The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles
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This chronicle of the two months in 1888 when Paul Gauguin shared a house in France with Vincent Van Gogh describes not only how these two hallowed artists painted and exchanged ideas, but also the texture of their everyday lives. Includes 60 B&W reproductions of the artists' paintings and drawings from the period.
and Gauguin, who were more worthy to receive it, particularly in the matter of color and the art of the tropics: “For the role attaching to me, or that will be attached to me, will remain, I assure you, of very secondary importance.” Vincent was a little hurt that Aurier was rude about Meissonier, whom he admired. He wrote to Theo, confessing that: Aurier’s article would encourage me if I dared to let myself go, and venture even further, dropping reality and making a kind of music of tones
generation—bohemians—experimented with unconventional relationships. Some of them were happy, some not. If the institution of marriage, Gauguin argued: which is nothing other than a sale, is the only one declared to be moral and acceptable for the copulation of the sexes, it follows that all those who do not want to or who cannot marry are excluded from that morality. There is no room left for love. Although brothels and prostitutes hadn’t played an important part in Gauguin’s life to date,
angle. His features, however, are melancholy (or perhaps, as often with portrait sitters, just bored). A moustache grows with touching sparseness on his upper lip. This mood is stronger in the other picture, the one that Vincent kept. In this version, Armand seems younger. The green background is darker; his jacket and hat are black. Though the hat looks the same—how many hats would a teenage Provençal blacksmith’s apprentice possess?—it was worn at a more sober angle. Armand’s younger brother,
found it easier to achieve. He had already done something of the sort that September with his Vision, in which Breton women watched Jacob wrestle with the angel. In the future, he was to produce many works filled with biblical imagery—Eve, Eden, the Fall, the Nativity, the Agony in the Garden, the Crucifixion. Ultimately, Vincent, with his Protestant devotion to facts he saw before him, found it impossible to paint such subjects. Gauguin, educated in a seminary, found it much easier. The
ask, ‘Take him, Lord.’” Vincent’s youngest sister, Wilhelmina, was filled with pity—and curiosity. She would go to visit him if he were dying—she had the money for the journey—but was he? Could he ever find peace? Or was the disease he suffered from irreversible, and physical? What a difficult life her poor brother had had. Did Gauguin see the catastrophe coming? That last question was one to which no one—perhaps not even Gauguin himself—really knew the answer. Meanwhile, events were closing