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To Theo Van Gogh. Nuenen, on Or About Thursday, 16 July 1885

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To Theo Van Gogh. Nuenen, on Or About Thursday, 16 July 1885 To Theo van Gogh. Nuenen, on or about Thursday, 16 July 1885. on or about Thursday, 16 July 1885 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. no. b453 V/1962 Date: We have dated the letter on or about Thursday, 16 July 1885. For this see letter 515, Date. Letters 517 and 518 were also written the same day. This tallies with Van Goghs assertion that he is absolutely broke (l. 60) whereas in letter 513 of about 12 July he said that he still had five guilders left. In De brieven 1990 the present letter was placed in the second half of August, but it is evident from the words when you come to Holland (l. 68) which obviously look forward to Theos visit at the end of July 1885 that it must have been written in July Additional: Original [1r:1] Waarde Theo, Vandaag heb ik een bezoek gehad van Wenkebach, een schilder uit Utrecht die dagelijks met Rappard omgaat. Hij maakt landschappen en ik heb zijn naam al dikwijls hooren noemen en hij heeft toen tegelijk met Rappard een medaille gehad in Londen.1 Deze heeft mijn werk gezien die hutten die ik voor U heb en ook de figuurteekeningen.4 1 Willem Wenckebach2 was awarded a bronze medal at the London International and Universal Exhibition (Crystal Palace), which opened on 23 April 1884. We do not know for certain which painting this was (the catalogue has not been traced), but in the light of a report in the Algemeen Handelsblad its must have been a landscape this work once belonged to J.L. Beijers of Utrecht. See for Van Rappard3s medal: letter 448. On the exhibition: The Times of 21 April 1884, p. 4 and of 24 April 1884, p. 7; on Wenckebachs prize and the work: Algemeen Handelsblad of 25 April 1884, p. 1 (morning edition), of 27 May 1884, p. 1 (Supplement to the evening edition), and Eigen Haard 31 (1905), p. 422. 4 See for the paintings of cottages, The cottage (F 83 / JH 777), Cottage and woman with a goat (F 90 / JH 823), Cottage with peasant coming home (F 170 / JH 824), Village at sunset (F 190 / JH 492), Cottage with woman digging (F 89 / JH 803), and Cottage (F - / JH add 23), that Vincent in any event had ready for Theo at that time: letter 513, n. 1. It is not possible to establish exactly which figure drawings he is referring to here. 1 2 To Theo van Gogh. Nuenen, on or about Thursday, 16 July 1885. Ik sprak met hem er over dat ik tot mijn leedwezen onaangenaamheden met Rappard gehad had die ik me moeielijk anders kon expliceeren dan dat hij met andere lui van den Haag over mijn werk geluld had en dat, waar hij bovendien in lang niets had gezien, hij daar zijn hoofd vol gekregen had onwillekeurig. Ik liet Wenkebach zien figuren die Rappard vroeger goed vond en tevens die van nu er bij, en wees hem hoe ik wel veranderd was in een paar dingen en nog meer veranderen zou, maar dat hetgeen ik nu zocht zeker niet minder was. Toen zeide hij dat hij niet twijfelde of Rappard zou terugnemen wat hij mij had geschreven.[1v:2] Ik heb hem verder laten zien hoe wat de kleur betreft ik geen parti pris heb om altijd donker te schilderen. Een paar van de hutten zijn zelfs zeer licht. Maar dat het mij te doen is om de hoofdkleuren rood, blaauw, geel, als grond, als uitgangspunten te nemen en niet grijs. We hebben toen nog al gepraat over kleur en hij zeide toen onder anderen dat hij opgemerkt had Jaap Maris in oude aquarellen ook rosse , bruingrijze, roode toonen gebruikte en vrij veel zelfs zoodat als men het naast een van zijn teekeningen van nu zou houden het geheel rood er bij wordt. En zoo ook over Israels. Met U dit te zeggen doe ik nu ook misschien meer kwaad dan goed omdat het een stuk uit een gesprek is en ik er alles eigentlijk bij moest zeggen. Maar wij hebben er al meer over gesproken en dan begrijpt ge misschien van zelf het in zijn verband. Om een eerlijk , degelijk coloriet te krijgen, om het vol te houden , is het en vooral in dezen tijd, nu imitateurs (niet de meesters zelf) van de groote , grijze lui meer en meer, altijd en overal alles licht willen schilderen raadzaam ook in de puissanter gammas zich te oefenen en vol te houden ze te gebruiken. daar de eigentlijke coloristen zich altijd op de [1v:3] kleuren5 Zoo zei Wenkebach b.v. dat hij dat geval van den ouden toren6 met pleizier zag en het buiten de verf7 vond dat ik verleden jaar schilderde met veel bitume er in. Hij vond het geheel oorspronkelijk zeide hij. andere oude dingen ook, die watermolen, 8 osseploeg, 9 5 This is an unfinished later addition to the letter. We reckon Van Gogh meant colourists always concentrate on the colours. 6 Van Gogh probably means the painting The old tower (F 88 / JH 490), which he had made in the summer of 1884. 7 See for the expression beyond the paint: letter 439, n. 3. 8 Water mill at Gennep (F 125 / JH 525). 9 To Theo van Gogh. Nuenen, on or about Thursday, 16 July 1885. 3 laan met herfstboomen.10 Maar het meest deed me pleizier dat hij de figuren goed vond hij sprak van Milletachtig. ik weet echter zeker dat ik ze nog beter zal krijgen als ik maar wat voorspoed heb met de kosten en er krachtig aan doorwerken kan. Ik zit daarover echter wel wat in en wat deze maand betreft ik ben absoluut blut ik heb geen gulden meer. Moeielijk zullen we t hebben neem me dat niet al te kwalijk want met volhouden is er nog een goede kans om later te oogsten van wat we zaaien. Dat het geld U echter drukt heb ik zorg genoeg over, ik wou ik het voor U wat verligten kon. Als ge naar Holland komt zou het niet nog eens geprobeerd moeten worden om Tersteeg aan te klampen? Tersteeg is iemand die durft , als hij maar overtuigd is is hij goed ook. En Mauve eveneens. Als de lui die t volhouden om op figuur te blokken heel talrijk waren zou ik zeggen, er is weinig kans wat hulp te vinden. [1r:4] Maar zoo heel talrijk zijn die niet en noodig worden ze niet minder dan vroeger. Het is voor U alleen moeielijk vol te houden en ik kan er niets aan doen om de onkosten te verminderen integendeel, ik wou ik meer model nog nemen kon. Wat te doen? Vechten tegen de bierka moet men t niet noemen want anderen hebben t ook gewonnen en wij zullen t ook winnen. Wat Rappard betreft, ik heb hem zooeven geschreven ik verlang hij ten eene male zijn schrijven terugneemt. 11 Ge ziet echter Theo, hoe het er op aan komt voet bij stek te houden bij t werk. Ik heb Rappard geschreven dat we waarachtig wel iets anders te bestrijden hebben dan elkaar en dat op dit moment de lui die boeren en t volk schilderen de handen in elkaar moeten slaan omdat eendragt magt maakt. Alleen kan men t niet, althans, een heele troep die t eens is kan meer. Houd gij goeden moed ook want misschien krijgen we meer vrienden en dan wordt het levendiger en wordt het geharrewar onderling misschien een boerenkrijg tegen dat soort schilders zooals men er in alle tegenwoordige jurys nog kan aanwijzen, die als zij konden de idees, voor welke Millet baanbreker was, ook nu nog zouden tegenhouden. Gegroet maar als ge kunt, stuur me iets, al is t maar tien francs, om door den tijd te komen. t. t. Vincent Plowman and a woman planting potatoes (F 172 / JH 514). 10 Avenue of poplars in autumn (F 122 / JH 522). 11 This was letter 517. 4 To Theo van Gogh. Nuenen, on or about Thursday, 16 July 1885. Translation [1r:1] My dear Theo, I had a visit today from Wenckebach12, a painter from Utrecht who sees Rappard13 every day. He makes landscapes and Ive often heard his name mentioned, and he got a medal in London at the same time as Rappard.14 He has seen my work those cottages I have for you, and the figure drawings too.17 I talked to him about the fact that to my regret Id had trouble with Rappard18, which I could hardly explain otherwise than that hed been prattling about my work with other people from The Hague, and that since, moreover, he hadnt seen anything in a long time, he couldnt help got his head stuffed full there. I showed Wenckebach19 figures that Rappard20 thought good in the past, and at the same time those that Im doing now, and pointed out to him how Id changed in a few things and would change even more, but that what I was looking for now was certainly not inferior. [1v:2] Then he said that he didnt doubt that Rappard would take back what he had written to me. I also showed him how, as regards the colour, Im not predisposed to always paint darkly. A couple of the cottages are actually very light. But that Im concerned with taking the primary colours red, blue, yellow, as starting-points, as points of departure, and not grey. Then we talked quite a bit about colour, and he said among other things that hed noticed that in old watercolours Jaap Maris21 had also used ruddy, brown-grey, red tones, and rather a lot in fact so that if one were to hold it next to one of his present drawings it would look completely red.
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