{"id":7601,"date":"2014-07-27T17:47:33","date_gmt":"2014-07-27T15:47:33","guid":{"rendered":"http:\/\/www.conceptualfinearts.com\/cfa\/?p=7601"},"modified":"2014-09-07T18:11:12","modified_gmt":"2014-09-07T16:11:12","slug":"today-in-1890-vincent-van-vogh-shot-himself-in-the-wheat-fields-behind-the-chateau-in-auvers","status":"publish","type":"post","link":"https:\/\/www.conceptualfinearts.com\/cfa\/2014\/07\/27\/today-in-1890-vincent-van-vogh-shot-himself-in-the-wheat-fields-behind-the-chateau-in-auvers\/","title":{"rendered":"This day in 1890 Vincent Van Gogh shot himself in the wheat fields behind the ch\u00e2teau in Auvers"},"content":{"rendered":"\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption 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\/><\/a>\n\t\t\t<\/dt><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>&nbsp;<\/p>\n<p>We would like to commemorate the extraordinary, sensitive and delicate human being that Vincent Van Gogh was with a gallery of pictures of the tiny room in the Auberge Ravoux where he spent the last sad hours of his troubled life and where he died on 29 July 1890. But, to illustrate it, we chose a letter full of hope and courage he had written ten years before declaring to his brother Theo his decision, after many job failures, to become a professional artist. It is just one of the <a href=\"http:\/\/vangoghletters.org\/vg\/letters.html\" target=\"_blank\">600 letters<\/a> Vincent wrote during his life to his relatives. Without reading them it is impossible to fully grasp the ethical frame in which Vincent lived and worked giving to humanity the most precious gift of all. Do we need to tell you which one is it? Sacrifice.<\/p>\n<p>&nbsp;<\/p>\n<blockquote><p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Dear Theo,<\/span><\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Your letter did me good; I thank you for writing to me like that.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Actually, the roll containing a new collection of etchings and various sheets has just arrived. First and foremost, the masterly etching,\u00a0<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\"><i>The bush<\/i><\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">, by Daubigny\/Ruisdael.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">That\u2019s it! I plan to do two drawings, either in sepia or something else, one of them after this etching \u2014 the other after\u00a0T. Rousseau\u2019s The oven in Les Landes.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">This latter sepia is already done \u2014 it\u2019s true \u2014 but if you compare it with\u00a0Daubigny\u2019s etching, you\u2019ll understand that it becomes weak, even though the sepia drawing considered on its own may very well have a certain tone and sentiment. I have to go back to it and work on it again.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">I\u2019m still working on\u00a0Bargue\u2019s Cours de dessin, and plan to finish it before undertaking anything else, since day by day it exercises and strengthens both my hand and my mind, and I wouldn\u2019t be able to feel sufficiently indebted to\u00a0Mr Tersteeg\u00a0for having so generously lent them to me. These models are excellent. In the meantime I\u2019m busy reading a book on anatomy and another on perspective, which Mr Tersteeg also sent me.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">This study is thorny, and sometimes these books are as irritating as could be, but nevertheless I believe that I\u2019m doing the right thing by studying them.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">You can see, then, that I\u2019m working like mad, but for the moment it isn\u2019t giving very heartening results. But I have hopes that these thorns will bear white flowers in their time, and that this apparently sterile struggle is nothing other than a labour of giving birth. First pain, then joy afterwards.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">You tell me about Lessore. I believe I can recall some very elegant watercolour landscapes which could be by him,<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">in a pale tone, with brushwork that\u2019s apparently easy and light but at the same time accurate and refined, with an effect (let it be said with no bad intention, on the contrary, with a good one) that\u2019s a little decorative. So I could be said to know something about his work, and you\u2019d be telling me about somebody who isn\u2019t altogether unfamiliar to me. I like the portrait of\u00a0<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\"><i>Victor Hugo<\/i><\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">. It\u2019s very conscientiously done, with the clear intention of bearing witness to the truth without searching for effect. By virtue of that, though, it does have an effect.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">I studied some of\u00a0Hugo\u2019s works a little this past winter. Namely Le dernier jour d\u2019un condamn\u00e9<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">and a very beautiful book on\u00a0Shakespeare.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\"><i>6<\/i><\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">\u00a0I took up the study of this writer a long time ago now. It\u2019s as beautiful as Rembrandt. Shakespeare is to\u00a0Charles Dickens\u00a0or to V. Hugo what\u00a0Ruisdael\u00a0is to\u00a0Daubigny, and Rembrandt toMillet.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">What you say in your letter on the subject of Barbizon<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">is very true and I\u2019ll tell you one or two things that will prove to you that that\u2019s my own way of seeing as well. I haven\u2019t seen Barbizon, but although I haven\u2019t seen it, last winter I saw Courri\u00e8res. I made a trip on foot mainly in the Pas de Calais, not the Channel but the department. Or province.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">I made that trip hoping perhaps to find work there (any sort, if possible; I would have accepted anything), but actually without any real plan, I couldn\u2019t precisely say why. But I\u2019d said to myself, You must see Courri\u00e8res. I had only 10 francs in my pocket, and having started out by taking the train I\u2019d soon exhausted those resources, and having stayed on the road for a week, I trudged rather painfully. Nevertheless, I saw Courri\u00e8res and the outside of\u00a0Mr Jules Breton\u2019s studio.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">The outside of this studio disappointed me a little, seeing that it\u2019s a brand-new studio and newly built in brick, of a Methodist regularity,<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">of an aspect as inhospitable and chilly and ascetic as\u00a0C.M.\u2019s Jovinda,<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">which, between ourselves, I don\u2019t much like either for this same reason. If I\u2019d been able to see the inside I would have thought no more about the outside, I\u2019m inclined to believe, and I\u2019m sure of it even, but there you are, I wasn\u2019t able to get a look at the inside.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Because I didn\u2019t dare to introduce myself, so as to go in. I looked elsewhere in Courri\u00e8res for some trace of Jules Breton\u00a0or of some other artist; all I found was his picture at a photographer\u2019s shop<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">and then, in the old church, in a dark corner, a copy of\u00a0Titian\u2019s Entombment, which in the darkness seemed to me to be very beautiful and of a masterly tone. Was it by him? I don\u2019t know, being unable to make out any signature.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">But of a living artist, not a trace, there was only a caf\u00e9, the so-called Caf\u00e9 des Beaux-Arts,<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">also in inhospitable and chilly and mortifying new brick, which caf\u00e9 was decorated with some sort of frescoes or mural paintings depicting episodes from the life of the illustrious knight, Don Quixote.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">These frescoes, let it be said in confidence, seemed to me then rather poor consolation and rather mediocre. I don\u2019t know who they were by.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">But at any rate I saw the Courri\u00e8res countryside then, the haystacks, the brown farmland or the almost coffee-coloured marly soil, with whitish spots where the marl appears, which is something rather extraordinary for those of us who are used to blackish soil. And the French sky seemed to me far more clear and limpid than the smoky and misty Borinage sky. Furthermore, there were the farmhouses and sheds that had still preserved their mossy thatched roofs, God be praised and thanked for it; I also saw hosts of crows, famous from the paintings of Daubigny\u00a0and\u00a0Millet.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Not to mention first of all, as one should, the typical and picturesque figures of the workmen: different diggers, woodcutters, a farm-hand driving his team, and the occasional outline of a woman in a white bonnet. Even there, at Courri\u00e8res, there was a coal-mine or pit;<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">I saw the day-shift coming up at dusk, but there were no women workers in men\u2019s clothing, as in the Borinage, only miners looking weary and miserable, blackened by coal-dust, wearing pit-rags and one of them an old army greatcoat. Although this stage was almost unbearable to me, and I returned from it worn out, with bruised feet and in a rather melancholy state, I don\u2019t regret it, because I saw interesting things and you learn to see with a quite different eye, there among the raw ordeals of poverty itself. I earned a few crusts of bread en route<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">here and there in exchange for some drawings that I had in my suitcase. But when my ten francs were gone, I had to bivouac out in the open for the last 3 nights, once in an abandoned carriage, all white with frost in the morning, a rather poor shelter, once in a wood-pile and once, and it was a little better, in a haystack that had been broached, where I managed to make a slightly more comfortable nest, only a fine rain didn\u2019t exactly add to my well-being.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Well, and notwithstanding, it was in this extreme poverty that I felt my energy return and that I said to myself, in any event I\u2019ll recover from it, I\u2019ll pick up my pencil that I put down in my great discouragement and I\u2019ll get back to drawing, and from then on, it seems to me, everything has changed for me, and now I\u2019m on my way and my pencil has become somewhat obedient and seems to become more so day by day. It was poverty, too long and too severe, that had discouraged me to the point where I could no longer do anything.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Another thing that I saw during that excursion was the weavers\u2019 villages.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">The miners and the weavers are something of a race apart from other workmen and tradesmen, and I have a great fellow-feeling for them and would count myself happy if I could draw them one day, so that these types, as yet unpublished or almost unpublished, could be brought to notice. The man from the bottom of the abyss, \u2018de profundis\u2019,<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">that\u2019s the miner; the other one, with a dreamy, almost pensive, almost a sleep-walker\u2019s air, is the weaver. And now it\u2019s roughly 2 years that I\u2019ve been living with them, and to some extent I\u2019ve learned to know their original character, mainly that of the miners at least. And more and more I find something touching and even heart-rending in these poor and obscure workers, the lowest of all, so to speak, and the most looked down upon, which one usually pictures through the effect of a perhaps vivid but very false and unjust imagination as a race of criminals and brigands. There are criminals, drunkards, brigands here as elsewhere, but that\u2019s not at all the true type.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">In your letter you spoke to me vaguely about coming to Paris or the surrounding area. Sooner or later, when it would be possible and when I felt like it. Of course, it would be my great and ardent desire to come either to Paris or to Barbizon or somewhere else. But how could I do it, because I don\u2019t earn a sou, and although I work hard it\u2019ll take more time yet to reach the level of being able to think of such a thing as coming to Paris. Because in truth, to be able to work as one should, it would take at least about a hundred francs a month; you can live on less, but then you\u2019re hard up, far too much so in fact.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Poverty prevents good minds succeeding; that\u2019s Palissy\u2019s<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">old proverb, in which there\u2019s truth, and which is entirely true if one understands its real purpose and import.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">For the moment I can\u2019t see how the thing would be practicable, and it\u2019s better that I stay here, working as I can and will be able to, and after all, it\u2019s cheaper to live here.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">However, I\u2019d be unable to continue much longer in the little room where I am now. It\u2019s tiny as it is, and there are two beds, the children\u2019s and mine. And now that I\u2019m doing the\u00a0Bargues, quite big sheets, I couldn\u2019t tell you what a nuisance it is to me. I don\u2019t want to bother the people in their household arrangements; and also they\u2019ve told me that as far as the other room in the house goes, there was no way for me to have it, even if I paid more, because the wife needs it to do her washing, which in a miner\u2019s house has to be done almost every day.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">So I would like simply to take a little workman\u2019s house; that costs 9 francs a month on average.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">I couldn\u2019t tell you how much (despite the fact that every day new difficulties present themselves and will continue to present themselves), I couldn\u2019t tell you how happy I feel to have taken up drawing again. It had already been on my mind for a long time, but I always saw the thing as impossible and beyond my reach. But now, while feeling both my weakness and my painful dependence in respect of many things, I\u2019ve recovered my peace of mind, and my energy is coming back day by day.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Now, about coming to Paris. If we found an opportunity to get in touch with some decent, valiant artist, it would be extremely advantageous for me, but, to go there just like that, it would only be a repetition on a large scale of my trip to Courri\u00e8res, where I\u2019d hoped perhaps to meet some living being of the Artist species, but where I didn\u2019t find one. For me it\u2019s a matter of learning to draw well, to be master either of my pencil or my charcoal or my brush; once that\u2019s achieved I\u2019ll do good things almost no matter where, and the Borinage is every bit as picturesque as old Venice, as Arabia, as Brittany, Normandy, Picardy or Brie.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">If I\u2019m doing the wrong thing, the fault is mine. But one can very certainly find more easily at Barbizon than elsewhere, if one perhaps were to have this happy encounter, the opportunity to fall in with some more advanced artist who would be for me truly a Heaven-sent angel, let it be said seriously and without any exaggeration.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">So if, sometime, you were to see means and opportunity, think of me; while waiting I\u2019ll stay quietly in some little workman\u2019s house, where I\u2019ll work as best I can.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">You also speak to me of\u00a0Meryon; what you say about him is very true, I am indeed slightly acquainted with his etchings. Would you like to see something curious \u2014 put one of his so precise and so powerful scratches beside any print by\u00a0Viollet-le-Duc\u00a0<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">or by anyone at all who does architecture. Then you\u2019ll see Meryon in full light because of the other etching, which will serve, if I may be so free, as a foil or contrast. So what do you see, then? This. Meryon, even when he\u2019s drawing bricks, granite, the iron bars or the parapet of a bridge, puts something of the human soul, shaken by I know not what heartache, into his etching. I\u2019ve seen drawings of Gothic architecture by\u00a0V. Hugo.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">\u00a0Well, without having Meryon\u2019s powerful and masterly execution,<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">there was something of the same sentiment. What is this sentiment? It has some kinship with that which\u00a0Albrecht D\u00fcrer\u00a0expressed in his\u00a0<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\"><i>Melancholy<\/i><\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">,<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">which in our times\u00a0James Tissot\u00a0and\u00a0M. Maris\u00a0also have (however different these two may be one from the other). Some profound critic rightly said of James Tissot \u2018He\u2019s a soul in need\u2019.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">But in any event, there\u2019s something of the human soul there; it\u2019s for that reason that that is great, immense, infinite, and put Viollet-le-Duc beside it, it\u2019s stone, and the other (namely Meryon), that\u2019s\u00a0<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\"><i>Spirit.<\/i><\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Meryon must have had such a power to love that now, like\u00a0Dickens\u2019s Sydney Carton, he loves the very stones of certain places.<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">But it\u2019s also found more and better, in a nobler, worthier and, if I may be allowed to say so, more Evangelical tone \u2014 the precious pearl,<\/span><\/span><\/span><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">the human soul revealed \u2014 in\u00a0Millet, in\u00a0Jules Breton, in\u00a0Jozef Isra\u00ebls. But to return to Meryon, he has also, it seems to me, some distant kinship with\u00a0Jongkind\u00a0and perhaps Seymour Haden, because at certain moments these two artists were very strong. Wait, perhaps you\u2019ll still see that I too am a worker, although I don\u2019t know in advance what will be possible for me; nevertheless, I do hope to make some scratch yet in which there might be something human. But first I have to draw the\u00a0Bargues and do other things that are rather tricky. The way is strait and the gate is strait and there are few that find it.<\/span><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Thanking you for your kindness, chiefly for The bush, I shake your hand.<\/span><\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">Vincent<\/span><\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\">I\u2019ve taken all your collection now, but you\u2019ll have it back later, and in addition, for your collection of wood engravings, which I hope you\u2019re continuing, I have some very good things in the 2 volumes of the Mus\u00e9e Universel, which I intend for you.<\/span><\/span><\/span><\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; We would like to commemorate the extraordinary, sensitive and delicate human being that Vincent Van Gogh was with a gallery of pictures of the tiny room in the Auberge [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":7621,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1793],"tags":[1778],"class_list":["post-7601","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-to-be-discovered","tag-vincent-van-gogh"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts\/7601","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/comments?post=7601"}],"version-history":[{"count":0,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts\/7601\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/media\/7621"}],"wp:attachment":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/media?parent=7601"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/categories?post=7601"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/tags?post=7601"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}