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I. The Pastor House

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IV. Old Bridge Gemert

At the old pass-partout of this work, one more straightforward cut, no bevel cut, is written "oud bruggetje Gemert”. It is painted in the typical flamboyant Van Gogh style. On thick watercolor paper with watercolor and ink, it has some very small age spots, barely visible however. The horizon is high in the sky, the landscape has a very layered structure and there are many green shades used. A row of poplars in the left corner. It has so much depth! Striking is the use of small dots to give it a playful sight. You can see this more often in the works of Vincent from that period.
The beginning of pointillism, a period which ended with various stripe patterns. Also slightly visible in this work and exactly the same as those in the ink drawings of the Nuenen period. In one of his letters Vincent reports that he sometimes walks for hours with someone from Nuenen through the fields. He could have been easily ended up in Gemert. During that time he made two drawings which may indicate this…

III. Still Life with Absinth

Still Life with Absinth reflects how paltry the property of Vincent was.
Red and white is typical of Brabant, also Brabants fur. Vincent was often dressed in blue, it will be the reason that he used the contrasting color blue for the clogs in the still life. The three paintings evoke both desire and fear.
Nostalgia for Brabant and the period in Nuenen, but also melancholy and aversion to illness. Maybe they are all three painted in Arles. During that period he also painted houses more reminiscent of his childhood home, some in a rather technical style. Given the yellow color of the background as can also be seen in Sunflowers, Still Life with Absinth can be dated somewhere in the late eighties of the nineteenth century.

II. Skull

In psychiatry it was a common treatment method at that time to remove mucus surgically from the brain. They thought that the removal of brain fluid could take away the ailment of insanity. Fortunately, there are slightly better methods nowadays. Pastor Van Gogh pastor threatened Vincent with forced admission, which must have been very frightening, this might have been the reason he painted a couple of skulls.
This particularly one could have been the first one of the series. They give a terrifying sight. Painting a skull is not an easy thing to do.
This work is possible painted over another, you can see in the background outlines of figures or perhaps a landscape. In those days there were few images, photography was barely. For such work to paint as SKull you really need a good example. He might have found it in Huize Padua, Dr. Gachet had one too. The first thing you notice when you walk into the museum in Boekel is a 'real life' skull in a beautifully designed cabinet. In Still L…

XIII Translation in English

The premises of most books are the famous letters, forming a predefined history.
To check stories going round historically can be difficult, although they can equally be true or may even contain more truth in some cases.
Sometimes Vincent could be a manipulator, and wrote begging letters to his brother to collect money. Of course he developed an extraordinary artistic talent in his life; the quality of his beautiful works is not at issue. The study focused on the area where one of his most important works, "The Potato Eaters”, was painted. It soon became clear fairly quickly that stories told in one village were sometimes totally different from those in a neighboring village. The village where his parents lived for a while and another village he visited now and then. It was interesting to find out how the transport options were nearby at the time: Historians say: "He sometimes made a walk, but got no further than Stiphout." It is a small village nearby Nuenen. He liked to ta…