I just prepared a little note for you to go with the picture
in the box; I'll send it carriage-paid (to Antwerp, or all the
way through if possible) to your address Rue de Laval.
If you have to pay anything more on it, it might be because
they only prepay to Antwerp. But I didn't want you to have
charges on it, as it will perhaps disappoint you.
If this should be the case, take your time looking at
Of course, I can't tell what Portier will say.
In the way of criticism, I myself could point out things
which will probably escape most of the critics.
But the reason why I am sending it with a certain confidence
is that, in contrast to many other pictures, there is rusticity
and a certain life in it. And so, though painted in a different
style, in another century than the old Dutch masters, Ostade
for instance, it too comes from the heart of the peasant's
life, and is original.
Though I see, for instance, in the Salon number so many
pictures which, if you like, are faultlessly drawn and painted
as to technique, yet many of them bore me terribly because they
give me neither food for the heart nor for the mind, because
they have obviously been made without a certain passion. And
there is some passion in what I am sending you.
I took great delight in making it, and I have worked at it
with a certain enthusiasm.
It hasn't bored me; perhaps for that reason it will not bore
others. Because I believe this, I send it to you.
That little woman with the spade by Lhermitte, how
characteristic it is, how full of life, as if made by a
peasant who could paint; it is a masterpiece.
If I were you, I should buy copies of the Lhermittes and
keep them for ten years. For they are masterpieces one gets in
this way for one's 50 centimes. How is it possible that the
magazines are not better?
I heard Lançon is dead. I have followed his work for
years and nothing of his has ever bored me.
There is life in every little pencil stroke.
If such a one dies - of that same race as the
Régameys and Renouards, it is a loss and leaves an empty
Lançon's drawings were admirable, so manly and so
I hear Tissot had an exhibition, did you see it?
It all depends on how much life and passion an artist is
able to express in his figure; if there is real life in it,
then a lady's figure by Alfred Stevens for instance or some
Tissots are certainly beautiful too.
And the peasants by Lhermitte, Millet, are so splendid just
because of the life there is in them.
In whatever direction one may work, be it Israëls,
Herkomer, so many different styles - if there is life and
feeling in it, then it is good.
I suppose there are still many beautiful pictures among
those that have not been reproduced. But when I remember
a Salon of '70 or '74, for instance, I think there used to be a
higher standard, and since then it has been lowered. One has
only to look over the Boetzel Albums, for instance. And the
best masters are not even reproduced there, for instance Millet
I don't pretend to know it all myself. On the contrary, you
see so many Daubignys, Corots, Millets, Duprés,
Israëlses, Herkomers, Bretons, etc., and I never see any
of them. But I think about it every day and feel that the
colour scale of all those painters is lower than it
seems, and that even those pictures which seem light, if
one looks carefully and compares, are in lower colour scale
than even Mauve's greys. Except perhaps the very best
Mauves - for instance that old one in the Post Collection with
that caravan of old nags and his picture at the Salon two years
ago, the launching of that smack.
I hear or see so little, hardly anything at all, so I
haven't the opportunity to test my opinions against the
pictures themselves. But working and seeking and living with
nature, as I told you before, that question gives me no rest.
And there is nothing that expresses what I mean so well, there
is nothing that gives me such a solid base for my theory as
that saying which expresses Millet's colour and technique so
perfectly: “Son paysan semble peint avec la terre meme
Mauve - when he paints brightly - and the other light
Dutch painters of good quality do not use different colours
than the contemporary French painters or those of the old-Dutch
school - namely very simple palettes - but here in Holland they
use more white than Millet or Dupré or Daubigny or
If some pictures you might see should make you want to write
about them sometime, I should be very glad.
I just read an article in the Graphic on an exhibition of 25
drawings by Fred. Walker. Walker died some ten years ago, you
know. Pinwell too - while I'm on this subject, I'm thinking of
their work too, and how clever they were. How they did in
England exactly what Maris, Israëls, Mauve, have done in
Holland, namely restored nature over convention; sentiment and
impression over academic platitudes and dullness. How they were
the first tonists.
But I remember peasants in the field by Pinwell, “The
Harbour of Refuge” by Walker, of which one might also
say, peints avec la terre. I ought to see more pictures
in order to be able to draw conclusions, and I ask you only, Do
you know anything about it? Wine, of course, contains a
quantity of moisture or water, and there will always be water
in it; but when too much water is added - it becomes weak. I do
not pretend to say that one can, or must, paint light tones
without white, no more than I should ever assert that wine must
be dry. But I do say that one must take care in our days of
clarity (?) and lightness (?), not to water wine too much, not
to mix too much white in the wine of colour, so that some
passion remains and the effects do not become too tame and
weaken the whole thing.
Do you know where one could learn something about this?
From a picture by Leys, not from the first period, but from
Ley's second and third period.
I remember “The Skaters” and “The Walk on
In both pictures there are figures in the snow, and neither
picture is grey; they are as light as the current Dutch
painters would paint snow. That little picture by Millet which
you mentioned once as the archetype of an impressionist
picture, is it in the Luxembourg?
I believe that many a Dutch landscape would become white,
and yet coloured compared to that tone. One thing I am sure of,
namely that it is mostly painted with red, blue, and yellow,
with perhaps a little, but probably not much, white.
I haven't seen it for ten or twelve years, but the more I
think of it, while myself seeking certain effects in nature,
the less I am inclined to believe that the best French painters
use as much white as one seems to use nowadays.
I know something depends on the models too. When I think of
the Scheveningen girl who sits regularly for Artz, and whom I
remember quite well, she is as fair and as clean as some
whores. That also is beautiful to paint, yes.
But peasants or fishermen in small villages and far from the
city - they are different no matter where they are. They
remind one of the earth, sometimes they seem modelled in
In the poems by Jules Breton, I remember the lines and I
believe it is in the very poem he dedicated to Millet
1 (a peasant going home through the potato fields in
Par le crépuscle et le hâle
Le paysan deux fois bruni.
[By the twilight and his suntan
The peasant is twice browned.]
But don't suppose that I don't like bright pictures for that
reason - to be sure I do; I know a Bastien Lepage - a bride
painted quite blanc sur blanc with a little brown face
in the middle of the picture, splendid, and so many Dutch
pictures with snow, mist and sky - splendid.
I only want to point out that one may do as one likes, for
instance Jaap Maris, who is sometimes very light - next day
will paint a view of the city by night in the darkest colour
scale. What I want to say especially is that pictures like some
old Cabats, for instance, certain Duprés, though perhaps
only painted with red, blue and yellow, without much white, are
in my opinion not at all inferior to later greyer
I got this far yesterday. I just received your letter with
the enclosure, for which hearty thanks.
What you write about the Salon is very interesting.
However, there are many other colour scales too, but that of
orange against blue is logical; so is yellow against violet, so
is red against green.
The box for the picture is ready, so I am sending it flat.
It is a light box, but it must dry another day or two. I'm
sending ten other painted studies at the same time.
Please tell me some more about the picture by Uhde; you know
Rembrandt painted the same subject in his large picture at the
I am in all the mess of moving. Once more, thanks for what
you sent. With a handshake,
Ever yours, Vincent
At this time, Vincent was 32 year old
Vincent van Gogh. Letter to Theo van Gogh. Written 4 or 5 May 1885 in Nuenen. Translated by Mrs. Johanna van Gogh-Bonger, edited by Robert Harrison, number 406.
This letter may be freely used, in accordance with the terms of this site.