be difficult for you, and and I am therefore sending you the canvas. (Je pourrai encore vendre la ronde de petites Bretonnes, mais il y aura une petite retouche faire. La main de la petite fille qui vient au bord du cadre prend une importance quelle ne parat pas avoir quand on ne voit que la toile. Lamateur voudrait que vous revoyiez un peu la forme de cette main sans autrement modifier quoi que ce soit dans le tableau. Il me semble que cela ne vous sera pas difficile & pour cela je vous envoie la toile). Gauguin answered by return post: I shall deal with the painting to be retouched; the hand that touches the frame obviously assumes great importance, and I believed it was necessary to do it that way in order to balance the dance, which is in the shape of an S. But since these are the whims of a painter and not a collector, I shall try to remedy, or rather, attenuate it. (Je vais moccuper du tableau retoucher; evidemment la main qui arrive dans le cadre prend beaucoup

1 2 To Theo van Gogh. Arles, on or about Monday, 19 November 1888.

Mais quoique jaime assez cette toile cest dautant mieux quelle soit vendue puisque les deux quil va tenvoyer dici sont trente fois meilleures. Je parle des vendangeuses et de la femme aux cochons.3 La raison de cela est que G. commence surmonter son mal de foie ou destomac qui dans les derniers temps la agac. Maintenant je tecris pour rpondre ce que tu me disais que tu ferais encadrer une petite toile dun pcher rose je crois, pour mettre ca chez ces messieurs.5 Je ne veux pas laisser dans le vague ce que je pense de cela. Dabord si tu as envie toi dy mettre l soit une mauvaise soit une bonne chose de moi, ma foi si cela peut augmenter ton bonheur bien sr que soit prsent soit plus tard tu as et tu auras carte blanche. Mais si cest pour soit mon plaisir soit pour mon avantage moi par contre serais davis que cest completement innecessaire. Me demanderais tu ce qui me ferait plaisir, cest tout simplement une seule chse, que tu gardes pour toi dans lapartement ce que tu aimes dans ce que je fais et que tu nen vendes pas maintenant. Le reste, ce qui encombre, renvoie le moi ici pour cette bonne raison que tout ce que jai fait sur nature cest des marrons pris dans le feu.[1v:2] Gauguin malgr lui et malgr moi ma un peu demontr quil etait temps que je varie un peu je commence composer de tte et pour ce travail-l toutes mes etudes me seront toujours utiles lorsquelles8 me rappelleront danciennes chses vues. Quimporte-t-il donc den vendre si nous ne sommes pas absolument presss dargent. Car je suis dailleurs sr davance que tu finiras par voir la chose comme dimportance et je la croyais necessaire ainsi pour quilibrer la danse qui a la forme dun S. Mais comme ce sont des toquades de peintre en non damateur je tcherai dy remedier ou plutt attnuer.) See Correspondance Gauguin 1984, pp. 280-282. On the changes Gauguin made to the canvas, see Wildenstein 2001, p. 414, cat. no. 296. The sale did not go through. Theo finally sold the canvas in September 1889. See exhib. cat. Amsterdam 1999, p. 139. 3 For Gauguin4s Human miseries , see letter 717, n. 2, and for Woman with pigs , see letter 719, n. 5.

5 The canvas that Theo had suggested exhibiting at Boussod, Valadon & Cie6 was probably Small pear tree in blossom (F 405 / JH 1394). See exhib. cat. Amsterdam 1990, p. 112. Although it is not very small (73 x 46 cm), it is still only half the size of a no. 30 canvas (the format Van Gogh had been using almost exclusively for some time). Admittedly, the picture depicts a pear and not a peach tree Van Gogh earlier called it a small pear tree (see letter 597) but the words I think added to the present letter could indicate that he was not entirely sure which work Theo was talking about. It was probably Theo who called it a peach tree; his wife, Jo7, wrote to Vincent in May 1889 about that beautiful flowering peach tree of yours, which looks at me in such a friendly way every morning (see letter 771). 8 Read: puisquelles. To Theo van Gogh. Arles, on or about Monday, 19 November 1888. 3 cela. Tu est, toi, chez les Goupil mais moi certes pas, de part et dautre aprs avoir pourtant travaill l-dedans 6 ans 9 nous tions absolument mcontent de tout, eux de moi, moi deux. Cest une vieille histoire mais quand mme tel est le cas. Continue donc toi ton chemin mais pour le commerce il me semble incompatible avec ma conduite precedente de revenir l avec une toile dune telle innocence que ce petit pcher ou autre chose ainsi. Non . Si dans un an ou deux ans jai de quoi faire une exposition de moi seul, une trentaine de toiles de trente mettons [1v:3] Et si je leur disais, voulez vous me la faire, Boussod certes menverrait promener. Les connaissant helas un peu trop, je crois que je ne madresserai pas eux. Non pas que jamais je chercherais demolir quoi que ce soit, au contraire tu devras admettre que jy pousse tous les autres avec zle. Mais moi, ma foi jai une vieille dent contre eux. Sois sr et certain que je te considre comme marchand de tableaux impressioniste, comme trs independant des Goupil, que donc ce sera toujours un plaisir pour moi de pousser les artistes l-dedans. Mais je ne veux pas que jamais Boussod aye possibilit de dire cette petite toile nest pas trop mal pour ce jeune commenant, comme si jamais auparavent... Au contraire je ne reviendrai pas chez eux, jaime mieux ne jamais vendre que dy entrer autrement que trs carrement. Or eux cest pas des gens agir carrement donc cest pas la peine de recommencer. [1r:4] Sois assur que plus nous tranchons nettement cela plus ils viendront chez toi les voir. Toi tu ne les vends pas donc tu ne fais en montrant mon travail un commerce hors la maison Boussod, V. & Cie . Tu agiras ainsi droitement et cela est respectable. Lun ou lautre veut il acheter pourtant, bon ils nont alors qu sadresser directement moi. Mais sois en sr: Si nous pouvons soutenir le siege mon jour viendra. Je ne peux ni ne dois dans

9 Vincent had worked for Goupil from 1869 to 1876. 4 To Theo van Gogh. Arles, on or about Monday, 19 November 1888. ce moment faire autre chose que travailler. Une chse pourtant peutetre, je vais encore rpondre Jet Mauve, la dire un tas de choses sur Gauguin &c.&c. , lui envoyer des croquis et indirectement Tersteeg aura encore des bourdonnements dans les oreilles. Gauguin et moi causons souvent de la necessit de faire des expositions Londres et peut etre nous tenverrons une lettre Tersteeg lire. Cest que si Tersteeg aie un successeur energique ce jour approche celui l ne pourra travailler quavec les nouveaux tableaux. Poigne de main il nous faudra encore quelques couleurs.[2r:5] Je dois encore te dire que le mois deux se fait mieux 150 chacun que moi 250 moi seul. Au bout dune anne tu tapercevras que cela marche pourtant. Je ne peux encore rien dire de plus. Je regrette un peu davoir la chambre pleine de toiles et de ne rien avoir envoyer lorsque Gauguin enverra les siennes. Cest que les choses empates, Gauguin ma dit comment les degraisser par des lavages de temps temps.10 dailleurs cela fait je dois les reprendre pour les retoucher. Si je ten envoyais maintenant, la couleur en serait plus terne quelle ne le sera plus tard. Ce que jai envoy, ils trouvent tous que cest fait trop la hte.11 je ne dis pas non et je ferai de certains changements. Cela me fait enormement du bien davoir de la compagnie aussi intelligente que Gauguin et de le voir travailler.17

10 Vincent had previously told Theo that he should wash his paintings with lots of water; see letter 662. 11 It is not clear who the critics of Van Goghs working method are in this passage, which must be connected with ll. 172-182 below. What Ive sent (l. 131) must refer to the two batches of paintings sent from Arles, which were at Theos (see letters 606 and 660). Druick and Zegers assume that this can only be Gauguin12, possibly along with anyone else who may have seen the pictures that Vincent sent to Paris in May and August (see exhib. cat. Chicago 2001, p. 207). This could not possibly refer to Gauguin, however, because he had not been in Paris since January 1888 and so could not have seen any of the works in those two batches. Like Pickvance, we assume that Van Gogh means the artists and friends of Theos who had seen the paintings he [= Vincent] had sent to Paris (see exhib. cat. New York 1984, p. 235). One naturally thinks first of Bernard13, who had been back in Paris since about 10 November, and of Camille Pissarro14, who had seen work from the first batch (see letter 676). Van Gogh could also be referring to the Paris art dealers Thomas15 and Bague16, to whom he hoped to sell work (see letter 699). 17 Gauguin18, by contrast, wrote to Bernard19 in the second half of November 1888 about his relations with Van Gogh: In general, Vincent and I see eye to eye on very little, especially on painting. He admires Daudet20, Daubigny21, Ziem22 and the great Rousseau23, all of them people I cant stand. And on the other hand, he detests Ingres24, Raphael25, Degas26, all of them people whom I admire; I reply, youre right, soldier, for the sake of a quiet life. He likes my paintings very much, but when Im doing them he always finds that Im wrong in this and that. Hes a romantic, and Im more drawn towards a primitive condition. From the point of view of colour, he sees the possibilities of impasto, as in Monticelli27, and I detest manipulated brushwork and so on. (Vincent et moi nous sommes bien peu daccord en gnral, surtout en peinture. Il admire Daudet, Daubigny, Ziem et le grand Rousseau, To Theo van Gogh. Arles, on or about Monday, 19 November 1888. 5

Tu verras que de certains vont reprocher G. de ne plus faire de limpressionisme. [2v:6] Ses deux dernieres toiles que tu vas voir sont trs fermes dans la pte, 28 il y a du travail au couteau meme. Et a enfoncera ses toiles Bretonnes un peu, pas tous mais certaines. Jai presque pas le temps decrire, sans cela jaurais dj crit ces Hollandais. 30 Jai encore eu une lettre de Bock, tu sais ce belge qui a une soeur dans les vingtistes. il travaille avec plaisir l-haut.33 Jespre bien quon restera toujours en amiti et en affaire avec Gauguin et sil reussit fonder un atelier tropical ce serait magnifique. Mais pour cela il faut selon mon calcul plus dargent que selon le sien. Guillaumin a crit Gauguin, il parait bien dans la dche mais doit avoir fait du beau. il a maintenant un enfant36 mais il est terrifi par laccouchement et dit toujours avoir devant les yeux la vision rouge de cela. seulement Gauguin lui a trs bien rpondu disant que lui G. avait vu cela 6 fois.40 [2v:7] Jet Mauve va beaucoup mieux quant la sant et comme tu sais peutetre reste42 la Haye depuis Aout dernier pres du cimetire juif, ainsi presqu la campagne.43 Tu ny perdras rien en attendant un peu mon travail et nous laisserons nos chers copains tranquillement mpriser tous gens que je ne peux pas sentir. Et par contre il dteste Ingres, Raphal, Degas, tous gens que jadmire; moi je rponds brigadier vous avez raison pour avoir la tranquillit. Il aime beaucoup mes tableaux mais quand je les fais il trouve toujours que jai tort de ceci, de cel. Il est romantique et moi je suis plutt port un tat primitif. Au point de vue de la couleur il voit les hasards de la pte comme chez Monticelli et moi je dteste le tripotage de la facture etc.) See Correspondance Gauguin 1984, p. 284. 28 The last two canvases by Gauguin29 are the above-mentioned Human miseries and Woman with pigs (n. 2). 30 De Haan31 and Isacson32. 33 Boch34 had written to Van Gogh at the beginning of October from the Borinage; see letter 693. Bochs sister Anna35 was a member of the artists society Les Vingt from 1886 to 1894. Regarding this group, see letter 580, n. 6.

36 On or about 13 November 1888, Gauguin37 wrote the following to Schuffenecker38 about Guillaumin39s letter: Guillaumin has written me a distressing letter; he tells me about his wish to exhibit with the Indpendants this year (Guillaumin ma crit une lettre dsolante; il me parle de son dsir dexposer cette anne aux Indpendants). See Merlhs 1989, p. 139. A daughter, called Madeleine, had been born to Guillaumin on 14 October. 40 Gauguin41 had five children; see letter 625, n. 22. 42 Read: habite. 43 Vincent had asked his sister Willemien44 in letter 720 to send him Jet Mauve45s address by return post, so he must have received it in the meantime. Jet Mauve lived in The Hague at Riouwstraat 70, at that time on the edge of the city. This street joins Timorstraat, where the Jewish Cemetery is located. 6 To Theo van Gogh. Arles, on or about Monday, 19 November 1888. les actuelles. Heureusement pour moi je sais assez ce que je veux quils ne croient et suis dune extrme indiffrence pour la critique de travailler la hte, au fond. En reponse jen ai fabriqu de ces jours ci encore plus la hte.46 Gauguin me disait lautre jour quil avait vu de Claude Monet un tableau de tournesols dans un grand vase japonais trs beau.47 mais il aime mieux les miens.51 Je ne suis pas de cet avis seulement ne crois pas que je sois en train de faiblir. Je regrette comme toujours, ainsi que cela test connu, la raret des modles, les mille contrarietes pour vaincre cette difficult-l. Si jetais un tout autre homme et si jetais plus riche je pourrais forcer cela, actuellement je ne lche pas et mine sourdement. 53 Si quarante ans je fais un tableau de figures tel que les fleurs dont parlait Gauguin[2r:8] jaurai une position dartiste ct de nimporte quoi. Donc persverance. En attendant je peux toujours te dire que les deux dernieres etudes sont assez drle. Toiles de 30, une chaise en bois et en paille toute jaune sur des carreaux rouges contre un mur (le jour). 54 Ensuite le fauteuil de Gauguin rouge et vert, effet de nuit, mur et plancher rouge et vert aussi, sur le siege deux romans et une chandelle.55 Sur toile voile en pte grasse.56 Ce que je dis de renvoyer des etudes cela ne presse aucunement et il sagit des mauvaises qui pourtant me

46 In letter 717 Van Gogh reported that he had painted Marie Ginoux (The Arlsienne) (F 489 / JH 1625) in just one hour. 47 Claude Monet48, Bouquet of sunflowers, 1881 (New York, The Metropolitan Museum of Art). Ill. 300. Gauguin49 could have seen the painting at the Monet exhibition at Durand-Ruel50s, who had purchased it in October 1881, and at the exhibition of the Indpendants in 1882. See Wildenstein and Walter 1974-1991, vol. 2, pp. 239-240. 51 Gauguin52s remark undoubtedly referred to the recent paintings of sunflowers from Arles, particularly the two no. 30 canvases that were hanging in his room: Sunflowers in a vase (F 456 / JH 1561) and Sunflowers in a vase (F 454 / JH 1562). After his departure Gauguin wanted to have the latter canvas. See letter 739. 53 This means something like plough on secretly. 54 Van Goghs chair (F 498 / JH 1635). 55 Gauguins chair (F 499 / JH 1636). 56 F 498 and F 499 are painted on the jute that Gauguin57 had bought; see exhib. cat. Chicago 2001, pp. 354-369. To Theo van Gogh. Arles, on or about Monday, 19 November 1888. 7 serviront de documents ou de celles qui tencombrent lapartement. Puis ce que je dis en general des etudes, je tiens une seule chse, que la position soit nette. ne fais pas daffaire pour moi hors la maison; moi ou bien je ne rentrerai jamais chez les Goupil ce qui est plus que probable, ou bien jy rentrerai carrement ce qui est assez impossible. Poigne de main encore une fois et merci de tout ce que tu fais pour moi. t. t. Vincent

Translation [1r:1] My dear Theo, Gauguin58s canvas, Breton Children, has arrived, and hes altered it very, very well.59 But although I quite like this canvas, its all the better that it should be sold, since the two hes going to send you from here are thirty times better. Im speaking of the women picking grapes and the woman with the pigs.61 The reason for this is that G.63 is beginning to overcome his liver or stomach trouble that has bothered him lately. Now Im writing to you in reply to what you were telling me, that you would frame a small canvas of a pink peach tree I think, to place it with those gentlemen.64 I dont want to leave any doubt about what I think of that.

58 Paul (Eugne Henri) Gauguin (1848-1903) French artist 59 Paul Gauguin60, Breton girls dancing, 1888 (W296/W251) (Washington, National Gallery of Art, lent by Mr and Mrs Paul Mellon). Ill. 102. The canvas was one of Gauguins recent paintings from Pont-Aven, which Theo was exhibiting in the gallery (cf. letter 704, n. 1). Theo had written to Gauguin on 13 November 1888: I shall still be able to sell the dance of the little Breton girls, but there will be a small bit of retouching to be done. The little girls hand that comes to the edge of the frame assumes an importance that it does not seem to have when you see just the canvas. The collector would like you to alter the shape of this hand a little, without changing anything else in the painting. It doesnt seem to me that that will be difficult for you, and and I am therefore sending you the canvas. (Je pourrai encore vendre la ronde de petites Bretonnes, mais il y aura une petite retouche faire. La main de la petite fille qui vient au bord du cadre prend une importance quelle ne parat pas avoir quand on ne voit que la toile. Lamateur voudrait que vous revoyiez un peu la forme de cette main sans autrement modifier quoi que ce soit dans le tableau. Il me semble que cela ne vous sera pas difficile & pour cela je vous envoie la toile). Gauguin answered by return post: I shall deal with the painting to be retouched; the hand that touches the frame obviously assumes great importance, and I believed it was necessary to do it that way in order to balance the dance, which is in the shape of an S. But since these are the whims of a painter and not a collector, I shall try to remedy, or rather, attenuate it. (Je vais moccuper du tableau retoucher; evidemment la main qui arrive dans le cadre prend beaucoup dimportance et je la croyais necessaire ainsi pour quilibrer la danse qui a la forme dun S. Mais comme ce sont des toquades de peintre en non damateur je tcherai dy remedier ou plutt attnuer.) See Correspondance Gauguin 1984, pp. 280-282. On the changes Gauguin made to the canvas, see Wildenstein 2001, p. 414, cat. no. 296. The sale did not go through. Theo finally sold the canvas in September 1889. See exhib. cat. Amsterdam 1999, p. 139. 61 For Gauguin62s Human miseries , see letter 717, n. 2, and for Woman with pigs , see letter 719, n. 5.

63 Paul (Eugne Henri) Gauguin (1848-1903) French artist 64 The canvas that Theo had suggested exhibiting at Boussod, Valadon & Cie65 was probably Small pear tree in blossom (F 405 / JH 1394). See exhib. cat. Amsterdam 1990, p. 112. Although it is not very small (73 x 46 cm), it is still only half the size of a no. 30 canvas (the format Van Gogh had been using almost exclusively for some time). Admittedly, the picture depicts a pear and not a peach tree Van Gogh earlier called it a small pear tree (see letter 597) but the words I think added to the present letter could indicate that he was not entirely sure which work Theo was talking about. It was probably Theo who called it a peach tree; his wife, Jo66, wrote to Vincent in May 1889 about that beautiful flowering peach tree of yours, which looks at me in such a friendly way every morning (see letter 771). 8 To Theo van Gogh. Arles, on or about Monday, 19 November 1888.

First, if you yourself would like to place either a bad or good thing of mine there, my word if that will make you happier, then of course you have and will have carte blanche either now or later. But if, on the other hand, its either for my pleasure or for my own benefit, Id be of the opinion that its completely unnecessary. If you were to ask me what would give me pleasure, its quite simply one single thing, that you keep for yourself what you like from what I do, in the apartment, and that you dont sell any of it now. The rest, the stuff that gets in the way, send it to me here for this good reason, that everything [1v:2] Ive done from nature is chestnuts pulled out of the fire. Gauguin67, in spite of himself and in spite of me, has proved to me a little that it was time for me to vary things a bit Im beginning to compose from memory, and all my studies will still be useful to me for that work, as they remind me of former things Ive seen. So what does selling any of it matter if were not absolutely pressed for money? For in addition, Im sure even now that youll eventually see things that way. As for you, youre with the Goupils, but I certainly am not, after however working there for 6 years 68 we were absolutely dissatisfied on both sides with everything, them with me, me with them. Its an old story, but all the same thats how it is. So continue on your way, but as far as the business is concerned it seems to me incompatible with my previous behaviour to come back there with a canvas of such innocence as this little peach tree or some other thing like it. No. If in a year or two I have enough to make an exhibition of my own, lets say thirty or so no. thirty canvases[1v:3] And if I said to them, will you do it for me, Boussod69 would certainly send me packing. Knowing them alas a little too well, I think that I wont approach them. Not that Id ever try to ruin anything, on the contrary, you must admit that I urge on all the others there zealously. But as for me, my word I have an old grudge against them. Be sure and certain that I consider you, as a seller of Impressionist paintings, to be very independent of the Goupils, that it will therefore always be a pleasure for me to urge artists to go there. But I dont want Boussod ever to have a chance to say this little canvas isnt too bad for this young beginner, as if never before... On the contrary, I wont come back to them, Id prefer never to sell than to enter into it other than very straightforwardly. Now theyre not people to act straightforwardly, so it isnt worth beginning again.[1r:4] Be assured that the more clear-cut we are about this the more theyll come to you to see them. You dont sell them, so in showing my work you arent trading outside the firm of Boussod, V. & Cie70. Thus youre acting honestly, and thats worthy of respect. If one or the other wants to buy however, fine, all they have to do is approach me directly. But be sure of this: if we can withstand the siege my day will come. I cannot and must not at this moment do anything other than work. One thing however perhaps, Im going to reply to Jet Mauve71, tell her a whole heap of things about Gauguin72 &c. &c., send her some croquis, and indirectly Tersteeg73 will prick up his ears again. Gauguin and I often talk about the need to hold exhibitions in London, and perhaps well

67 Paul (Eugne Henri) Gauguin (1848-1903) French artist 68 Vincent had worked for Goupil from 1869 to 1876. 69 Boussod, Valadon & Cie art dealers in Paris, successors of Goupil & Cie 70 Boussod, Valadon & Cie art dealers in Paris, successors of Goupil & Cie 71 Aritte (Jet) Sophia Jeanette Mauve-Carbentus (1856-1894) wife of Anton Mauve 72 Paul (Eugne Henri) Gauguin (1848-1903) French artist 73 Hermanus Gijsbertus Tersteeg (H.G.T., T. or Mr T.) (1845-1927) art dealer at the Goupil gallery in The Hague To Theo van Gogh. Arles, on or about Monday, 19 November 1888. 9 send you a letter for Tersteeg to read. The thing is, should Tersteeg have an energetic successor that day is approaching the latter wont be able to work with anything but new paintings. Handshake well need some more colours. [2r:5] I must also tell you that the month with the two of us together is going better on 150 each than I did on 250 just for myself. At the end of a year youll notice that this is working after all. I cant say anything more yet. I rather regret having the room full of canvases and having nothing to send when Gauguin74 sends his. The thing is, regarding the impasto things, Gauguin75 has told me how to get rid of the grease by washing them from time to time.76 Whats more, when thats done I must work on them again to retouch them. If I sent you any of them now, their colour would be duller than it will be later. They all think that what Ive sent was done too hastily.77 I wouldnt deny it, and Ill make certain changes. It does me enormous good to have company as intelligent as Gauguin83 and to see him work.84 Youll see that certain people are going to reproach G. for no longer doing Impressionism. [2v:6] His two latest canvases which youre going to see are very firm in the impasto,95 theres even some work with the knife in them. And that will put his Breton canvases into the shade a little, not all, but some of them. I hardly have the time to write, otherwise Id already have written to those Dutchmen97.98 Ive had a letter from Boch101, you know that Belgian who has a sister102 in the Vingtistes. Hes enjoying working up there.103

74 Paul (Eugne Henri) Gauguin (1848-1903) French artist 75 Paul (Eugne Henri) Gauguin (1848-1903) French artist 76 Vincent had previously told Theo that he should wash his paintings with lots of water; see letter 662. 77 It is not clear who the critics of Van Goghs working method are in this passage, which must be connected with ll. 172-182 below. What Ive sent (l. 131) must refer to the two batches of paintings sent from Arles, which were at Theos (see letters 606 and 660). Druick and Zegers assume that this can only be Gauguin78, possibly along with anyone else who may have seen the pictures that Vincent sent to Paris in May and August (see exhib. cat. Chicago 2001, p. 207). This could not possibly refer to Gauguin, however, because he had not been in Paris since January 1888 and so could not have seen any of the works in those two batches. Like Pickvance, we assume that Van Gogh means the artists and friends of Theos who had seen the paintings he [= Vincent] had sent to Paris (see exhib. cat. New York 1984, p. 235). One naturally thinks first of Bernard79, who had been back in Paris since about 10 November, and of Camille Pissarro80, who had seen work from the first batch (see letter 676). Van Gogh could also be referring to the Paris art dealers Thomas81 and Bague82, to whom he hoped to sell work (see letter 699). 83 Paul (Eugne Henri) Gauguin (1848-1903) French artist 84 Gauguin85, by contrast, wrote to Bernard86 in the second half of November 1888 about his relations with Van Gogh: In general, Vincent and I see eye to eye on very little, especially on painting. He admires Daudet87, Daubigny88, Ziem89 and the great Rousseau90, all of them people I cant stand. And on the other hand, he detests Ingres91, Raphael92, Degas93, all of them people whom I admire; I reply, youre right, soldier, for the sake of a quiet life. He likes my paintings very much, but when Im doing them he always finds that Im wrong in this and that. Hes a romantic, and Im more drawn towards a primitive condition. From the point of view of colour, he sees the possibilities of impasto, as in Monticelli94, and I detest manipulated brushwork and so on. (Vincent et moi nous sommes bien peu daccord en gnral, surtout en peinture. Il admire Daudet, Daubigny, Ziem et le grand Rousseau, tous gens que je ne peux pas sentir. Et par contre il dteste Ingres, Raphal, Degas, tous gens que jadmire; moi je rponds brigadier vous avez raison pour avoir la tranquillit. Il aime beaucoup mes tableaux mais quand je les fais il trouve toujours que jai tort de ceci, de cel. Il est romantique et moi je suis plutt port un tat primitif. Au point de vue de la couleur il voit les hasards de la pte comme chez Monticelli et moi je dteste le tripotage de la facture etc.) See Correspondance Gauguin 1984, p. 284. 95 The last two canvases by Gauguin96 are the above-mentioned Human miseries and Woman with pigs (n. 2). 97 Meijer Isaac de Haan (1852-1895) Dutch artist 98 De Haan99 and Isacson100. 101 Eugne Guillaume Boch (1855-1941) Belgian artist 102 Anna Boch (1848-1936) Belgian artist 103 Boch104 had written to Van Gogh at the beginning of October from the Borinage; see letter 693. Bochs sister Anna105 was a member of the artists society Les Vingt from 1886 to 1894. Regarding this group, see letter 580, n. 10 To Theo van Gogh. Arles, on or about Monday, 19 November 1888.

I really hope that well always remain friends with Gauguin106, and in business with him, and if he succeeds in setting up a tropical studio that would be magnificent. But that will take more money by my calculations than by his. Guillaumin107 has written to Gauguin108, he seems very hard up but must have done some fine work. He has a child now,109 but he was terrified by the confinement and says hell always have the red vision of it before his eyes. Only Gauguin has replied to him very well, saying that he, G., [2v:7] had seen it 6 times.113 Jet Mauve115 is in much better health, and as you perhaps know has been living in The Hague since last August, near the Jewish cemetery, so almost in the country.116 You wont lose anything by waiting a little while for my work, and well calmly leave our dear pals to scorn the present ones. Fortunately for me I know what I want better than they believe and am, basically, extremely indifferent to the criticism of working hurriedly. In reply Ive produced work these last few days even more hurriedly.119 Gauguin120 was telling me the other day that hed seen a painting by Claude Monet121 of sunflowers in a large Japanese vase, very fine.122 But he likes mine better.126 Im not of that opinion only dont think that Im weakening. I regret as always, as you know, the scarcity of models, the thousand obstacles to overcome that difficulty. If I were a completely different man and if I were wealthier I could force it, at present Im not giving up and am plodding on quietly. [2r:8] If at the age of forty I do a painting of figures like the flowers Gauguin128 was talking about Ill have a position as an artist alongside anything. So, perseverance. In the meantime I can tell you anyway that the last two studies are rather funny. No. 30 canvases, a wooden and straw chair all yellow on red tiles against a wall (daytime).129 Then

6.

106 Paul (Eugne Henri) Gauguin (1848-1903) French artist 107 (Jean Baptiste) Armand Guillaumin (1841-1927) French artist 108 Paul (Eugne Henri) Gauguin (1848-1903) French artist 109 On or about 13 November 1888, Gauguin110 wrote the following to Schuffenecker111 about Guillaumin112s letter: Guillaumin has written me a distressing letter; he tells me about his wish to exhibit with the Indpendants this year (Guillaumin ma crit une lettre dsolante; il me parle de son dsir dexposer cette anne aux Indpendants). See Merlhs 1989, p. 139. A daughter, called Madeleine, had been born to Guillaumin on 14 October. 113 Gauguin114 had five children; see letter 625, n. 22. 115 Aritte (Jet) Sophia Jeanette Mauve-Carbentus (1856-1894) wife of Anton Mauve 116 Vincent had asked his sister Willemien117 in letter 720 to send him Jet Mauve118s address by return post, so he must have received it in the meantime. Jet Mauve lived in The Hague at Riouwstraat 70, at that time on the edge of the city. This street joins Timorstraat, where the Jewish Cemetery is located. 119 In letter 717 Van Gogh reported that he had painted Marie Ginoux (The Arlsienne) (F 489 / JH 1625) in just one hour. 120 Paul (Eugne Henri) Gauguin (1848-1903) French artist 121 Claude Oscar Monet (1840-1926) French artist 122 Claude Monet123, Bouquet of sunflowers, 1881 (New York, The Metropolitan Museum of Art). Ill. 300. Gauguin124 could have seen the painting at the Monet exhibition at Durand-Ruel125s, who had purchased it in October 1881, and at the exhibition of the Indpendants in 1882. See Wildenstein and Walter 1974-1991, vol. 2, pp. 239-240. 126 Gauguin127s remark undoubtedly referred to the recent paintings of sunflowers from Arles, particularly the two no. 30 canvases that were hanging in his room: Sunflowers in a vase (F 456 / JH 1561) and Sunflowers in a vase (F 454 / JH 1562). After his departure Gauguin wanted to have the latter canvas. See letter 739. 128 Paul (Eugne Henri) Gauguin (1848-1903) French artist 129 Van Goghs chair (F 498 / JH 1635). To Theo van Gogh. Arles, on or about Monday, 19 November 1888. 11

Gauguin130s armchair, red and green, night effect, on the seat two novels and a candle.131 On sailcloth in thick impasto.132 What I say about sending back studies, theres no hurry at all, and Im referring to the bad ones which, however, will serve me as documents or those that are cluttering up your apartment. As to what I say in general about the studies, Im set on just one thing: that the position is quite clear. Dont trade on my behalf outside the firm; as for me, either Ill never return to the Goupils, which is more than likely, or Ill return straightforwardly, which is quite impossible. One more handshake, and thanks for everything youre doing for me. Ever yours, Vincent

130 Paul (Eugne Henri) Gauguin (1848-1903) French artist 131 Gauguins chair (F 499 / JH 1636). 132 F 498 and F 499 are painted on the jute that Gauguin133 had bought; see exhib. cat. Chicago 2001, pp. 354-369.