My dear Theo,
Ordinary rough yellow canvas, width two yards
No. 0, 10 yards in the piece, price 40 francs.
The discount is certainly 25 per cent, probably the factory
price at first hand 33 1/3 Per cent.
So here is an opportunity to check Tasset's prices. Whether
or not we set aside the five yards I ordered, it would be
better to take a whole piece. As I have recently bought some
canvases, the stretchers of which I shall keep, the advantage
To make a size 30 canvas, not counting the stretcher I have,
the canvas will cost me 1 fr. 50 (the price mentioned above)
and at present, with the stretcher, it costs 4 Fr. Figure 1 fr.
for the stretcher, which costs less, that makes a difference of
1.50 fr. and more on each size 30 canvas, the extra will go
toward the carriage, which will be 5 francs.
Just see, if you can, what Tasset says when you ask him the
price of the piece, but what I have just given you as the price
per piece is correct, and you can compare.
Do you remember among the little drawings a wooden bridge
with a washing place, and a view of the town in the distance? I have just painted that
subject in a large size.
Don't you believe a word of it.
Is it not emotion, the sincerity of one's feeling for
nature, that draws us, and if the emotions are sometimes so
strong that one works without knowing one works, when sometimes
the strokes come with a continuity and a coherence like words
in a speech or a letter, then one must remember that it has not
always been so, and that in time to come there will again be
hard days, empty of inspiration.
So one must strike while the iron is hot, and put the forged
bars on one side.
I have not yet done half the 50 canvases fit to be shown in
public, and I must do them all this year.
I know beforehand that they will be criticized as hasty.
If Gauguin won't come to work with me, then I have no other
means than my work to set against my expenses. This prospect is
only moderately alarming. If my health does not betray me, I
shall polish off my canvases, and there will be some that will
do among them.
I am almost reconciled to the orchard, the one not on
stretchers, and its pendant with the stippling. They may pass
muster in the crowd. But I have less trouble working in
the full heat than I did in the spring. I shall soon send you
some rolled-up canvases, and the others one by one, as it
becomes possible to roll them.
I should very much like to double the order for the zinc
whites. This zinc white is partly the reason why they dry
so slowly, but it has advantages in mixing.
Wasn't it rather pleasant this winter at Guillaumin's to
find the landing and even the staircase, not to mention the
studio, quite full of canvases? You can understand, therefore,
that I have a certain ambition - it's not the number of
canvases, but just that the very mass of them represents real
labour, on your part as well as on mine. The wheatfields have
been a reason for working, just like the orchards in bloom. And
I only just have time to get ready for the next campaign, that
of the vineyards.
And between the two I'd like to do some more marines.
The orchards meant pink and white; the wheatfields, yellow;
and the marines, blue. Perhaps now I shall begin to look around
a bit for greens. There's the autumn, and that will give the
whole scale of the lyre.
I am very curious to know what Gauguin will do. The great
thing is not to discourage him, but I think all the same that
his whole plan is nothing but a freak.
You do know what I want to repeat once again, that my
personal wishes are subordinate to the interests of others, and
I still think that someone else might profit from the money
that I spend alone. Either Vignon, or Gauguin, or
Bernard, or someone else.
And that I am ready for some such combination, even if it
means leaving here.
Two people who have some sort of understanding, or even
three, do not spend much more than one.
Not even on paint.
So then, without counting the extra work done, you would
have the satisfaction of keeping two or three going instead of
This sooner or later. And provided that I am as strong as
the others, believe me there wouldn't be much chance of
disappointment, seeing that if they had difficulties with their
work, I should have been through those difficulties myself, and
I'd know what it was all about. So that one would have a
perfect right, it might even be one's duty, to urge them to
And that is what must be done.
If I am alone - I can't help it, but honestly I have less
need of company than of furiously hard work, and that is why I
am boldly ordering canvas and paints. It's the only time I feel
I am alive, when I am drudging away at my work.
If I had company, I should feel it less of a necessity; or
rather I'd work at more complicated things.
But alone, I only count on the exaltation that comes to me
at certain moments, and then I let myself run on
So the canvases that I bought here not so long ago are
almost all used up, When I send you the rolled-up canvases,
perhaps you could take a goodish lot of stuff that isn't very
important off the stretchers, so that, by the end of the year,
we may be able to show, say, 50 pieces to Pissarro and the
And the rest - I mean the studies - will be a stock for
reference, and when they are properly dry, they can be kept in
a portfolio or cupboard, without their taking up too much
A handshake for you and the comrades, if you see any of
Ever yours, Vincent
At this time, Vincent was 35 year old
Vincent van Gogh. Letter to Theo van Gogh. Written c. 7 July 1888 in Arles. Translated by Mrs. Johanna van Gogh-Bonger, edited by Robert Harrison, number 504.
This letter may be freely used, in accordance with the terms of this site.