Vincent van Gogh's ear

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Self-Portrait with Bandaged Ear and Pipe (1889) by Vincent van Gogh

Last Sunday night at half past eleven a painter named Vincent Vangogh, appeared at the maison de tolérance No 1, asked for a girl called Rachel, and handed her ... his ear with these words:'Keep this object like a treasure.' Then he disappeared. The police, informed of these events, which could only be the work of an unfortunate madman, looked the next morning for this individual, whom they found in bed with scarcely a sign of life.
The poor man was taken to hospital without delay. --local newspaper report (Hulsker (1980), pp. 380-2)[1]

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The precise chain of events that led to the celebrated incident of Vincent van Gogh slicing off his ear is not known reliably in detail. The only account attesting a supposed earlier razor attack on Paul Gauguin comes from Gauguin himself some fifteen years later and biographers agree this account must be considered unreliable and self-serving. It does seem likely, however, that by 23 December 1888 van Gogh had realized that Gauguin was proposing to leave and that there had been some kind of contretemps between the two. That evening van Gogh severed his left ear (wholly or in part, accounts differ) with a razor, inducing a severe haemorrhage. He bandaged his wound and then wrapped the ear in paper and delivered the package to a brothel frequented by both him and Gauguin before returning home and collapsing. He was found unconscious the next day by the police

The local newspaper reported that van Gogh had given the ear to a prostitute with an instruction to guard it carefully. In Gauguin's later account he implies that in fact van Gogh had left it with the doorman as a memento for Gauguin. Van Gogh himself had no recollection of these events and it is plain that he had suffered an acute psychotic episode. Family letters of the time make it clear that the event had not been unexpected. He had suffered a nervous collapse in Antwerp some three years before and as early as 1880 his father had proposed committing him to an asylum (at Gheel). The hospital diagnosis was "generalized delirium", and within a few days van Gogh was sectioned.

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Vincent van Gogh's ear

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+[[Image:Vincent van Gogh - Self Portrait with Bandaged Ear and Pipe.jpg|thumb|200px|right|''[[Self-Portrait with Bandaged Ear and Pipe]]'' (1889) by Vincent van Gogh]]
+{| class="toccolours" style="float: left; margin-left: 1em; margin-right: 2em; font-size: 85%; background:#c6dbf7; color:black; width:30em; max-width: 40%;" cellspacing="5"
+| style="text-align: left;" |
+''Last Sunday night at half past eleven a painter named Vincent Vangogh, appeared at the [[Prostitution in France | maison de tolérance]] No 1, asked for a girl called Rachel, and handed her ... his ear with these words:'Keep this object like a treasure.' Then he disappeared. The police, informed of these events, which could only be the work of an unfortunate madman, looked the next morning for this individual, whom they found in bed with scarcely a sign of life.<br>  The poor man was taken to hospital without delay.'' --local newspaper report (Hulsker (1980), pp. 380-2)[http://en.wikipedia.org/wiki/Van_Gogh%27s_ear#Gauguin.27s_visit]
+|}
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+The precise chain of events that led to the celebrated incident of [[Vincent van Gogh]] [[slicing]] off his [[ear]] is not known reliably in detail. The only account attesting a supposed earlier [[razor]] attack on [[Paul Gauguin]] comes from Gauguin himself some fifteen years later and biographers agree this account must be considered unreliable and self-serving. It does seem likely, however, that by 23 December 1888 van Gogh had realized that Gauguin was proposing to leave and that there had been some kind of [[contretemps]] between the two. That evening van Gogh [[severed]] his left ear (wholly or in part, accounts differ) with a razor, inducing a severe haemorrhage. He bandaged his wound and then wrapped the ear in paper and delivered the package to a brothel frequented by both him and Gauguin before returning home and collapsing. He was found unconscious the next day by the police
-:''Last Sunday night at half past eleven a painter named Vincent Vangogh, appeared at the [[Prostitution in France | maison de tolérance]] No 1, asked for a girl called Rachel, and handed her ... his ear with these words:'Keep this object like a treasure.' Then he disappeared. The police, informed of these events, which could only be the work of an unfortunate madman, looked the next morning for this individual, whom they found in bed with scarcely a sign of life.<br>  The poor man was taken to hospital without delay.'' (Hulsker (1980), pp. 380-2)
+The local newspaper reported that van Gogh had given the ear to a prostitute with an instruction to guard it carefully. In Gauguin's later account he implies that in fact van Gogh had left it with the doorman as a memento for Gauguin. Van Gogh himself had no recollection of these events and it is plain that he had suffered an acute [[psychotic]] episode. Family letters of the time make it clear that the event had not been unexpected. He had suffered a nervous collapse in Antwerp some three years before and as early as 1880 his father had proposed committing him to an asylum (at [[Gheel]]). The hospital diagnosis was "generalized delirium", and within a few days van Gogh was [[Involuntary commitment | sectioned]].
-The precise chain of events that led to the celebrated incident of van Gogh slicing off his ear is not known reliably in detail. The only account attesting a supposed earlier razor attack on Gauguin comes from Gauguin himself some fifteen years later and biographers agree this account must be considered unreliable and self-serving.<ref name="PG Avant et Après">{{cite web|last=Gauguin|first=Paul|title=Avant et Après|url=http://www.vggallery.com/visitors/019.htm|publisher=[http://www.vggallery.com/index.html vggallery.com]}}</ref><ref>Sweetman p. 1</ref><ref>Tralbaut p. 258</ref> It does seem likely, however, that by 23 December 1888 van Gogh had realized that Gauguin was proposing to leave and that there had been some kind of contretemps between the two.<ref>Naifeh and Smith p. 702</ref> That evening van Gogh severed his left ear (wholly or in part, accounts differ) with a razor, inducing a severe haemorrhage.<ref group =note>According to Doiteau & Leroy, the diagonal cut removed the lobe and probably a little more.</ref> He bandaged his wound and then wrapped the ear in paper and delivered the package to a brothel frequented by both him and Gauguin before returning home and collapsing. He was found unconscious the next day by the police <ref group=note>Gauguin, who had spent the night in a nearby hotel, arrived independently at the same time.</ref> and taken to hospital.<ref>Gayford (2007), 277</ref><!-- note (to me) check edition --><ref>[http://www.theartnewspaper.com/articles/Van-Goghs-own-words-after-cutting-his-ear-recorded-in-Paris-newspaper/30392 Martin Bailey, The Art Newspaper, ''Van Gogh's Own Words After Cutting His Ear Recorded in Paris Newspaper'']</ref><ref>{{cite web|title=Van Gogh’s Ear|url=http://www.vangoghgallery.com/misc/van-goghs-ear.html|work=Van Gogh Gallery|publisher=Van Gogh Gallery|accessdate=7 November 2013|year=2002–2013}}</ref> The local newspaper reported that van Gogh had given the ear to a prostitute with an instruction to guard it carefully.<ref>Hulsker pp. 380-2</ref> In Gauguin's later account he implies that in fact van Gogh had left it with the doorman as a memento for Gauguin.<ref name="PG Avant et Après"/> Van Gogh himself had no recollection of these events and it is plain that he had suffered an acute psychotic episode.<ref>Naifeh and Smith p. 707-8</ref> Family letters of the time make it clear that the event had not been unexpected.<ref name="VGM Concordance">{{cite web|title=Concordance, lists, bibliography: Documentation|url=http://vangoghletters.org/vg/documentation.html|work=Vincent van Gogh: The Letters|publisher=''[[Van Gogh Museum]]''}}</ref> He had suffered a nervous collapse in Antwerp some three years before and as early as 1880 his father had proposed committing him to an asylum (at [[Gheel]]).<ref>Naifeh and Smith pp. 488-9, pp, 209-10</ref> The hospital diagnosis was "generalized delirium", and within a few days van Gogh was [[Involuntary commitment | sectioned]].<ref name="VGM Concordance"/>
-During the initial few days of his treatment van Gogh repeatedly asked for  Gauguin, but Gauguin stayed away. Gauguin told one of the policeman attending the case, "Be kind enough, Monsieur, to awaken this man with great care, and if he asks for me tell him I have left for Paris; the sight of me might prove fatal for him."<ref name="Gayford, 284">Gayford, 284</ref> Gauguin wrote of Van Gogh, "His state is worse, he wants to sleep with the patients, chase the nurses, and washes himself in the coal bucket. That is to say, he continues the biblical mortifications."<ref name="Gayford, 284"/><ref name="VGM Concordance"/> Theo – notified by Gauguin – visited, as did both Madame Ginoux and Roulin. Gauguin left Arles and never saw Van Gogh again.<ref group=note>They continued to correspond and in 1890 Gauguin proposed they form an artist studio in Antwerp. See Pickvance (1986), 62</ref>
-Despite the gloomy initial disgnosis, van Gogh made a surprisingly speedy recovery. He returned to the Yellow House by the beginning of January, but was to spend the following month between the hospital and home, suffering from [[hallucination]]s and [[delusion]]s that he was being poisoned. In March, the police closed his house after a petition by 30 townspeople (including the Ginoux family), who called him "fou roux" (''the redheaded madman'').<ref name="VGM Concordance"/> Paul Signac visited him in the hospital and Van Gogh was allowed home in his company. In April, he moved into rooms owned by his hospital physician [[Dr. Felix Rey | Dr. Rey]] after floods damaged paintings in his own home.<ref>Pickvance (1986). ''Chronology'', 239–242</ref><ref>Tralbaut (1981), 265–273</ref> Around this time, he wrote, "Sometimes moods of indescribable anguish, sometimes moments when the veil of time and fatality of circumstances seemed to be torn apart for an instant." Two months later he left Arles and entered an asylum (at his own request) in [[Saint-Rémy-de-Provence]].<ref>Hughes (1990), 145</ref>
-{{Clear}}
-==== Saint-Rémy (May 1889&nbsp;– May 1890) ====
-{{multiple image
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- | image1    = Vincent Willem van Gogh 037.jpg
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- | caption1  = ''The Round of the Prisoners'', 1890, [[Pushkin Museum]], Moscow
- | alt1      = A group of male prisoners (or inmates), walk around and around in a circle, in an indoor prison (or hospital) yard. The high walls and the floor are made of stone. In the right foreground the men are being watched by a small group of three, two men in civilian clothes with top hats and a policeman in uniform. One of the prisoners in the circle looks out towards the viewer, and he has the face of a beardless Vincent van Gogh.
- | image2    = Van Gogh - Zwei grabende Bäuerinnen auf schneebedecktem Feld.jpeg
- | width2    = 180
- | caption2  = ''[[Copies by Vincent van Gogh|Two Peasant Women Digging in a Snow-Covered Field at Sunset]]'', 1890, [[Foundation E.G. Bührle Collection]], Zurich, Switzerland
- | alt3      = A picture of two peasant woman digging in a snow-covered field at sunset. Their heads are bowed and their arms are abnormally long. The setting sun casts a warm glow over the cold fields of snow.
- | image3    = Vincent Willem van Gogh 002.jpg
- | width3    = 114
- | caption3  = ''[[At Eternity's Gate|Sorrowing Old Man ('At Eternity's Gate')]]'', 1890, [[Kröller-Müller Museum]], [[Otterlo]]
- | alt3      = A picture of an old man sitting alone on a straw chair with his head in his hands, evoking intense sorrow.
-}}
-{{main|Saint-Paul Asylum, Saint-Rémy (Van Gogh series)}}
-{{multiple image
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- | image1    = Van Gogh - Starry Night - Google Art Project.jpg
- | width1    = 160
- | caption1  = ''[[The Starry Night]]'', June 1889, [[The Museum of Modern Art]], New York
- | alt1      = A landscape in which the starry night sky takes up two thirds of the picture. In the left foreground a dark pointed Cypress pine tree extends from the bottom to the top of the picture. To the left, village houses and a church with a tall steeple are clustered at the foot of a mountain range. The sky is deep blue. In the upper right is a yellow crescent moon surrounded by a halo of light. There are many bright stars large and small, each surrounded by intense swirling halos. Across the center of the sky the Milky Way is represented as a double swirling vortex.
- | image2    = The Sower.jpg
- | width2    = 163
- | caption2  = ''The Sower'', 1888, [[Kröller-Müller Museum]]
- | alt2      = A man is scattering seeds in a ploughed field. The figure is represented as small, and is set in the upper right and walking out of the picture. He carries a bag of seed over one shoulder. The ploughed soil is grey, and behind it rises standing crop, and in the left distance, a farmhouse. In the center of the horizon is a giant yellow rising sun surrounded by emanating yellow rays. A path leads into the picture, and birds are swooping down.
-}}
-On 8 May 1889, accompanied by his carer, the Reverend Salles, Van Gogh committed himself to the hospital at [[Saint-Paul Asylum, Saint-Rémy (Van Gogh series)|Saint Paul-de-Mausole]]. A former [[monastery]] in [[Saint-Rémy-de-Provence|Saint-Rémy]] less than {{convert|20|mi|km}} from Arles, the monastery is located in an area of cornfields, [[vineyard]]s and olive trees at the time run by a former naval doctor, [[Théophile Peyron|Dr. Théophile Peyron]]. Theo arranged for two small rooms – adjoining cells with barred windows. The second was to be used as a studio.<ref name=callow246>Callow (1990), 246</ref>
-[[File:St Rémy - Prieuré de Saint-Paul-de-Mausole 74.JPG|thumb|upright|left|Vincent van Gogh's room in Saint Paul de Maussole]]
-During his stay, the clinic and [[Saint-Paul Asylum, Saint-Rémy (Van Gogh series)#The garden|its garden]] became the main subjects of his paintings. He made several studies of the hospital interiors, such as ''Vestibule of the Asylum'' and ''Saint-Remy (September 1889)''. Some of the work from this time is characterized by swirls – including one of his best-known paintings ''[[The Starry Night]]''.<ref>[http://www.nytimes.com/2008/06/13/arts/design/13voge.html Carol Vogel, NY Times]. Retrieved 1 July 2010.</ref> He was allowed short supervised walks, which led to paintings of [[Cupressus|cypresses]] and [[Olive Trees (Van Gogh series)#Painted in September, November and December 1889|olive trees]], like [[Olive Trees (Van Gogh series)|''Olive Trees with the Alpilles in the Background 1889,'']] ''Cypresses 1889,'' ''Cornfield with Cypresses'' (1889), ''Country road in Provence by Night'' (1890). That September he also produced a further two versions of ''[[Bedroom in Arles]].''
-Limited access to the world outside the clinic resulted in a shortage of subject matter. He was left to work on [[Copies by Vincent van Gogh|interpretations of other artist's paintings]], such as Millet’s ''[[Copies by Vincent van Gogh|The Sower]]'' and ''Noon&nbsp;– Rest from Work (after Millet)'', as well as variations on his own earlier work. Van Gogh was an admirer of the [[Realism (visual art)|Realism]] of [[Jules Breton]], [[Gustave Courbet]] and [[Jean-François Millet|Millet]]<ref>[http://www.vangoghmuseum.nl/vgm/index.jsp?page=5025&lang=en Jules Breton and Realism, Van Gogh Museum]</ref> and compared his copies to a musician's interpreting [[Ludwig van Beethoven|Beethoven]].<ref>Pickvance (1984), 102–103</ref><ref>Pickvance (1986), 154–157</ref> Many of his most compelling works date from this period. His ''The Round of the Prisoners'' (1890) was painted after an [[engraving]] by [[Gustave Doré]] (1832–1883). It is suggested that the face of the prisoner in the center of the painting and looking toward the viewer is Van Gogh himself, although the noted Van Gogh scholar [[Jan Hulsker]] discounts this.<ref name="Tra286">Tralbaut (1981), 286</ref><ref>Hulsker (1990), 434</ref>
-Towards the end of his stay, Van Gogh suffered a severe relapse lasting two  month between February and April 1890. Nevertheless he was able to paint and draw a little during this time and he later wrote Theo that he had made a few small canvases "from memory ... reminisces of the North."<ref>{{cite web|title=To Theo van Gogh. Saint-Rémy-de-Provence, Tuesday, 29 April 1890.|url=http://vangoghletters.org/vg/letters/let863/letter.html|work=Vincent van Gogh: The Letters|publisher=''[[Van Gogh Museum|Vincent van Gogh Museum]]''|accessdate=9 February 2012}}</ref> Amongst these was ''[[Copies by Vincent van Gogh|Two Peasant Women Digging in a Snow-Covered Field at Sunset]].'' Hulsker believes that this small group of paintings formed the nucleus of many drawings and study sheets depicting landscapes and figures that Van Gogh worked on during this time. He comments that, save for this short period, Van Gogh's illness had hardly any effect on his work but in these he sees a reflection of Van Gogh's mental health at the time.<ref name="Hulsker 1990, 390, 404">Hulsker (1990), 390, 404</ref> Also belonging to this period is ''[[At Eternity's Gate|Sorrowing Old Man ('At Eternity's Gate')]],'' a color study that Hulsker describes as "another unmistakable remembrance of times long past."<ref name="Hulsker 1990, 390, 404"/><ref>Tralbaut (1981), 287</ref>
-In February 1890, he painted five versions of ''[[L'Arlésienne (painting)|L'Arlésienne]] (Madame Ginoux)'', based on a [[charcoal]] [[Sketch (drawing)|sketch]] Gauguin had produced when Madame Ginoux sat for both artists at the beginning of November 1888.<ref>Pickvance (1986) 175–177</ref> The version intended for Madame Ginoux is lost. It was attempting to deliver this painting to Madame Ginoux in Arles that precipitated his February relapse.<ref name = "Hulsker440">Hulsker (1990), 440</ref>
-His work was praised by [[Albert Aurier]] in the ''[[Mercure de France]]'' in January 1890, when he was described as "a genius."<ref>Aurier, G. Albert. "[http://www.vggallery.com/misc/archives/aurier.htm The Isolated Ones: Vincent van Gogh]", January 1890. Reproduced on vggallery.com. Retrieved 25 June 2009.</ref> That February he was invited by [[Les XX]], a society of [[avant-garde]] painters in [[Brussels]], to participate in their annual [[Vincent van Gogh's display at Les XX, 1890|exhibition]]. At the opening dinner, Les XX member Henry de Groux insulted Van Gogh's work. Toulouse-Lautrec demanded satisfaction, while Signac declared he would continue to fight for Van Gogh's honor if Lautrec should surrender. Later, while Van Gogh's exhibit was on display with the Artistes Indépendants in Paris, [[Claude Monet|Monet]] said that his work was the best in the show.<ref>Rewald (1978), 346–347; 348–350</ref> In February 1890, following the birth of his nephew Vincent Willem, he wrote in a letter to his mother, that with the new addition to the family, he "started right away to make a picture for him, to hang in their bedroom, branches of [[Almond Blossoms (Van Gogh series)|white almond blossom]] against a blue sky."<ref>Tralbaut (1981), 293</ref>
-{{Clear}}
-==== Auvers-sur-Oise (May–July 1890) ====
-{{See also|Double-squares and Squares}}
-[[File:VanGogh Daubigny.jpg|thumb|''[[Daubigny's Garden]]'', July 1890, Auvers, [[Kunstmuseum Basel]], one of Van Gogh's late works<ref name="Pickvance 1986, 272-273">Pickvance (1986), 272–273</ref>|alt=An enclosed garden surrounded by trees, with a large house in the background, and another house off to the right. On the green lawn foreground is a cat, in the center of the lawn is a bed of flowers and at the rear of the lawn is a bench, a table and a few chairs. Nearby is a lone figure]]
-In May 1890, Van Gogh left the clinic in Saint-Rémy to move nearer the physician [[Paul Gachet|Dr. Paul Gachet]] in [[Auvers-sur-Oise]], and also to Theo. Gachet was recommended by [[Camille Pissarro]], had treated several other artists, and was himself an amateur artist. Van Gogh's first impression was that Gachet was "...sicker than I am, I think, or shall we say just as much."<ref>[http://www.webexhibits.org/vangogh/letter/21/648.htm Letter 648] Vincent to Theo, 10 July 1890</ref> In June 1890 he painted several portraits of the physician, including ''[[Portrait of Dr. Gachet]],'' and his only [[etching]]; in each the emphasis is on Gachet's melancholic disposition. Van Gogh stayed at the [[Auberge Ravoux]], where he paid 3 [[French franc|franc]]s and 50 [[centime]]s to rent an attic room measuring {{convert|75|sqft|m2}}.
-{{multiple image
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- | image1    = Vincent Willem van Gogh 041.jpg
- | width1    = 275
- | caption1  = ''Wheatfield Under Clouded Sky'', July 1890, [[Van Gogh Museum]], Amsterdam, (F778), painted in July 1890 during his last weeks.<ref>[http://www.vangoghmuseum.nl/vgm/index.jsp?page=4596&lang=en Van Gogh Museum collection]</ref>
- | alt1      = A picture of a vast open landscape field, dark blue sky over yellowish and green land.
- | image2    = Vincent van Gogh - The Church in Auvers-sur-Oise, View from the Chevet - Google Art Project.jpg
- | width2    = 110
- | caption2  = ''[[The Church at Auvers]]'', 1890, [[Musée d'Orsay]], Paris
- | alt2      = A frontal view of a church, with darkened blue sky overhead, we see the back of a small single figure of a woman walking away from us on the road in front of the building to the left into the distance.
- | image3    = Portrait of Dr. Gachet.jpg
- | width3    = 116
- | caption3  = ''[[Portrait of Dr. Gachet]]'', 1890, was sold for US$ 82.5&nbsp;million in 1990.<ref name=Kleiner>{{cite news |url=http://www.usnews.com/usnews/doubleissue/mysteries/portrait.htm |title=Van Gogh's vanishing act |author=Kleiner, Carolyn |date=24 July 2000 |work=Mysteries of History |publisher=[[U.S. News & World Report]] |accessdate=7 May 2011}}</ref> Private collection
- | alt3      = A redheaded man wearing a cap, a black jacket with green buttons; with a red mustache and scraggly Van Dyke beard is leaning on his arm to the left looking slightly to the right. He is seated at a table with two yellow books and a red tablecloth. In the foreground on the table is a clear glass vase with flowers. In the background are hills and a dark blue starless night sky.
-}}
-Before he left, In his last weeks at Saint-Rémy, Van Gogh's thoughts returned to his "memories of the North",<ref>{{cite web|title=Letter 863|url=http://vangoghletters.org/vg/letters/let863/letter.html|work=Vincent van Gogh: The Letters|work=[[Van Gogh Museum]]|accessdate=17 July 2011}}</ref> and several of the approximately 70 oils he painted during his 70 days in Auvers-sur-Oise, such as ''[[The Church at Auvers]]'', are reminiscent of northern scenes.<ref>Rosenblum, Robert (1975), 98–100</ref>
-''[[Wheat Field with Crows]]'' (July 1890) is an example of the [[Double-squares and Squares|double square]] technique he developed in the last weeks of his life. In its turbulent intensity, it is among his most haunting and elemental works.<ref name=pickvance_lastworks>Pickvance (1986), 270–271</ref> It is often mistakenly believed to be his last work, Hulsker lists seven paintings that postdate it.<ref>Hulsker (1980), 480–483. ''Wheat Field with Crows'' is work number 2117 of 2125</ref>
-[[Barbizon school|Barbizon]] painter [[Charles-François Daubigny|Charles Daubigny]] had moved to Auvers in 1861, and this in turn drew other artists there, including [[Jean-Baptiste-Camille Corot|Camille Corot]] and [[Honoré Daumier]]. In July 1890, Van Gogh completed two paintings of ''[[:commons:File:Vincent Willem van Gogh 021.jpg|Daubigny's Garden]]''; one of these is likely to be his final work.<ref name="Pickvance 1986, 272-273"/> There are also paintings that show evidence of being unfinished, including ''[[Farms near Auvers (Van Gogh)|Thatched Cottages by a Hill]].''<ref name=pickvance_lastworks />
-{{Clear}}
-=== Death ===
-{{main|Death of Vincent van Gogh}}
-{{multiple image
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- | image1    = Vincent Willem van Gogh 106.jpg
- | width1    = 140 | caption1  = ''[[Self-portrait]]'', 1889, Courtauld Institute Galleries, London. Mirror-image self portrait with bandaged ear
- | alt1      = Portrait of a clean shaven man wearing a furry winter hat and smoking a pipe; facing to the right with a bandaged right ear
- | image2    = Van Gogh - Still Life with Absinthe.jpg
- | width2    = 110
- | caption2  = ''Still Life with Absinthe'', 1887, [[Van Gogh Museum]]
- | alt2      = A table in a cafe with a bottle half filled with a clear liquid and a filled drinking glass of clear liquid
-}}
-On 22 February 1890, Van Gogh suffered a new crisis that was "the starting point for one of the saddest episodes in a life already rife with sad events."<ref name = "Hulsker440"/> This period lasted until the end of April, during which time he was unable to bring himself to write though he did continue to draw and paint.<ref name = "Hulsker440"/> Hughes writes that from May 1889 to May 1890 he, "had fits of despair and hallucination during which he could not work, and in between them, long clear months in which he could and did, punctuated by extreme visionary ecstasy."<ref>Hughes (2002), 8</ref>
-On 27 July 1890, aged 37, Van Gogh is believed to have shot himself in the chest with a revolver (although no gun was ever found).<ref name ="S342ff">Sweetman (1990), 342–343</ref> There were no witnesses and his location when he shot himself is unclear. Ingo Walther writes that "Some think Van Gogh shot himself in the wheat field that had engaged his attention as an artist of late; others think he did it at a barn near the inn."<ref>Metzger and Walther (1993), 669</ref> Biographer [[David Sweetman]] writes that the bullet was deflected by a rib bone and passed through his chest without doing apparent damage to internal organs—probably stopped by his spine. He was able to walk back to the [[Auberge Ravoux]] and was eventually attended to by two physicians, neither of whom was qualified to remove the bullet by surgery. The physicians left Van Gogh alone in his room, smoking his pipe. The following morning (Monday), Theo rushed to be with Van Gogh as soon as he was notified and found him in surprisingly good shape, but within hours Van Gogh began to fail due to an untreated infection caused by the wound. Van Gogh died in the evening, 29 hours after he supposedly shot himself. According to Theo, his brother's last words were: "The sadness will last forever."<ref name="S342ff" /><ref>Hulsker (1980), 480–483</ref>
-[[File:Grave of Vincent van Gogh.jpg|left|thumb|Vincent and Theo buried together in [[Auvers-sur-Oise]]. Vincent's stone bears the inscription: ''Ici Repose Vincent van Gogh (1853–1890)'', Theo's ''Ici Repose Theodore van Gogh (1857–1891)''|alt=Two graves and two gravestones side by side; heading behind a bed of green leaves, bearing the remains of Vincent and Theo Van Gogh, where they lie in the cemetery of Auvers-sur-Oise. The stone to the left bears the inscription: ''Ici Repose Vincent van Gogh (1853–1890)'' and the stone to the right reads: ''Ici Repose Theodore van Gogh (1857–1891)'']]
-Van Gogh was buried on 30 July in the municipal cemetery of Auvers-sur-Oise at a funeral attended by [[Theo van Gogh (art dealer)|Theo van Gogh]], [[Andries Bonger]], [[Charles Laval]], [[Lucien Pissarro]], [[Émile Bernard]], [[Portrait of Père Tanguy|Julien Tanguy]] and [[Paul Gachet|Dr. Gachet]] amongst some 20 family and friends, as well as some locals. The funeral was described by Émile Bernard in a letter to [[Albert Aurier]].<!-- and Bernard later painted a picture of it from memory. --><ref>Pomerans (1997), 509</ref><ref>[http://www.webexhibits.org/vangogh/letter/21/etc-Bernard-Aurier.htm "Letter from Emile Bernard to Albert"]. ''Van Gogh's Letters''. Retrieved 17 July 2011.</ref> Theo suffered from [[syphilis]] and his health declined rapidly after Vincent's death. Weak and unable to come to terms with Vincent's absence, he died six months later, on 25 January, at [[Den Dolder]].<ref>{{cite book|title=Van Gogh in Auvers: His Last Days|first1= Wouter|last1= van der Veen|first2= Peter|last2= Knapp|year=2010|publisher=Monacelli Press|isbn=978-1-58093-301-8|pages=260–264}}</ref> The original burial plot was leased for 15 years; the intention was to bury Vincent alongside Theo. Vincent's remains were exhumed on 13 June 1905, in the presence of Jo Bonger, Dr. Gachet and others, and relocated, eventually for Theo to be buried beside him. The precise location of the original grave is no longer known. In 1914, the year she had Van Gogh's letters published, Jo Bonger had Theo moved from Utrecht and reburied with Vincent.<ref>Sweetman (1990), 367</ref>
-While many of Van Gogh's late paintings are somber, they are essentially optimistic and reflect his desire to return to lucid mental health right up to the time of his death. Yet some of his final works reflect his deepening concerns. Referring to his paintings of wheatfields under troubled skies, he commented in a letter to his brother Theo: "I did not have to go out of my way very much in order to try to express sadness and extreme loneliness." Nevertheless, he adds in the same paragraph: " ... these canvases will tell you what I cannot say in words, that is, how healthy and invigorating I find the countryside."<ref>[http://www.webexhibits.org/vangogh/letter/21/649.htm Vincent van Gogh, "Letter to Theo van Gogh, written c. 10 July 1890 in Auvers-sur-Oise"], translated by Johanna van Gogh-Bonger, edited by Robert Harrison, letter number 649. Retrieved 1 August 2011.</ref><ref>Rosenblum, Robert (1975), 100</ref>
-There has been much debate over the years as to the source of Van Gogh's illness and its effect on his work. Over 150 [[psychiatrist]]s have attempted to label its root, with some 30 different diagnoses.<ref name="Blumer">Blumer, Dietrich. "[http://ajp.psychiatryonline.org/cgi/content/abstract/159/4/519 "The Illness of Vincent van Gogh]". ''American Journal of Psychiatry'', 2002</ref> Diagnoses include [[schizophrenia]], [[bipolar disorder]], [[syphilis]], poisoning from swallowed paints, [[temporal lobe epilepsy]] and [[acute intermittent porphyria]]. Any of these could have been the culprit and been aggravated by malnutrition, overwork, insomnia and consumption of alcohol, especially [[absinthe]].<!--Reminder (for me); Hughes--><!-- and a pdf to be downloaded -->
-In ''Van Gogh: the Life'', a biography published in 2011, authors Steven Naifeh and Gregory White Smith argue that Van Gogh did not commit suicide. They contend that he was shot accidentally by two boys he knew who had “a malfunctioning gun”.<ref name = "BBCVanGogh">{{cite web| url = http://www.bbc.co.uk/news/entertainment-arts-15328583| title = Van Gogh did not kill himself, authors claim| author=Gompertz, Will| date = 17 October 2011| accessdate =17 October 2011|publisher=BBC News }}</ref> Experts at the Van Gogh Museum remain unconvinced.<ref>{{cite web| url = http://www.winnipegfreepress.com/arts-and-life/entertainment/arts/van-gogh-museum-unconvinced-by-new-theory-painter-didnt-commit-suicide-but-was-shot-by-2-boys-131973238.html?viewAllComments=y| title = Van Gogh museum unconvinced by new theory painter didn’t commit suicide but was shot by 2 boys | author=Max, Arthur | date =17 October 2011 |accessdate =11 December 2012 |work=Associated Press |publisher=Winnipeg Free Press}}</ref> Prominent skeptic [[Joe Nickell]] also was not convinced.<ref name=nickell>{{cite journal|last=Nickell|first=Joe|title=The ‘Murder’ of Vincent van Gogh|journal=[[Skeptical Inquirer]]|volume=36(5)|issue=September/October|pages=14–17|year=2012|publisher=[[Committee for Skeptical Inquiry]]}}</ref> Nickell analyzed the questions raised by Naifeh and Smith to support their new theory and claimed that they could be addressed with more plausible answers. He maintained that Naifeh and Smith ignored the well-known psychological state of Van Gogh, as well as reliable testimony from Adeline Ravoux, daughter of the innkeeper Gustave Ravoux, the owner of the gun. According to Nickell, Naifeh and Smith make many assumptions about the circumstances surrounding the incident. He asserts that they also misrepresent the remarks of Rene Secretan, one of the two boys, who in 1956 admitted to having tormented the artist, but not to having shot him. Nickell concludes that their theory is the result of the logical fallacy of 'confirmation bias' – "start the investigation with a supposed answer and work backward to the evidence."<ref name=nickell/>
-{{Clear}}
-== Work ==
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- | image1    = Vincent van Gogh (1853-1890) - The Old Mill (1888).jpg
- | width1    = 97
- | caption1  = ''The Old Mill'', 1888, [[Albright-Knox Art Gallery]], Buffalo, NY.
- | alt1      = Under a bright cloudless blue/green sky is a large collection of connected buildings on the right side of the canvas. The buildings are all part of a mill, up a slight embankment from a stream in the foreground. On the left side of the painting near the steps leading up the embankment to the old mill are two small figures. Off in the left distance is a farmland and farmhouses, while the far distance shows low purple hills
- | image2    = Starry_Night_Over_the_Rhone.jpg
- | alt2      = The top of the painting is a dark blue night sky with many bright stars shining brightly surrounded by white halos. Along the distant horizon are houses and buildings with lights that are shining so brightly that they are casting yellow reflections on the dark blue river below. The bottom half shows the Rhone river with reflected lights showing throughout the river. In the foreground we can see a shallow wave.
- | width2    = 179
- | caption2  = ''[[Starry Night Over the Rhone]]'', 1888, [[Musée d'Orsay]], Paris.
- | image3    = Van_Gogh_The_Olive_Trees..jpg
- | width3    = 150
- | caption3  = ''[[Olive Trees (Van Gogh series)|Olive Trees with the Alpilles in the Background]]'', 1889, [[Museum of Modern Art]], New York.
- | alt3      = A starless, moonless evening sky of middle blue with two large white clouds are above darker blue twisting hills in the distance. In the foreground is a grove of Olive trees, that extend horizontally across the whole painting, towards the bottom is a winding, twisting path that extends horizontally across the painting
-}}
-{{main|List of works by Vincent van Gogh}}
-Van Gogh drew and painted with [[watercolor painting|watercolors]] while at school—only a few of these paintings survive and authorship is challenged on some of those that do.<ref>Van Heugten (1996), 246–251</ref> When he committed to art as an adult, he began at an elementary level, copying the ''Cours de dessin'', a drawing course edited by [[Charles Bargue]]. Within two years he had begun to seek commissions. In spring 1882, his uncle, Cornelis Marinus, owner of a well-known gallery of contemporary art in Amsterdam, asked him for drawings of the Hague. Van Gogh's work did not live up to his uncle's expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointed with the result. Nevertheless, Van Gogh persevered. He improved the lighting of his studio by installing variable shutters and experimented with a variety of drawing materials. For more than a year he worked on single figures – highly elaborated studies in "Black and White",<ref>Artists working in ''Black & White'', i.e., for illustrated papers like ''The Graphic'' or ''Illustrated London News'' were among Van Gogh's favorites. See Pickvance (1974/75)</ref> which at the time gained him only criticism. Today, they are recognized as his first masterpieces.<ref>See Dorn, Keyes & alt. (2000)</ref>
-[[File:Whitehousenight.jpg|thumb|left|upright|''[[White House at Night]]'', 1890, [[Hermitage Museum]], St. Petersburg, painted six weeks before the artist's death|alt=A white two-story house at twilight, with 2 cypress trees on one end, and smaller green trees all around the house, with a yellow fence surrounding it. Two women are entering through the gate in the fence; while a woman in black walks on by going towards the left. In the sky, there is a bright star with a large intense yellow halo around it]]
-Early in 1883, he began to work on multi-figure compositions, which he based on his drawings. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, he destroyed them and turned to oil painting. By Autumn 1882, his brother had enabled him financially to turn out his first paintings, but all the money Theo could supply was soon spent. Then, in spring 1883, Van Gogh turned to renowned [[Hague School]] artists like [[Johan Hendrik Weissenbruch|Weissenbruch]] and [[Bernard Blommers|Blommers]], and received technical support from them, as well as from painters like [[Théophile de Bock|De Bock]] and [[Herman Johannes van der Weele|Van der Weele]], both second generation Hague School artists.<ref name="DSS">See Dorn, Schröder & Sillevis, ed. (1996)</ref> When he moved to Nuenen after the intermezzo in Drenthe he began several large-sized paintings but destroyed most of them. ''[[The Potato Eaters]]'' and its companion pieces – ''The Old Tower'' on the Nuenen cemetery and ''The Cottage'' – are the only ones to have survived. Following a visit to the [[Rijksmuseum]], Van Gogh was aware that many of his faults were due to lack of technical experience.<ref name="DSS" /> So in November 1885 he traveled to Antwerp and later to Paris to learn and develop his skill.<ref>See Welsh-Ovcharov & Cachin (1988)</ref>
-After becoming familiar with Impressionist and Neo-Impressionist techniques and theories, Van Gogh went to Arles to develop on these new possibilities. But within a short time, older ideas on art and work reappeared: ideas such as working with [[serial imagery]] on related or contrasting subject matter, which would reflect on the purposes of art. As his work progressed, he painted many ''[[Self-portraits by Vincent van Gogh|Self-portraits]]''. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his ''[[Flowering Orchards (Van Gogh series)|Flowering Orchards]]'' into triptychs, began a series of figures that found its end in ''[[The Roulin Family (Van Gogh series)|The Roulin Family series]]'', and finally, when Gauguin had consented to work and live in Arles side-by-side with Van Gogh, he started to work on ''[[The Décoration for the Yellow House|The Décorations for the Yellow House]]'', which was by some accounts the most ambitious effort he ever undertook.<ref name="d1909">See Dorn (1990)</ref> Most of his later work is involved with elaborating on or revising its fundamental settings. In the spring of 1889, he painted another, smaller group of orchards. In an April letter to Theo, he said, "I have 6 studies of Spring, two of them large orchards. There is little time because these effects are so short-lived."<ref name="H385">Hulsker (1980), 385</ref>
-Art historian [[Albert Boime]] believes that Van Gogh – even in seemingly fantastical compositions like ''Starry Night'' – based his work in reality.<ref>Boime (1989)</ref> The ''[[White House at Night]]'', shows a house at twilight with a prominent star surrounded by a yellow halo in the sky. Astronomers at [[Southwest Texas State University]] in San Marcos calculated that the star is Venus, which was bright in the evening sky in June 1890 when Van Gogh is believed to have painted the picture.<ref>At around 8:00&nbsp;pm on 16 June 1890, as astronomers determined by [[Venus]]'s position in the painting. "[http://news.bbc.co.uk/2/hi/europe/1209192.stm Star dates Van Gogh canvas]." [[BBC News]], 8 March 2001.</ref>
-===Self portraits===
-{{See also|Self-portraits by Vincent van Gogh}}
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- | image1    = VanGogh_1887_Selbstbildnis.jpg|
- | width1    = 120
- | caption1  = ''Self-Portrait'', Spring 1887, Oil on pasteboard, 42 × 33.7&nbsp;cm., [[Art Institute of Chicago]] (F 345).
- | alt1      = An intense man with close cropped hair and red beard gazes to the left.
- | image2    = SelbstPortrait VG2.jpg|
- | width2    = 120
- | caption2  = ''Self-Portrait'', September 1889, (F 627), Oil on canvas, 65 cm × 54&nbsp;cm. [[Musée d'Orsay]], Paris.
- | alt2      = A red-bearded man in a pale blue-green suit gazes to the left.
- | image3    = Vincent Willem van Gogh 102.jpg|
- | width3    = 120
- | caption3  = ''Self-portrait without beard'', end September 1889, (F 525), Oil on canvas, 40 × 31 cm., Private collection. This was Van Gogh's last self portrait, given as a birthday gift to his mother.<ref name ="pick">Pickvance (1986), 131</ref>
- | alt3      = An intense man clean shaven man, with close cropped hair looks to the left.
- | image4    = Vincent van Gogh - National Gallery of Art.JPG
- | width4    = 120
- | caption4  = ''[[Self-portraits by Vincent van Gogh|Self-portrait]]'', 1889,  [[National Gallery of Art]]. All self-portraits executed in Saint-Rémy show the artist's head from the right, i.e. the side with the unmutilated ear, since he painted himself as he saw himself in the mirror.
- | alt4      = A redbearded man in a blue smock holding paintbrushes and artist palette in his hand; looks to the left
-}}
-Van Gogh created many self-portraits during his lifetime. He was a prolific self-portraitist, who painted himself 37 times between 1886 and 1889.<ref>[http://www.visual-arts-cork.com/genres/self-portraits.htm Encyclopedia of Irish and World Art, art of self-portrait]. Retrieved 13 June 2010.</ref> In all, the gaze of the painter is seldom directed at the viewer; even when it is a fixed gaze, he appears to look elsewhere. The paintings vary in intensity and color and some portray the artist with beard, some beardless, some with bandages – depicting the episode in which he severed a portion of his ear. ''Self-portrait Without Beard'', from late September 1889, is one of the [[List of most expensive paintings|most expensive paintings]] of all time, selling for $71.5&nbsp;million in 1998 in New York.<ref>[http://www.chiff.com/a/painting-top-ten.htm "Top-ten most expensive paintings"]. Chiff.com. Retrieved 13 June 2010.</ref> At the time, it was the third (or an inflation-adjusted fourth) most expensive painting ever sold. It was also Van Gogh's last self-portrait, given as a birthday gift to his mother.<ref name ="pick">Pickvance (1986), 131</ref>
-All of the self-portraits painted in Saint-Rémy show the artist's head from the right, the side opposite his mutilated ear, as he painted himself reflected in his mirror.<ref>Cohen, Ben. [http://www.ncbi.nlm.nih.gov/pmc/articles/PMC539517/ ''A Tale of Two Ears'']. ''Journal of the Royal Society of Medicine''. June 2003. vol. 96. issue 6. Retrieved 24 August 2010.</ref><ref>[http://www.nytimes.com/1989/09/17/arts/l-van-gogh-myths-the-ear-in-the-mirror-835489.html ''Van Gogh Myths; The ear in the mirror'']. Letter to the ''[[New York Times]]'', September 1989. Retrieved 24 August 2010.</ref><ref>[http://www.vangoghgallery.com/misc/selfportrait.html ''Self Portraits'']. Van Gogh Gallery. Retrieved 24 August 2010.</ref> During the final weeks of his life in [[Auvers-sur-Oise]], he produced many paintings, but no self-portraits, a period in which he returned to painting the natural world.<ref>Metzger and Walther (1993), 653</ref>[[File:USA-National Gallery of Art.JPG|thumb|Detail of self-portrait (1889)]]
-{{Clear}}
-===Portraits===
-{{See also|Portraits by Vincent van Gogh|Paintings of Children (Van Gogh series)}}
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- | image1    = LArlesienneWithBooks.jpg|
- | width1    = 120
- | caption1  = ''L'Arlesienne: Madame Ginoux with Books'', November 1888. [[The Metropolitan Museum of Art]], New York, New York (F488).
- | alt1      = An intense woman with black hair, elbow rests on a table of books and stares to the left.
- | image2    = Vincent Willem van Gogh 086.jpg|
- | width2    = 120
- | caption2  = ''Patience Escalier'', second version August 1888, Private collection (F444)
- | alt2      = A white-bearded man in a broad yellow hat gazes to the right.
- | image3    = Vangogh mousme.jpg|
- | width3    = 128
- | caption3  = ''[[La Mousmé]]'', 1888, [[National Gallery of Art]], Washington D.C.
- | alt3      = An open faced, well dressed, young woman with reddish-blond hair gazes to the right.
- | image4    = Van Gogh - Der Zuave (Halbfigur).jpeg|
- | width4    = 120
- | caption4  = ''[[The Zouave|Le Zouave (half-figure)]]'', June 1888, [[Van Gogh Museum]], Amsterdam (F423)
- | alt4      = A blackbearded man in a uniform and red Fez; looks to the right
-}}
-Although Van Gogh is best known for his landscapes, he seemed to find painting portraits his greatest ambition.<ref name="CMA67"/> He said of portrait studies, "The only thing in painting that excites me to the depths of my soul, and which makes me feel the infinite more than anything else."<ref name="NGA">{{cite web |url=http://www.nga.gov/collection/gallery/gg84/gg84-46626.html |title=La Mousmé |year=2011 |work=Postimpressionism |publisher=National Gallery of Art |accessdate=20 March 2011 | postscript=Additional information about the painting is found in the audio clip.}}</ref>
-To his sister he wrote, "I should like to paint portraits which appear after a century to people living then as apparitions. By which I mean that I do not endeavor to achieve this through photographic resemblance, but my means of our impassioned emotions – that is to say using our knowledge and our modern taste for color as a means of arriving at the expression and the intensification of the character."<ref name="CMA67">{{cite book | title=Monet to Dalí: Impressionist and Modern Masterworks from the Cleveland Museum of Art | author=Cleveland Museum of Art | publisher=Cleveland Museum of Art | location=Cleveland | year=2007 | page=67 | isbn=978-0-940717-89-3 | url=http://books.google.com/books?id=lCTuPh-ixmIC&pg=PA67#v=onepage&f=false }}</ref>
-Of painting portraits, Van Gogh wrote: "in a picture I want to say something comforting as music is comforting. I want to paint men and women with that something of the eternal which the halo used to symbolize, and which we seek to communicate by the actual radiance and vibration of our coloring."<ref>[http://www.philamuseum.org/collections/permanent/52064.html ''Portrait of Madame Augustine Roulin and Baby Marcelle''. Collections. Philadelphia Museum of Art. 2011. Additional information in "Teacher Resources" and audio clip.] Retrieved 4 June 2011</ref><!-- I'm not bothering to reformat these refs for now; section needs fleshing out; can use van Uitert re VvG's ouvre I think -->
-=== Cypresses ===
-{{see also|Olive Trees (series)}}
-One of Van Gogh's most popular and widely known series are his [[Cupressus sempervirens|Cypress]]es. During the Summer of 1889, at sister [[Wil van Gogh|Wil]]'s request, he made several smaller versions of ''Wheat Field with Cypresses''.<ref>Pickvance (1986), 132–133</ref> These works are characterised by swirls and densely painted [[impasto]], and produced one of his best-known paintings, ''[[The Starry Night]]''. Other works from the series include ''Olive Trees with the Alpilles in the Background'' (1889) ''Cypresses'' (1889), ''Cypresses with Two Figures'' (1889–1890), ''Wheat Field with Cypresses'' (1889), (Van Gogh made several versions of this painting that year), ''[[Road with Cypress and Star]]'' (1890), and ''[[Starry Night Over the Rhone]]'' (1888). They have become synonymous with Van Gogh's work through their stylistic uniqueness. According to art historian Ronald Pickvance,
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- | image1    = Van Gogh - Country road in Provence by night.jpg
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- | caption1  = ''[[Road with Cypress and Star]]'', May 1890, [[Kröller-Müller Museum]].
- | alt1      = An early night sky with an intense large yellow star surrounded by a white halo to the top left, an intense yellow and red-lined glowing crescent moon to the mid-right top. A large singular dark green Cypress tree painted with impasto and intense upright brushstrokes extends down the middle of the painting, from the top of the canvas to the burnt orange field below, where it grows beside a twisting stream. in the far distant horizon are low blue hills and to the far right is a farmhouse with smoke from the chimney and lights on within. Along the right side of the foreground are two figures walking along on the road and quite a way behind them is a horse drawn buggy also coming down the road.
- | image2    = Vincent Van Gogh 0020.jpg
- | width2    = 190
- | caption2  = ''Wheat Field with Cypresses'', 1889, [[National Gallery]], London.
- | alt2      = An open field of yellow wheat, under swirling and bright white clouds in an afternoon sky. A large cypress tree to the extreme right painted in shades of dark greens with swirling and impastoed brushstrokes. There are several smaller trees to the left and around the cypress tree are more small trees and several haystacks. There are blue-gray hills on the horizon in the background.
- | image3    = Vincent Van Gogh 0016.jpg|''Cypresses'', 1889
- | width3    = 122
- | caption3  = ''Cypresses'', 1889, [[Metropolitan Museum of Art]], New York.
- | alt3      = A pair of large trees to the left, one so tall it goes out of the top of the picture and mountains in the distance along the horizon. The afternoon sky is painted with bright blue and green swirls with white clouds and a visible daytime crescent moon also surrounded by swirls and halos. The dark green trees to the left are painted with thick impasto brush-strokes and swirls as well as the lighter yellow-green grasses in the foreground below.
- | image4   = Van Gogh - Zypressen mit zwei weiblichen Figuren.jpeg
- | width4   = 122
- | caption4 = ''Cypresses with Two Figures'', 1889–90, [[Kröller-Müller Museum]] (F620).
- | alt4     = A pair of women stand facing left in front of four massive cypress trees.
-}}
-<blockquote> ''Road with Cypress and Star'' (1890), is compositionally as unreal and artificial as the ''[[Starry Night]].'' Pickvance goes on to say the painting ''Road with Cypress and Star'' represents an exalted experience of reality, a conflation of North and South, what both Van Gogh and Gauguin referred to as an "abstraction." Referring to ''Olive Trees with the Alpilles in the Background,'' on or around 18 June 1889, in a letter to Theo, he wrote, "At last I have a landscape with olives and also a new study of a Starry Night."<ref>Pickvance (1986), 101; 189–191</ref></blockquote>
-Hoping to attain a gallery for his work, his undertook a series of paintings including ''[[Sunflowers (series of paintings)|Still Life: Vase with Twelve Sunflowers]]'' (1888), and ''[[Starry Night Over the Rhone]]'' (1888), all intended to form the ''[[The Décoration for the Yellow House|décorations for the Yellow House]]''.<ref>Pickvance (1984), 175–176</ref><ref>[http://www.webexhibits.org/vangogh/letter/20/595.htm Letter 595] Vincent to Theo, 17 or 18 June 1889</ref>
-{{Clear}}
-=== Flowering Orchards ===
-{{See also|Flowering Orchards}}
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- | caption1  = ''Cherry Tree'', 1888, [[Metropolitan Museum of Art]], New York.
- | alt1      = A field on an early spring day with several lightly blooming trees in the left and in the distance contrasted against a pale sky. To the right middle ground is a large single tree with several growing branches in early bloom. A rake leans against the tree-trunk.
- | image2    = Vincent Van Gogh 0018.jpg
- | width2    = 191
- | caption2  = ''[[View of Arles, Flowering Orchards]]'', 1889, [[Neue Pinakothek]].
- | alt2      = foreground has three erect trees in front of water reflecting green plants behind it, while the background has rows of trees, a few buildings and either trees or hills.
-}}
-The series of ''[[Flowering Orchards (Van Gogh series)|Flowering Orchards]]'', sometimes referred to as the ''Orchards in Blossom'' paintings, were among the first groups of work that Van Gogh completed after his arrival in [[Arles]], Provence in February 1888. The 14 paintings in this group are optimistic, joyous and visually expressive of the burgeoning Springtime. They are delicately sensitive, silent, quiet and unpopulated. About ''The Cherry Tree'' Vincent wrote to Theo on 21 April 1888 and said he had 10 orchards and: ''one big (painting) of a cherry tree, which I've spoiled''.<ref>Pickvance (1984), 45–53</ref> The following spring he painted another smaller group of orchards, including ''[[View of Arles, Flowering Orchards]]''.<ref name="H385" />
-Van Gogh was taken by the landscape and vegetation of the South of France, and often visited the farm gardens near Arles. Because of the vivid light supplied by the [[Mediterranean climate]] his palette significantly brightened.<ref>Fell (1997), 32</ref> From his arrival, he was interested in capturing the effect of the seasons on the surrounding landscape and plant life.
-=== Flowers ===
-{{See also|Sunflowers (series of paintings)}}
-Van Gogh painted several versions of landscapes with flowers, including his''View of Arles with Irises,'' and paintings of flowers, including ''[[Irises (painting)|Irises]]'', ''[[Sunflowers (series of paintings)|Sunflowers]]'',<ref>"[http://www.vggallery.com/misc/sunflowers.htm Letter 573]" Vincent to Theo. 22 or 23 January 1889</ref> lilacs and roses. Some reflect his interests in the language of color, and also in Japanese [[ukiyo-e]] [[woodblock printing|woodblock prints]].<ref>Pickvance (1986), 80–81; 184–187</ref>
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- | footer
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- | image1    = VanGogh-View of Arles with Irises.jpg
- | width1    = 150
- | caption1  = ''View of Arles with Irises'', 1888, [[Van Gogh Museum]], Amsterdam.
- | alt1      = A field with flowers, various plants and trees in front of a several buildings (some of which are either tall or on a hill).
- | image2    = Irises-Vincent van Gogh.jpg
- | width2    = 160
- | caption2  = ''[[Irises (painting)|Irises]]'', 1889, [[Getty Center]], Los Angeles
- | alt2      = A field of flowers. The foreground includes long green stems with blue flowers, while the background includes prominent gold flowers on the left; white flowers in the center and a field to the right.
-}}
-He completed two series of sunflowers. The first dated from his 1887 stay in Paris, the second during his visit to Arles the following year. The Paris series shows living flowers in the ground, in the second, they are dying in vases. The 1888 paintings were created during a rare period of optimism for the artist. He intended them to decorate a bedroom where Gauguin was supposed to stay in Arles that August, when the two would create the community of artists Van Gogh had long hoped for. The flowers are rendered with thick brushstrokes (impasto) and heavy layers of paint.<ref name="NatGs">"[http://www.nationalgallery.org.uk/paintings/vincent-van-gogh-sunflowers Sunflowers 1888]." [[National Gallery]], London. Retrieved 12 September 2009.</ref>
-In an August 1888 letter to Theo, he wrote,
-:"I am hard at it, painting with the enthusiasm of a Marseillais eating bouillabaisse, which won't surprise you when you know that what I'm at is the painting of some sunflowers. If I carry out this idea there will be a dozen panels. So the whole thing will be a symphony in blue and yellow. I am working at it every morning from sunrise on, for the flowers fade so quickly. I am now on the fourth picture of sunflowers. This fourth one is a bunch of 14 flowers ... it gives a singular effect."<ref name="NatGs" />
-{{clear}}
-=== Wheat fields ===
-[[File:Vincent van Gogh (1853-1890) - Wheat Field with Crows (1890).jpg|thumb|250px|''[[Wheatfield with Crows]]'', 1890, [[Van Gogh Museum]], Amsterdam|alt=a golden-hued field with streaks of green and a blue sky and a flock of black birds in the background]]
-{{See also|Wheat Fields (Van Gogh series)|The Wheat Field}}
-Van Gogh made several painting excursions during visits to the landscape around Arles. He made paintings featuring harvests, wheat fields and other rural landmarks of the area, including ''The Old Mill'' (1888); a good example of a picturesque structure bordering the wheat fields beyond.<ref name="pick177">Pickvance (1984), 177</ref> It was one of seven canvases sent to Pont-Aven on 4 October 1888 as exchange of work with Paul Gauguin, Émile Bernard, [[Charles Laval]], and others.<ref name="pick177" /><ref>[http://www.albrightknox.org/ArtStart/vanGogh_l.html Seeing Feelings]. Buffalo Fine Arts Academy. Retrieved 26 June 2009.</ref> At various times in his life, Van Gogh painted the view from his window – at The Hague, Antwerp, Paris. These works culminated in [[The Wheat Field (series of paintings)|The Wheat Field]] series, which depicted the view he could see from his adjoining cells in the asylum at Saint-Rémy.<ref>Hulsker (1980), 390–394</ref>
-Writing in July 1890, Van Gogh said that he had become absorbed "in the immense plain against the hills, boundless as the sea, delicate yellow."<ref name="EC">Edwards, Cliff. ''[http://books.google.com/books?id=fYA9QzwvsekC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false Van Gogh and God: A Creative Spiritual Quest]''. Loyola University Press, 1989. 115. ISBN 0-8294-0621-2</ref> He had become captivated by the fields in May when the wheat was young and green. The weather worsened in July, and he wrote to Theo of "vast fields of wheat under troubled skies", adding that he did not "need to go out of my way to try and express sadness and extreme loneliness."<ref>Letter 649</ref> In particular, the work ''[[Wheatfield with Crows]]'' serves as a compelling and poignant expression of the artist's state of mind in his final days, a painting Hulsker discusses as being associated with "melancholy and extreme loneliness," a painting with a "somber and threatening aspect", a "doom-filled painting with threatening skies and ill-omened crows.<ref>Hulsker (1990), 478–479</ref>
-{{clear}}
-{{clear}}
-== Legacy ==
-=== Posthumous fame ===
-{{Main|Posthumous fame of Vincent van Gogh}}
-[[File:Vincent Van Gogh 0013.jpg|thumb|upright|''Painter on the Road to Tarascon'', August 1888, Vincent van Gogh on the road to Montmajour, oil on canvas, 48 × 44 cm., formerly Museum Magdeburg, believed to have been destroyed by fire in World War II|alt=man wearing a straw hat, carrying a canvas and paintbox, walking to the left, down a tree lined, leaf strewn country road]]
-Following his first exhibitions in the late 1880s, Van Gogh's fame grew steadily among colleagues, art critics, dealers and collectors.<ref>John Rewald, ''Studies in Post-Impressionism'', ''The Posthumous Fate of Vincent van Gogh 1890–1970,''pp. 244–254, published by [[Harry N. Abrams]] 1986, ISBN 0-8109-1632-0</ref> After his death, memorial exhibitions were mounted in Brussels, Paris, The Hague and Antwerp. In the early 20th century, there were retrospectives in Paris (1901 and 1905), and [[Stedelijk Museum|Amsterdam]] (1905), and important group exhibitions in [[Sonderbund westdeutscher Kunstfreunde und Künstler|Cologne]] (1912), [[Armory Show|New York]] (1913) and Berlin (1914).<ref>See Dorn, Leeman & alt. (1990)</ref> These had a noticeable impact on later generations of artists.<ref>Rewald, John. "The posthumous fate of Vincent van Gogh 1890–1970." ''Museumjournaal'', August–September 1970. Republished in Rewald (1986), 248</ref> By the mid 20th century Van Gogh was seen as one of the greatest and most recognizable painters in history.<ref>"[http://books.google.com/books?id=GVIEAAAAMBAJ&pg=PA82&dq=is+Vincent+van+Gogh+the+greatest+painter&hl=en&ei=c9AtTNSMNsL38AbzgpT7Ag&sa=X&oi=book_result&ct=result&resnum=2&ved=0CDoQ6AEwAQ#v=onepage&q=is%20Vincent%20van%20Gogh%20the%20greatest%20painter&f=false Vincent van Gogh The Dutch Master of Modern Art has his Greatest American Show]," ''Life Magazine'', 10 October 1949, pp. 82–87. Retrieved 2 July 2010.</ref><ref>[http://www.nga.gov/education/classroom/self_portraits/bio_van_gogh.shtm National Gallery of Art, Washington DC]. Retrieved 2 July 2010.</ref> In 2007 a group of Dutch historians compiled the "[[Canon of Dutch History]]" to be taught in schools and included Van Gogh as one of the fifty topics of the canon, alongside other national icons such as [[Rembrandt]] and [[De Stijl]].<ref>{{cite web
- | title = The Canon of the Netherlands
- | work=De Canon van Nederland
- | publisher=Foundation entoen.nu
- | year = 2007
- | url = http://entoen.nu/default.aspx?lan=e
- | accessdate =10 July 2009}}</ref>
-Together with those of [[Pablo Picasso]], Van Gogh's works are among the world's [[List of most expensive paintings|most expensive paintings ever sold]], based on data from auctions and private sales. Those sold for over [[United States dollar|US$]]100&nbsp;million (today's equivalent) include [[Portrait of Dr. Gachet]],<ref>[http://www.artnet.com/magazine_pre2000/features/decker/decker11-4-98.asp Andrew Decker, "The Silent Boom"], ''Artnet.com''. Retrieved 14 September 2011.</ref> [[:File:Vincent van Gogh - Portrait of Joseph Roulin.jpg|Portrait of Joseph Roulin]] and [[Irises (painting)|Irises]].<ref>[http://www.tiptoptens.com/2011/07/16/top-10-most-expensive-paintings/ "Top 10 Most Expensive Paintings"], ''TipTopTens.com''. Retrieved 14 September 2011.</ref> [[A Wheatfield with Cypresses]] was sold in 1993 for US$57&nbsp;million, a spectacularly high price at the time, while his [[:File:Vincent Willem van Gogh 106.jpg|Self Portrait with Bandaged Ear]] was sold privately in the late 1990s for an estimated US$80/$90&nbsp;million.<ref>[http://www.theartwolf.com/10_expensive.htm G. Fernández, "The Most Expensive Paintings ever sold"], ''TheArtWolf.com''. Retrieved 14 September 2011.</ref>
-A newly discovered painting by the Dutch artist was publicly unveiled on September 10, 2013, after it was retrieved from the attic of a Norwegian collector who misjudged the work as a fraud following its purchase in 1908. ''[[Sunset at Montmajour]]'' is a large oil landscape painting and, as of September 24, 2013, is displayed at Amsterdam's Van Gogh Museum.<ref>{{cite news|title=Van Gogh landscape found in collector's attic|url=http://www.theaustralian.com.au/news/world/van-gogh-landscape-found-in-collectors-attic/story-e6frg6so-1226715681388?utm_source=The%20Australian&utm_medium=email&utm_campaign=editorial&net_sub_uid=44933799|accessdate=13 September 2013|newspaper=The Australian|date=10 September 2013|author=AP}}</ref>
-=== Influence ===
-In his final letter to Theo, Van Gogh admitted that as he did not have any children, he viewed his paintings as his progeny. Reflecting on this, the historian [[Simon Schama]] concluded that he "did have a child of course, [[Expressionism]], and many, many heirs." Schama mentioned many artists who have adapted elements of Van Gogh's style, including [[Willem de Kooning]], [[Howard Hodgkin]] and [[Jackson Pollock]].<ref>[[Simon Schama|Schama, Simon]]. "Wheatfield with Crows." [[Simon Schama's Power of Art]], 2006. Documentary, from 59:20</ref> The [[Fauvism|Fauves]] extended both his use of color and freedom in application,<ref>{{Citation |url=http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=102 |archivedate=2004-10-12 |archiveurl=http://web.archive.org/web/20041012220552/http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=102 |title=Glossary: Fauvism |publisher=[[Tate]] |accessdate=23 June 2009 }}</ref> as did German Expressionists of the [[Die Brücke]] group, and as other early [[modernism|modernists]].<ref>[http://www.usatoday.com/travel/destinations/2007-03-22-van-gogh-new-york_N.htm David Minthorn, ''NYC exhibit highlights Van Gogh's impact on German modernists,'' USA Today, 2007]. Retrieved 1 July 2010.</ref> [[Abstract Expressionism]] of the 1940s and 1950s is seen as in part inspired from Van Gogh's broad, gestural brush strokes. In the words of art critic Sue Hubbard: "At the beginning of the twentieth century Van Gogh gave the Expressionists a new painterly language that enabled them to go beyond surface appearance and penetrate deeper essential truths. It is no coincidence that at this very moment [[Sigmund Freud|Freud]] was also mining the depths of that essentially modern domain – the [[subconscious]]. This beautiful and intelligent exhibition places Van Gogh where he firmly belongs; as the trailblazer of [[modern art]]."<ref>Hubbard, Sue. "[http://www.suehubbard.com/sue-hubbard-on-vincent-van-gogh.htm Vincent Van Gogh and Expressionism]." ''Independent'', 2007. Retrieved 3 July 2010.</ref>
-In 1957, [[Francis Bacon (artist)|Francis Bacon]] (1909–1992) based a series of paintings on reproductions of Van Gogh's ''The Painter on the Road to Tarascon'', the original of which was destroyed during World War II. Bacon was inspired by not only an image he described as "haunting", but also Van Gogh himself, whom Bacon regarded as an alienated outsider, a position which resonated with Bacon. The Irish artist further identified with Van Gogh's theories of art and quoted lines written in a letter to Theo, "[R]eal painters do not paint things as they are...They paint them as ''they themselves'' feel them to be."<ref>Farr, Dennis; Peppiatt, Michael; Yard, Sally. ''Francis Bacon: A Retrospective''. Harry N Abrams, 1999. 112. ISBN 0-8109-2925-2</ref> An exhibition devoted to Vincent van Gogh's letters took place in the [[Van Gogh Museum]] in Amsterdam from October 2009 to January 2010<ref>[http://www.theartnewspaper.com/whatson/results.asp?id=1101129 The Art Newspaper]. Retrieved 7 October 2009.</ref> and then moved to the [[Royal Academy]] in London from late January to April.<ref>{{cite web|url=http://www.royalacademy.org.uk/exhibitions/vangogh/|title=The Real Van Gogh: The Artist and His Letters|accessdate=24 March 2010|publisher=[[Royal Academy of Arts]]}}</ref>
-The [[Van Gogh Museum]] hosted an exhibition ''Van Gogh at Work'' featuring 200 paintings and drawings, 150 of them by van Gogh and others including [[Paul Gauguin]] and [[Émile Bernard]]; from May 1, 2013 until January 12, 2014. <ref>[http://www.nytimes.com/2013/04/30/arts/30iht-vangogh30.html?smid=fb-share&_r=0 NY Times]</ref>
-== Footnotes ==
-{{Reflist|group=note}}
-== References ==
-{{Reflist|30em}}
-== Bibliography ==
-;General and biographical
-{{refbegin}}
-* Bernard, Bruce (ed.). ''Vincent by Himself''. London: Time Warner, 2004.
-* Callow, Philip. ''Vincent van Gogh: A Life''. Chicago: Ivan R. Dee, 1990. ISBN 1-56663-134-3
-*Erickson, Kathleen Powers. ''At Eternity's Gate: The Spiritual Vision of Vincent van Gogh'', 1998. ISBN 0-8028-4978-4
-* Gayford, Martin. ''The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles''. London: Penguin, 2006. ISBN 0-670-91497-5
-* Grossvogel, David I. ''Behind the Van Gogh Forgeries: A Memoir by David I. Grossvogel''. San Jose: Author's Choice Press, 2001. ISBN 0-595-17717-4
-* Hammacher, A.M. ''Vincent van Gogh: Genius and Disaster''. New York: Harry N. Abrams, 1985. ISBN 0-8109-8067-3
-* Havlicek, William J. ''Van Gogh's Untold Journey''. Amsterdam: Creative Storytellers, 2010. ISBN 978-0-9824872-1-1
-* [[Robert Hughes (critic)|Hughes, Robert]]. ''Nothing If Not Critical''. London: The Harvill Press, 1990. ISBN 0-14-016524-X
-* [[Jan Hulsker|Hulsker, Jan]]. ''Vincent and Theo van Gogh; A dual biography''. Ann Arbor: Fuller Publications, 1990. ISBN 0-940537-05-2
-* Hulsker, Jan ''The Complete Van Gogh''. Oxford: Phaidon, 1980. ISBN 0-7148-2028-8
-* Hughes, Robert. "Introduction." ''The Portable Van Gogh''. 2002. New York: Universe. ISBN 0-7893-0803-7
-* Lubin, Albert J. ''Stranger on the earth: A psychological biography of Vincent van Gogh''. New York: Holt, Rinehart and Winston, 1972. ISBN 0-03-091352-7
-* McQuillan, Melissa. ''Van Gogh''. London: Thames and Hudson, 1989. ISBN 1-86046-859-4
-* Naifeh, Steven and Smith, Gregory White. [http://vangoghbiography.com/mission ''Van Gogh: the Life''], New York: Random House, 2011. ISBN 978-0-375-50748-9
-* Nemeczek, Alfred. ''Van Gogh in Arles''. Prestel Verlag, 1999. ISBN 3-7913-2230-3
-* Pomerans, Arnold. ''The Letters of Vincent van Gogh''. London: Penguin Classics, 1997. ISBN 0-14-044674-5
-* Petrucelli, Alan W. ''Morbid Curiosity: The Disturbing Demises of the Famous and Infamous''. Perigee Trade. ISBN 0-399-53527-6
-* [[John Rewald|Rewald, John]]. ''Post-Impressionism: From van Gogh to Gauguin''. London: Secker & Warburg, 1978. ISBN 0-436-41151-2
-* Rewald, John. ''Studies in Post-Impressionism''. New York: Abrams, 1986. ISBN 0-8109-1632-0
-* Sund, Judy. ''Van Gogh''. London: Phaidon, 2002. ISBN 0-7148-4084-X
-* Sweetman, David. ''Van Gogh: His Life and His Art''. New York: Touchstone. 1990. ISBN 0-671-74338-4
-* Tralbaut, Marc Edo. ''Vincent van Gogh, le mal aimé''. Edita, Lausanne (French) & Macmillan, London 1969 (English); reissued by Macmillan, 1974 and by Alpine Fine Art Collections, 1981. ISBN 0-933516-31-2
-* van Heugten, Sjraar. ''Van Gogh The Master Draughtsman''. London: Thames and Hudson, 2005. ISBN 978-0-500-23825-7
-* Walther, Ingo F. & Metzger, Rainer. ''Van Gogh: the Complete Paintings''. New York: Taschen, 1997. ISBN 3-8228-8265-8
-* Wilkie, Kenneth. "The Van Gogh File: The Myth and the Man." Souvenir Press Ltd, 2004. ISBN 978-0-285-63691-0
-{{refend}}
-;Art historical
-{{refbegin}}
-*[[Albert Boime|Boime, Albert]]. ''Vincent van Gogh: Die Sternennacht-Die Geschichte des Stoffes und der Stoff der Geschichte'', Frankfurt/Mainz: Fischer, 1989 ISBN 3-596-23953-2
-*[[Françoise Cachin|Cachin, Françoise]] & Welsh-Ovcharov, Bogomila. ''Van Gogh à Paris'' (exh. cat. Musée d'Orsay, Paris 1988), Paris: RMN, 1988. ISBN 2-7118-2159-5.
-*Dorn, Roland: ''Décoration: Vincent van Gogh's Werkreihe für das Gelbe Haus in Arles''. Zürich & New York: Olms Verlag, Hildesheim, 1990. ISBN 3-487-09098-8.
-*Dorn, Roland, Leeman, Fred & alt. ''Vincent van Gogh and Early Modern Art, 1890–1914'' (exh. cat). Essen & Amsterdam, 1990. ISBN 3-923641-33-8 (in English) ISBN 3-923641-31-1 (in German) ISBN 90-6630-247-X (in Dutch)
-*Dorn, Roland, Keyes, George S. & alt. ''Van Gogh Face to Face: The Portraits'' (exh. cat). Detroit, Boston & Philadelphia, 2000–01, Thames & Hudson, London & New York, 2000. ISBN 0-89558-153-1
-*Druick, Douglas, Zegers, Pieter Kort & alt. ''Van Gogh and Gauguin-The Studio of the South'' (exh. cat). Chicago & Amsterdam 2001–02, Thames & Hudson, London & New York 2001. ISBN 0-500-51054-7
-*Fell, Derek. "The Impressionist Garden." London: Frances Lincoln, 1997. ISBN 0-7112-1148-5
-*Geskó, Judit, ed. ''Van Gogh in Budapest''. Budapest: Vince Books, 2006. ISBN 978-963-7063-34-3 (English edition).ISBN 963-7063-33-1 (Hungarian edition).
-*Ives, Colta, Stein, Susan Alyson & alt. ''Vincent van Gogh-The Drawings''. New Haven: YUP, 2005. ISBN 0-300-10720-X
-*Kōdera, Tsukasa. ''Vincent van Gogh-Christianity versus Nature''. Amsterdam: John Benjamins, 1990. ISBN 90-272-5333-1
-*Pickvance, Ronald. ''English Influences on Vincent van Gogh'' (exh. cat). University of Nottingham & alt. 1974/75). London: Arts Council, 1974.
-*Pickvance, Ronald. ''Van Gogh in Arles'' (exh. cat. [[Metropolitan Museum of Art]], New York: Abrams, 1984. ISBN 0-87099-375-5
-*Pickvance, Ronald. ''Van Gogh In Saint-Rémy and Auvers'' (exh. cat. [[Metropolitan Museum of Art]], New York: Abrams, 1986. ISBN 0-87099-477-8
-*Orton, Fred and Pollock, Griselda. "Rooted in the Earth: A Van Gogh Primer", in: ''Avant-Gardes and Partisans Reviewed''. London: Redwood Books, 1996. ISBN 0-7190-4398-0
-*[[Robert Rosenblum|Rosenblum, Robert]] (1975), Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko, New York: Harper & Row, ISBN 0-06-430057-9
-*Schaefer, Iris, von Saint-George, Caroline & Lewerentz, Katja: ''Painting Light. The hidden techniques of the Impressionists''. Milan: Skira, 2008. ISBN 88-6130-609-8
-*Turner, J. (2000). ''From Monet to Cézanne: late 19th-century French artists''. Grove Art. New York: St Martin's Press. ISBN 0-312-22971-2
-*Van der Wolk, Johannes: ''De schetsboeken van Vincent van Gogh'', Meulenhoff/Landshoff, Amsterdam 1986 ISBN 90-290-8154-6; translated to English: ''The Seven Sketchbooks of Vincent van Gogh: a facsimile edition'', New York: Abrams, 1987.
-*Van Heugten, Sjraar. "Radiographic images of Vincent van Gogh's paintings in the collection of the Van Gogh Museum." ''Van Gogh Museum Journal''. 1995. 63–85. ISBN 90-400-9796-8
-*Van Heugten, Sjraar. ''Vincent van Gogh Drawings, vol. 1'', Bussum: V+K, 1996. ISBN 90-6611-501-7 (Dutch edition).
-*Van Uitert, Evert, ''et al.'' ''Van Gogh in Brabant: Paintings and drawings from Etten and Nuenen''. (English edition). Zwolle: Waanders, Zwolle, 1987. ISBN 90-6630-104-X
-*Van Uitert, Evert, van Tilborgh, Louis, van Heughten, Sjraar. ''[http://books.google.com/books?ei=p7EpToX3HMLYgAeBmcSXCw&ct=result&sqi=2&id=F8_qAAAAMAAJ&dq=van+uitert+van+gogh+paintings&q=tree+roots#search_anchor Paintings]''. (1990). (Centenary exhibition catalogue) Amsterdam: Rijksmuseum Vincent van Gogh.
-{{refend}}
-== External links ==
-{{Sister project links|s=Author:Vincent van Gogh}}
-* [http://www.vggallery.com/ Vincent van Gogh Gallery]. The complete works and letters of Vincent van Gogh.
-* [http://vangoghletters.org/vg/ Van Gogh Letters] – The complete letters of Van Gogh, translated into English and annotated. Published by the Van Gogh Museum.
-* [http://maps.google.com/maps/ms?msa=0&msid=202977755949863934429.0004bd682b91b4a160767&ie=UTF8&t=h&ll=48.57479,4.526367&spn=11.894591,23.027344&z=5&source=embed Interactive Map of the Life and Art of Vincent van Gogh]
-* [http://www.vggallery.com/misc/archives/jo_memoir.htm Johanna Gesina van Gogh-Bonger, Memoir of Vincent van Gogh]
-* [http://www.webexhibits.org/vangogh/memoir/sisterinlaw/1.html Memoir of Vincent van Gogh]. By Johanna Gesina van Gogh-Bonger, Vincent's sister in law.
-* [http://www.webexhibits.org/vangogh/ Van Gogh's Letters], unabridged and annotated.
-* [http://www.vangoghmuseum.nl/vgm/index.jsp?lang=en Van Gogh Museum], Amsterdam, The Netherlands.
-* {{MoMA artist|2206}}
-* {{worldcat id|lccn-n79-22935}}
-* [http://www.nga.gov/exhibitions/vgwel.shtm Van Gogh at the National Gallery of Art], Washington, D.C., United States.
-* [http://www.pubhist.com/person/62/vincent-van-gogh Gallery of all works]
-* [http://www.themorgan.org/collections/swf/exhibOnline.asp?id=600 Painted with Words: Vincent van Gogh's Letters to Emile Bernard]&nbsp;– Facsimiles at [[The Morgan Library & Museum]]
-* [http://www.getty.edu/vow/ULANFullDisplay?find=van+gogh&role=&nation=&prev_page=1&subjectid=500115588 Union List of Artist Names, Getty Vocabularies.] ULAN Full Record Display for Vincent van Gogh. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.
-{{Vincent van Gogh}}
-{{Post-Impressionism}}
-{{Good article}}
-{{Authority control|VIAF=9854560|LCCN=n/79/022935}}
-<!-- Metadata: see [[Wikipedia:Persondata]] -->
-{{Persondata
-|NAME=Gogh, Vincent van
-|ALTERNATIVE NAMES=
-|SHORT DESCRIPTION=Painter
-|DATE OF BIRTH=30 March 1853
-|PLACE OF BIRTH=[[Zundert|Groot-Zundert]], Netherlands
-|DATE OF DEATH=29 July 1890
-|PLACE OF DEATH=[[Auvers-sur-Oise]], France
-}}
-{{DEFAULTSORT:Gogh, Vincent Van}}
-[[Category:1853 births]]
-[[Category:1890 deaths]]
-[[Category:Royal Academy of Fine Arts (Antwerp) alumni]]
-[[Category:Dutch expatriates in Belgium]]
-[[Category:Dutch expatriates in France]]
-[[Category:Dutch expatriates in the United Kingdom]]
 ==See also==
-*[[Van Gogh's ear]]
+*[[Gauguin and Van Gogh]]
-*[[The ear in Twin Peaks]]
+*[[Self Portrait with Bandaged Ear ]]
+*[[Drawing by Paul Gachet of the severing of the ear of van Gogh]]
+*''[[Le drame de l’oreille coupée]]'' is a text by Victor Doiteau and Edger Leroy
+*"[[La Mutilation sacrificielle et l'oreille coupée de Vincent Van Gogh]]" (1930) is a text by Georges Bataille
+*[[Ear]]
+*[[Vincent van Gogh]]
+*[[Vincent van Gogh's health]]
+*[[Automutilation]]
 {{GFDL}}