Van Gogh
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Tardieu, Eugène. “The Salon of the Indépendants” (Le Magazine Français Illustré, April 25, 1891). In Van Gogh, edited by Stein, p. 280.
Tersteeg, H. G. “Brief van H. G. Tersteeg aan Theo van Gogh, The Hague, 7 Apr. 1890.” In Verzamelde Brieven van Vincent van Gogh (1955 ed.), edited by Van Gogh–Bonger and Van Gogh, pp. 304–5.
Thomson, Richard. “The Cultural Geography of the Petit Boulevard.” In Vincent van Gogh and the Painters of the Petit Boulevard, edited by Homburg, pp. 65–108.
Tonio. “Notes and Recollections” (“Notes et souvenirs: Vincent van Gogh,” La Butte, May 21, 1891). In Van Gogh, edited by Stein, pp. 281–82.
Trublot, Paul Alexis. “At Midnight” (Cri du peuple, September 7, 1887). In Van Gogh, edited by Stein, p. 96.
Valadon, Suzanne. “Vincent van Gogh” (interviewed by Florent Fels, in Fels, Vincent van Gogh, Paris: Henry Floury, 1928). In Van Gogh, edited by Stein, p. 87.
van Crimpen, Han. “The Van Gogh Family in Brabant.” In Van Gogh in Brabant, compiled by Van Uitert, pp. 72–91.
———. “Vincent van Gogh: Friends Remember Vincent in 1912.” In Vincent van Gogh, edited by Arikawa, Van Crimpen, et al., n.p.
van der Heijden, Cor G.W.P. “Nuenen Around 1880.” In Van Gogh in Brabant, compiled by Van Uitert, pp. 102–27.
van de Wetering, Ernst. “The Multiple Functions of Rembrandt’s Self-Portraits.” In Rembrandt by Himself, edited by White and Buvelot, pp. 10–37.
van Gogh, Theo. “On Vincent in Paris” (letters from Theo, 1886–1888; see Hulsker, “What Theo Really Thought of Vincent,” pp. 2–28). In Van Gogh, edited by Stein, pp. 105–7.
———and G.-Albert Aurier. “On Posthumous Tributes to Vincent” (letters from Theo and Aurier, August–September 1890; see Distel and Stein, Cézanne to Van Gogh, pp. 259–69). In Van Gogh, edited by Stein, pp. 232–36.
van Gogh, Vincent. “An Early Biography” (letter from Vincent to the Reverend Thomas Slade-Jones, June 17, 1876). In Van Gogh, edited by Stein, pp. 32–41.
———. “Lettres de Vincent van Gogh à Emile Bernard” (Lettres de Vincent van Gogh à Emile Bernard, Paris: Ambroise Vollard, 1911). In Van Gogh, edited by Stein, pp. 237–39.
———. Theo van Gogh and Paul Gauguin. “On Exhibition Plans and Responses to Vincent’s Work” (letters from Vincent, Theo, and Gauguin, 1888–1890). In Van Gogh, edited by Stein, pp. 156–76.
van Gogh–Bonger, Johanna. “Memoir of Vincent Van Gogh by His Sister-in-law.” In Van Gogh, The Complete Letters of Vincent Van Gogh with Reproductions of All the Drawings in the Correspondence, vol. I, pp. xv–lxvii.
van Tilborgh, Louis. “ ‘A Kind of Bible’: The Collection of Prints and Illustrations.” In The Rijksmuseum Vincent van Gogh, edited by Van Uitert and Hoyle, pp. 38–44.
van Uitert, Evert. “Vincent van Gogh, Painter of Peasants.” In Van Gogh in Brabant, compiled by Van Uitert, pp. 14–46.
Wagener, J. Frits. “Vincent of Zundert.” In Van Gogh 100, edited by Masheck, pp. 195–203.
Weiller, Pierre. “Nous avons retrouvé le Zouave de van Gogh” (Les Lettres Françaises, March 24–31, 1955). In Van Gogh, edited by Stein, pp. 108–11.
Wenckebach, Ludwig “Willem” Reijmert. “Letters to an Artist” (see Pach, Letters to an Artist, pp. xiii–xiv). In Van Gogh, edited by Stein, pp. 66–67.
Werness, Hope B. “The Symbolism of Van Gogh’s Flowers.” In Van Gogh 100, edited by Masheck, pp. 43–55.
Wilson, Michael L. J. “Portrait of the Artist as a Louis XIII Chair.” In Montmartre and the Making of Mass Culture, edited by Weisberg, pp. 180–204.
Zemel, Carol M. “The ‘Spook’ in the Machine.” In Van Gogh in Brabant, compiled by Van Uitert, pp. 47–58.
Image Credits
Endpapers: © The Pierpont Morgan Library, New York, NY, U.S.A., Gift of Eugene V. Thaw in honor of Charles E. Pierce, Jr. Photo credit: The Pierpont Morgan Library/Art Resource, NY;
Black-and-white images on pages: fm1.1, fm5.1, prl.1, col1.1, 1.1, 2.1, 2.2, 3.2, 4.1, 4.2, 4.3, 5.1, 5.2, 7.1, 8.2, 9.1, 10.1, 11.1, 11.2, 12.1, 13.1, col2.1, 14.1, 14.2, 15.1, 245, 16.1, 17.3, 18.2, 18.3, 18.4, 18.6, 19.1, 20.2, 21.2, 21.3, 21.4, 21.5, 22.1, 24.1, 24.2, 24.3, 24.5, 25.2, 25.3, 26.1, 26.2, 26.3, 26.4, col3.1, 27.3, 28.1, 29.3, 29.4, 31.1, 31.2, 31.5, 31.7, 33.1, 35.1, 35.4, 35.5, 37.3, 38.1, 39.1, 39.2, 774, 40.3, 40.4, 42.1, 42.3, 42.5, 42.6, 43.1, epl.1, epl.2 © Van Gogh Museum Amsterdam (Vincent van Gogh Foundation);
3.1, 30.1: David Brooks (www.vggallery.com);
3.3: © Vincents Tekenlokaal, Tilburg/Koning Willem II College, Tilburg;
6.1: © Collection Mrs. Kathleen Eugenie Maynard/Ken Wilkie. Photo credit: Van Gogh Museum Amsterdam (Vincent van Gogh Foundation);
8.1: © Amsterdams Historisch Museum;
14.3: © Collection Centraal Museum, Utrecht;
14.4: © Virginia Museum of Fine Arts, Richmond. Collection of Mr. and Mrs. Paul Mellon;
15.2, 16.3, 17.2, 18.5: © Stichting Kröller-Müller Museum;
16.2: © Kupferstichkabinett, Staatliche Museen, Berlin, Germany. Photo Credit: Bildarchiv Preussischer Kulturbesitz/Art Resource, NY;
17.1: © The Museum of Modern Art/Liscensed by SCALA/Art Resource, NY;
18.1: © Royal Holloway, University of London/The Bridgeman Art Library;
20.1: © Museum of Fine Arts, Boston;
21.1: © Musée des Beaux-Arts, Nantes, France. Réunion des Musées Nationaux/Art Resource, NY;
24.4: © Mildred Lane Kemper Art Museum, Washington University in St. Louis, University purchase, Parsons Fund, 1912;
27.1: Self-Portrait with Grey Felt Hat, © Stichting Rijksmuseum, Amsterdam; Self-Portrait, © Wadsworth Atheneum Museum of Art, Hartford, Connecticut; Self-Portrait with Straw Hat, © Detroit Institute of Arts, USA/City of Detroit Purchase/The Bridgeman Art Library;
27.4 and 35.3: © Chester Dale Collection, Image courtesy National Gallery of Art, Washington;
29.1: Ashmolean Museum, Oxford, UK;
29.2: © Tate, London, 2011;
30.2: © Los Angeles County Museum of Art, Los Angeles, CA, USA. © 2009 Museum Associates/LACMA/Art Resource, NY;
31.2: © Rémi Venture, Arles, 1989;
31.3: © The Metropolitan Museum of Art/Art Resource, NY;
31.4: © The Trustees of the British Museum;
31.6: © Nationalgalerie, Museum Berggruen, Staatliche Museen, Berlin, Germany. Bildarchiv Preussischer Kulturbesitz/Art Resource, NY;
32.1: © The J. Paul Getty Museum, Los Angeles;
33.2: © Stichting Kröller-Müller Museum. Photo credit: Foto Marburg/Art Resource, NY;
34.1: © Photographer: Apic, Getty Images;
35.2: © Fine Arts Museums of San Francisco, Memorial gift from Dr. T. Edward and Tullah Hanley, Bradford, Pennsylvania;
37.1: © Scala/Art Resource, NY;
37.2: © Pushkin Museum of Fine Arts, Moscow, Russia. Photo credit: Erich Lessing/Art Resource, NY;
38.2–38.3: © Collection Oskar Reinhart “Am Römerholz,” Winterthur;
39.3: © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY;
39.4: © Brooklyn Museum, Frank L. Babbott Fund and the A. Augustus Healy Fund;
39.5: © Kunsthalle Bremen—Der Kunstverein in Bremen/Photo: Sickelmann;
40.2: © Stichting Kröller-Müller Museum. Photo credit: Bildarchiv Preussischer Kulturbesitz/Art Resource, NY;
42.2: © Kunstmuseum Basel, Martin P. Buhler;
42.4: © Musée du Louvre. Photo credit: Réunion des Musées Nationaux/Art Resource, NY.
COLOR PLATES
i1.1 View of the Sea at Scheveningen; i1.2 Two Women in the Moor; i1.3 Head of a Woman; i1.4 The Potato Eaters; i1.5 The Old Church Tower at Nuenen (“The Peasants’ Churchyard”); i1.6 Basket of Potatoes; i1.7 Still Life with Bible; i1.9 Torso of Venus; i1.10 In the Café: Agostina Segatori in Le Tambourin; i1.11 Caraf and Dish with Citrus Fruit; i1.12 View from Theo’s Apartment; i1.17 Wheatfield with Partridge; i1.18 Self-Portrait with Straw Hat; i1.19 Flowering Plum Tree: af
ter Hiroshige; i1.21 Self-Portrait as a Painter; i1.26 The Zouave; i1.33 The Yellow House (“The Street”); i1.42 Gauguin’s Chair; i1.48 Tree Trunks with Ivy (Undergrowth); i1.51 The Sower; i1.52 Wheat Fields with a Reaper; i1.57 Les Peiroulets Ravine; i1.58 Almond Blossom; i1.59 Irises; i1.63 Tree Roots; and Wheat Field with Crows: © Van Gogh Museum Amsterdam (Vincent van Gogh Foundation);
i1.8 A Pair of Shoes: © The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore. Photo credit: Mitro Hood;
i1.13 Vegetable Gardens in Montmartre: La butte Montmartre: © Collection Stedelijk Museum Amsterdam;
i1.14 Interior of a Restaurant; and i1.22 Pink Peach Tree in Blossom (Reminiscence of Mauve): © Stichting Kröller-Müller Museum;
i1.22 Pink Peach Tree in Blossom (Reminiscence of Mauve); i1.34 Starry Night Over the Rhône; i1.35 Self-Portrait; i1.56 Noon: Rest from Work (after Millet); i1.60 The Church at Auvers; and Portrait of Doctor Gachet: © Musée d’Orsay, Paris. Photo credit: Réunion des Musées Nationaux/Art Resource, NY;
i1.35 Self-Portrait; i1.40 Madame Roulin Rocking the Cradle (La Berceuse); and i1.50 The Bedroom: © The Art Institute of Chicago;
i1.20 Portrait of Père Tanguy: © Musee Rodin, Paris, France. Photo Credit: Erich Lessing/Art Resource, NY;
i1.23 The Langlois Bridge at Arles with Women Washing, and i1.31 The Café Terrace on the Place du Forum, Arles, at Night: © Stichting Kröller-Müller Museum. Photo Credit: Erich Lessing/Art Resource, NY;
i1.27 La mousmé, Sitting: © National Gallery of Art, Washington, DC;
i1.28 Portrait of the Postman Joseph Roulin: © Museum of Fine Arts, Boston. Gift of Robert Treat Paine;
i1.29 Portrait of Patience Escalier; Portrait of the Artist’s Mother: © Norton Simon Art Foundation;
i1.30 Still Life: Vase with Oleanders and Books; i1.39 L’arlésienne: Madame Ginoux with Books; i1.47 Cypresses; and i1.55 Olive Picking: © The Metropolitan Museum of Art. Photo credit: The Metropolitan Museum of Art/Art Resource, NY;
i1.32 The Night Café in the Place Lamartine in Arles: © Yale University Art Gallery. Photo credit: Yale University Art Gallery/Art Resource, NY;
i1.35 Self-Portrait (Dedicated to Paul Gauguin): © Harvard Art Museums, Fogg Art Museum, Bequest from the Collection of Maurice Wertheim, Class of 1906. Photo credit: David Mathews © President and Fellows of Harvard College;
i1.37 Public Garden with Couple and Blue Fir Tree: The Poet’s Garden III: © Private Collection. Photo credit: Erich Lessing/Art Resource, NY;
i1.38 Tarascon Diligence: © The Henry and Rose Pearlman; on long-term loan to Princeton University Art Museum. Photo credit: Bruce M. White;
i1.41 Vincent’s Chair with His Pipe; and i1.30 Still Life: Vase with Fifteen Sunflowers: © The National Gallery, London. Photo credit: National Gallery, London/Art Resource, NY;
i1.43 Self-Portrait with Bandaged Ear and Pipe: © Collection Niarchos;
i1.45 Irises: © The J. Paul Getty Museum, Los Angeles;
i1.46 Starry Night: © The Museum of Modern Art, New York, NY, U.S.A. Photo credit: Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY;
i1.53 Portrait of Trabuc, an Attendant at Saint-Paul Hospital: David Brooks (www.vggallery.com);
i1.54 Trees in the Garden of Saint-Paul Hospital: © The Armand Hammer Collection, Gift of the Armand Hammer Foundation, Hammer Museum, Los Angeles, California;
i1.62 Daubigny’s Garden: © Kunstmuseum Basel.
ABOUT THE AUTHORS
STEVEN NAIFEH and GREGORY WHITE SMITH graduated from Harvard Law School in 1977. Mr. Naifeh, who has written for art periodicals and worked at the National Gallery of Art, studied art history at Princeton and did his graduate work in fine arts at the Fogg Art Museum of Harvard University. Mr. Smith, who majored in English literature at Colby College, studied medieval and Renaissance music as a Watson Fellow in Europe and did graduate work at Harvard while serving as the assistant conductor of the Harvard Glee Club. He also wrote two television series, one on human behavior with Phil Donahue and one on the Supreme Court and the U.S. Constitution with Archibald Cox. The two men have written many books on art and other subjects, including four New York Times bestsellers. Their biography Jackson Pollock: An American Saga won the Pulitzer Prize in 1991 and was a finalist for the National Book Award. It was made into the Academy Award–winning 2000 film Pollock starring Ed Harris and Marcia Gay Harden and inspired John Updike’s novel Seek My Face. Naifeh and Smith have been profiled in The New Yorker, The New York Times, USA Today, and People, and have appeared on 60 Minutes. They live in Aiken, South Carolina, where they serve as chairmen of the Juilliard in Aiken Festival, which they helped found in 2009.
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