Accompanying the groundbreaking exhibition currently at the Van Gogh Museum, this publication features new information on Van Gogh's self-inflicted wound to his ear as well as identifying the revolver that was likely used in his suicide The mental state of Vincent van Gogh (1853--1890) has been a perennial source of discussion and conjecture since his death by suicide. Was he mentally ill or a genius? What was the precise nature of Van Gogh’s illness? Did it influence his work? This intriguing publication examines how Van Gogh’s mental condition revealed itself in 1888 and how he struggled with it throughout his life. Van Gogh's letters to his brother Theo, his artist friends, and his sister Willemien reveal that his primary reason for living was his art. Richly illustrated with artworks, letters, previously unpublished historical documents, and photographs, On the Verge of Insanity provides a nuanced and considered overview of an extraordinary man who had to cope with mental illness at a time when the symptoms were readily misunderstood and professional treatment was insufficient. The authors also offer a detailed account of the circumstances surrounding Van Gogh’s death in Auvers-sur-Oise, and they review the many diagnoses that have been proposed since the artist's death.

On the Verge of Insanity: Van Gogh and His Illness

Arts & Photography

Van tilborgh, Louis

Bakker, Nienke

Prins, Laura

History & Criticism

Mercatorfonds

“All my work is based to some extent on Japanese art.” –Vincent van Gogh Vincent van Gogh’s (1853–1890) encounter with Japanese ukiyo-e prints during his time in Paris was decisive for the direction that his art would take in the years to come. He enthusiastically assembled a collection of the prints with the idea of dealing in them, and soon was captivated by their colorful and cheerful imagery and style, which began to exert a dramatic influence on his own work. Gradually this enchanted world became his main artistic reference point. From then on, he positioned himself as an artist in the Japanese tradition in order to gain a reputation with the avant-garde of the day. This gorgeous publication offers a detailed reassessment of the impact Japanese printmaking had on Van Gogh’s creative output. Featuring essays by the world’s leading Van Gogh experts, this book details the ways in which the artist constructed his understanding of a Japanese aesthetic and his utopian ideal of a so-called primitive society, and incorporated these into his own vision and practice. The size, nature, and importance of Van Gogh’s own collection of Japanese prints are also explored. Lavish illustrations include oil paintings and drawings by Van Gogh as well as a selection of the Japanese works that so captured his imagination.

Van Gogh and Japan

Uhlenbeck, Chris

Homburg, Cornelia

Kōdera, Tsukasa

A landmark publication tracing the final months of Van Gogh's life. Van Gogh in Auvers-sur-Oise: His Final Months offers a unique and impressive overview of the paintings and drawings that Vincent van Gogh created during the last seventy days of his life. He produced no fewer than seventy-four paintings and over thirty drawings in the course of the intense, productive period leading up to his self-inflicted death on 29 July 1890. While the Portrait of Dr Gachet, The Church at Auvers and Wheatfield with Crows are numbered among his greatest masterpieces, this part of his oeuvre is otherwise less known - unfairly so - than the sunny landscapes he painted in the south of France. The book follows the artist from his arrival in Auvers-Sur-Oise, where he set to work full of hope and with fresh ambitions, through to his final weeks. Essays by leading Van Gogh specialists highlight his artistic ambitions and mental state during this final phase; his exploration of the Auvers landscape; the flower still-lifes, portraits and panoramic landscapes he painted there; the role played by his drawings; and his artistic reputation at the time of his death and in the years immediately afterwards. In addition to all the Auvers paintings, the book is richly illustrated with drawings, sketches, historical photographs and detailed maps of the places Van Gogh worked. Also featured are related works by contemporaries and predecessors whom he admired.

Van Gogh in Auvers-sur-Oise: His Final Months

Coquery, Emmanuel

Thames&Hudson

"I believe that at present we must paint nature's rich and magnificent aspects; we need good cheer and happiness, hope and love." -- Vincent van Gogh Vincent van Gogh's letters to his brother Theo form what is perhaps the most frank and unique body of artists' correspondence ever written, one that offers a rare insight into Van Gogh's mental turmoil and artistic motivations. His descriptions of everyday concerns are interspersed with highly intense passages, beautiful sentences, and wise words on subjects such as ambition, love, loneliness, and his battle with mental illness. These surprising, melancholy, and sometimes funny comments continue to inspire and console many people today, some 130 years after he wrote them. This selection of Van Gogh's most beautiful quotations unites his exceptional and touching words with reproductions of his much-loved artworks. They convey the same kind of recognition and emotion that he sought to achieve with his art. He was eager to reach other people and to mean something to them--but he could never have suspected that through his immense talent for capturing personal experiences, ideas, and feelings in evocative and appealing language, that he had genuine life lessons to offer us. "There are so many people . . . who imagine that words are nothing. On the contrary, don't you think, it's as interesting and as difficult to say a thing well as to paint a thing. There's the art of lines and colors, but there's the art of words that will last just the same."

The World According to Vincent van Gogh (The World According To... Series, 7)

Darley, Esther

Blokland, Ann

Vincent van Gogh's letters have long been prized as some of the most valuable documents in the world of art. Not only do they throw light on Van Gogh's own complex and intriguing character, they enlighten the whole creative process as seen through his eyes. Here we can observe Van Gogh's thoughts and opinions at first hand, as well as his close ties with his brother Theo, his sometimes troubled relationships with friends and fellow artists, his personal doubts and fears, and above all his overriding passion for his art. This is not only an immense treasure trove of biographical and art-historical information, it provides a lasting pleasure as a personal written testimony to a life consecrated to art. Vincent van Gogh: A Life in Letters belongs on the shelves of every reader in search of self-revelatory documents of one of the greatest creative minds.

Vincent van Gogh: A Life in Letters

Jansen, Leo

Luijten, Hans

Individual Artists

This volume is an anthology of the artists who inspired Van Gogh, which offers a penetrating insight into Van Gogh's motivations and ambitions. It is published to accompany the exhibition of the same name at the Van Gogh Museum, Amsterdam, from 14th february to 15th June, 2003. Thanks to Van Gogh's copious letters to his brother Theo and others, it has been possible to identify those works he knew and admired. His eclectic tastes may come as a surprise to some: among his heroes are Old Masters Rembrandt and Ruisdael, his contemporary Ger me, his role models Millet and Delacroix, and friends Toulouse-Lautrec, Signac and Seurat. Works by these artists, among others, are juxtaposed here with Van Gogh's own paintings. Ten essays by Van Gogh specialists examine different aspects of his tastes and motivations, explaining in the process his choice of subjects. The Mus e Imaginaire itself displays some 175 luminous reproductions, accompanied by quotations from Van Gogh's own correspondence - shedding fascinating light on his artistic life.

Vincent's Choice: Van Gogh's Musee Imaginaire

Stolwijk, Chris

van Sjraar, Heugten

Hansen, Leo

Travel

Thames and Hudson Ltd.

A revelatory collection of Symbolist landscapes by Gauguin, van Gogh, Munch, Mondrian, Kandinsky, Strindberg, and more This catalogue accompanies the first exhibition dedicated to landscapes by the Symbolists, the innovative movement whose artists took imaginative and emotional approaches to painting and embraced themes like music, nationalism, science, and modernity. The book focuses on major artists of the avant-garde such as Gauguin, van Gogh, Munch, Mondrian, and Kandinsky, and also showcases other inventive artists from throughout Europe such as Hammershoi, Hodler, Khnopff, and Gallen-Kallela, who are set alongside the visionary British artistry of Crane, Leighton, Watts, and Millais. The works illustrated here offer a range of poetic and suggestive interpretations of nature from the period 1880–1910, with essays by acknowledged experts in the field providing a new chapter in the history of landscape painting. 138 color illustrations

Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880-1910

THOMSON, Richard

Bonsdorff, Anna-Maria von

Rapetti, Rodolphe

Collections, Catalogs & Exhibitions

This important, groundbreaking publication contains the illustrated letters between two great modern artists–Vincent van Gogh and Émile Bernard. The original letters were previously in private hands and have not been seen for approximately seventy years. Here they are published in association with the Van Gogh Museum in Amsterdam and an exhibit at The Morgan Library &amp; Museum in New York. In addition to the letters, the book also includes paintings, photographs, and drawings by both artists, as well as works by artists of the period, such as Paul Gauguin and Jean-François Millet. These letters, written between 1887 and 1889, are among the most important and relevant sources of insight into van Gogh’s life and art. They bridge the time when van Gogh was living and working in Paris, where he painted most of his self-portraits (mainly because he was unable to afford models), to the small town of Arles, in Provence. Here he adopted new types of compositions and developed new ideas about color–all of which he describes in detail in letters to his friend and fellow painter Bernard. Only a year later, in July 1890, van Gogh died, at the age of thirty-seven. The authors have carefully placed each letter in context of relevant events and have written authoritative commentaries on the content of the letters.

Vincent Van Gogh, Painted with Words: The Letters to Emile Bernard

Luitjen, Hans

The Van Gogh Museum

Rizzoli

<ul><li>The book accompanies a touring exhibition at the Taft Museum of Art, Cincinnati, USA from 19 February to 26 May 2016; the Scottish National Gallery, Edinburgh from 25 June to 2 October 2016 and the Van Gogh Museum from 21 October 2016 to 29 January 2017. </li></ul>
Charles François Daubigny (1817'1878) was one of the most important French landscape painters of the nineteenth century. This book reassesses his work and examines his importance for the Impressionists, as well as Van Gogh. Daubigny helped to shape Impressionism through his working practice: routinely painting outdoors, often from his studio boat; exploring new subjects and unexpected viewpoints; and developing a radically 'unfinished' style and a brighter palette. He supported the Impressionists at the Paris Salons and introduced both Monet and Pissarro to the art dealer Paul Durand-Ruel. He moved towards a more subjective interpretation of nature in his later sunsets and nocturnes, inspiring not only Monet, but Vincent van Gogh, who spent the last two months of his life close to Daubigny's home and studio at Auvers-sur-Oise. These themes and others are explored through a series of essays that examine his interactions with the young Impressionists, the market response to his paintings, the evolution of his highly original technical processes and his role as the leader of an artists' colony.

Inspiring Impressionism: Daubigny, Monet, Van Gogh

Ambrosini, Lynne

Boitelle, Renee

van Dijk, Maite

CLARKE, Michael

National Galleries Of Scotland

This work traces the artists and photographers who—whether fascinated or repelled by prostitution in all its forms—captured the realities and fantasies of this ambiguous world. From the scandalous Olympia by Manet to Degas’s The Absinthe Drinker, from Toulouse-Lautrec and Munch’s forays into brothels to the bold figures and caricature portraits of Rouault, van Dongen, and Picasso, this book foregrounds how the shadowy domain of prostitution played a central role in the development of modern painting. In nine chapters, these paintings, sculptures, lithographs, sketches, photographs, and press clippings are given context within the moral framework of an era when prostitution was considered an unavoidable—or enticing—evil, powerfully evoking the ambivalent place held by prostitutes in the midst of nascent modernity, from the splendours of the demimondaines to the miseries of the working-girl pierreuses.

Splendours and Miseries: Images of Prostitution in France, 1850-1910

Robert, Marie

Pludermacher, Isolde

Flammarion

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