Table Of ContentVINCENT
VAN GOGH
PAINTINGS
VOLUME I
DUTCH PERIOD
1881-1885
VAN GOGH MUSEUM
VINCENT
VAN GOGH
PAINTINGS
VINCENT
VAN GOGH
PAINTINGS
VOLUME I
DUTCH PERIOD
1881-1885
VAN GOGH MUSEUM
LOUIS VAN TILBORGH
MARIJE VELLEKOOP
VAN GOGH MUSEUM, AMSTERDAM
V+K PUBLISHING / INMERC
BLARICUM
Vincent van Gogh: Paintings
Volume 1: Dutch Period ,88,-,885
© '999 Van Gogh Museum, Amsterdam, The Netherlands,
V+K Publishing, Blaricum, The Netherlands and
Lund Humphries Publishers Ltd, London, Great Britain
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted in any form or by any
means, electronical, mechanical or otherwise, without first seeking
the written permission of the publishers and the Copyright holders.
Printed and bound in The Netherlands by
bv Kunstdrukkerij Mercurius-Wormerveer
Complete series of drawings and paintings,
8 volumes
Contents
6 Acknowledgements
8 Five parcels and three crates. The origins of a collection (1881-85)
Louis van Tilborgh
18 Van Gogh and his painting materials. An introduction
Louis van Tilborgh
28 Note to the reader
29 Catalogue
Louis van Tilborgh
Marije Vellekoop
234 Appendix: rejected work
238 Consignments: Paintings sent or given to
Theo van Gogh, 1882-85
240 Exhibitions
247 Literature
250 Documents
25I Index
Acknowledgements
More than 200 paintings survive from Van Gogh's Dutch period (1881-85).
The Van Gogh Museum has 44 of them, and they are the subject of this first volume of
the catalogue of Van Gogh's paintings held by the museum.
This book shows how Van Gogh evolved in a short space of time from an untutored
beginner to a genuine and original master. His first paintings of 1881, which were made
under the tutelage of Anton Mauve, look conventional enough, but his work of a little
more than six months later displays a very personal hand. His rapidly developing sense of
colour and use of the brush can be seen by comparing Still life with cabbage and clogs
(cat. 1) with the rapidly executed Still life with Bible (cat. 42) of 1885.
All the paintings were subjected to a technical examination in preparation for this
catalogue. The research was carried out by Cornelia Peres and Marije Vellekoop, and
involved studying the works with the naked eye and under a microscope. They were also
examined for any underdrawings using infrared reflectography. X-radiographs made of all
the paintings provided information about alterations and underlying scenes. The tech
nical descriptions of the paintings include the width of the brushstrokes in order to arrive
at a better definition of Van Gogh's hand. The detailed information on the kinds of
canvas used by Van Gogh specify whether the edges are original. Paint samples taken
from several paintings were analysed by E. Jagers (Bornheim, Mikroanalytisches Labor).
Unfortunately, with a few exceptions the findings of that research could not be incorpo
rated in this catalogue and will be published separately elsewhere.
In contrast to the first two volumes of the catalogue of the collection, Drawings I
and 2, the list of exhibitions at the back of the book also contains sources that were
consulted in order to identify the works at the relevant exhibitions (see further the 'Note
to the reader' preceding the catalogue section). It is also stated whether the paintings
were for sale. Gathering this and other exhibition data proved a time-consuming and
occasionally difficult task, but Monique Hageman carried it out with as much pleasure as
enthusiasm.
This book could not have been written without the assistance of others. M.A.W.
Gerding, Provincial Historian of Drenthe, supplied information about the different kinds
of labourers' dwellings in the province. Gerard Rooijakkers illuminated the cultural
history of 19th-century Brabant. Ton de Brouwer (Van Gogh Documentation Centre,
Nuenen) and J. Spoorenweg (Eindhoven Regional Archives) supplied answers to specific
questions regarding the history and topography of Nuenen. As ever, we could rely on the
support of Walter Feilchenfeldt, and Roland Dorn and Martha Op de Coul came to our aid
6
on several occasions. Art Innovation in Hengelo kindly supplied us with a photograph of
the infrared reflectogram of Still life with Bible (cat. 42).
We owe a great debt of gratitude to our colleagues in the museum. The scientific
research was conducted under the inspiring leadership of Cornelia Peres. Fieke Pabst did
invaluable work in gathering the documentation, while Anita Vriend helped track down
the literature. Frans Stive and Alex Nikken were always ready to turn their schedules
upside-down if we wanted to study a picture out of its frame at short notice.
The editing of the book was in reliable hands. Sjraar van Heugten, Leo Jansen and
Hans Luijten were as generous with their praise as they were unsparing with their cri
ticism. Jan Robert, the editor-in-chief, has the rare gift of being able to inspire tired
writers who thought they had reached the finish line to begin incorporating his justifiable
corrections and imperative recommendations. We are also grateful to Rachel Esner,
Michael Hoyle and Sabine Rieger, who not only translated the texts but also raised critical
points that helped improve them. Ella Hendriks kindly provided English translations of
technical terms. The co-ordination of the book was in the hands of Benno Tempel, who
was also responsible for assembling the photographs. Finally, we would like to thank
W.A. Nederlof, who cast his eagle eye over the colour nuances in Van Gogh's dark, Dutch
ceuvre, and publisher Cees de Jong, who retained his good humour even when deadlines
had long been passed.
Louis van Tilborgh
Marije Vellekoop
7
Five parcels and three crates.
The origins of a collection (1881-85)
All but a few of the paintings described in this catalogue originally belonged to Theo van
Gogh, Vincent's younger brother. The collection was gradually built up in the course of
their lives, and was the fruit of their devotion to each other.
It all began very unpretentiously, with very different intentions and without any
great expectations. From 1881, shortly after deciding to become an artist, Van Gogh regu
larly sent examples of his work to his brother, who was in Paris at the Goupil art gallery
See the catalogue section for all the tech (later Boussod, Valadon & Ce).' He did so both to show the progress he was making and
nical data relating to the paintings to get Theo's expert advice: 'Now tell me, why don't they sell, and how can I make them
mentioned in this essay.
saleable' [180/156]. Van Gogh ignored the advice that he was given by the landscapist Anton
1 He sent his first batch of drawings from
Brussels at the beginning of ,88,; Mauve (1838-1888) at the end of 1881, which was to keep all his studies (consisting solely
see letters 161/140 and 163/142. of drawings at first) in his studio as reference material. He carried on sending work to
2 Mauve's advice is mentioned in letter
Theo, although often with a note that he would like it back.2 As his self-assurance grew in
418/349. Van Gogh first asked for the
return of works in letter 204/175: 'J am the course of 1882, he also hoped that his brother would act as his dealer. 'If you show
getting more frugal with my studies and those you think suitable to people who happen to come to your room, it may be the begin
should like to get back those that you
ning of selling them. When more and different ones by the same hand are together, they
have.'
3 Theo had supplied money on earlier show off to better advantage, and one explains and complements the other' [221/195].
occasions, but from February ,88, he was He invariably left it up to Theo to decide whether the works were good enough to sell.
supporting his brother almost single
'I myself cannot judge whether some of my studies are finished enough to be worthy of
handed, as emerges from a letter from his
father of '4 February ,88, (inv. b 2235 being kept anywhere else but in my studio,' he modestly wrote [346/286[.
V/1982). At first Vincent was probably When it became clear during 1882 that his brother would support him financially,
unaware of the arrangement, for Thea
Vincent also began regarding his work as a repayment in kind.3 'If there is anything you
sent the allowance directly to his parents.
It was only in 1882, when Vincent left of want to keep, if there is anything I have here that you would like to have, just say so,
his parents' home in Etten and moved to because I regard everything as belonging to you' [266/232[. He repeated this offer in connec
The Hague, that it was Theo who had
tion with other consignments: 'you must of course regard those you like your own prop
been supporting him.
4 The description in letter 270/234 could erty' [344/284]. This was all said out of friendship and as a natural reaction to Theo's
also apply to F 8a JH 180, but since he generous gesture. There was no firm agreement, for the future was uncertain and as yet
commended Girl in a wood to Theo in
there was no question of selling anything.
letter 262/229 it is more likely that this
was the one he sent. In mid-1883, however, Van Gogh suddenly felt the need for security. He expressly
5 It is clear from letter 268/233 that stated that all his works, including those he had not sent to his brother, were now
Theo was eager to see a painted study.
officially Theo's property. 'My studies and all the work in my studio most decidedly
6 In letter 266/232, Van Gogh had asked
for the return of the studies that Theo did belong to you' [370/305[. He did this in order to keep them out of the hands of creditors,
not want to keep. His brother did not should he get into financial difficulties, as he himself wrote: 'There is no question of that
respond immediately (letters 281/241 and
at the moment, [. .. ] but if I can't pay my tax bill at some stage in the future they could
292/250), but evidently sent them back
after Vincent repeated his request in sell it all, but if that happens I want my work somewhere safe, not at home. They are my
8
