| | 35 letters relate to art - influences... | Excerpt length: shorter longer | |
| Letter from Vincent van Gogh to Emile Bernard
(18 March 1888)
... the sun and colour that
exist in the Midi. If the Japanese are not working in their
country it is certain that their art continues in France. At
the top of this letter I am sending you a small sketch of a
study that I am trying to make something of - sailors with
their sweethearts going up to the town, which is profiled by
the strange silhouette of its drawbridge on a huge yellow sun .
I have another study of the same drawbridge
with a group of washerwomen . I will be happy
with a word from you to know what you are doing and where you
are going. A good cordial handshake to you and to our
friends,
The best to you,
Vincent
[See illustration of page one and page
two of the letter.]
... | Brief van Vincent van Gogh naar Wilhelmina van Gogh
(30 March 1888)
... in de
tropische landen zullen gaan werken. Ge kunt U wel
een begrip maken van de verandering in de schilderijen als ge
nog wat dat b.v. denkt aan de kleurige Japansche voorstellingen
die men overal ziet landschappen en figuren. Theo en ik
hebben honderen ventie Japansche prenten. Ge
ziet ik schrijf U enkel over ’t werk vandaag en ik moet eindigen
en weet niet of ik hier nog verder bij zal kunnen schrijven.
Het beste U zelf en Moe toegewenscht en dank voor uwe
lbrieven.
Vincent
Mijnerzijds moet ik U zelf ook met een verjaardag gelukwenschen - daar
ik U graag iets van mijn werk wou geven dat U bevallen mogt
zal ik voor U apart houden een kleine studie van een boek
,en een bloem in grooter formaat met een
heele massa boeken met rose geele groene dinslagen en
vuurroode - was mijn set 7 Romans Parisiens , ’t zelfde onderwerp - Theo zal
U die meebrengen - ik heb ook een studie voor Jet Mauve.
... | Letter from Vincent van Gogh to Wilhelmina van Gogh
(30 March 1888)
... painters will go and work in tropical countries. You will be
able to get an idea of the revolution of painting when you
think, for instance, of the brightly coloured Japanese pictures
that one sees everywhere, landscapes and figures. Theo and I
have hundreds of Japanese pictures in our own possession. You
see I wrote only about my work, and I have to stop now, and I
don't know if I shall be able to write anything more.
Best wishes to you and Mother, and thanks for your
letters.
Vincent
It is my own duty to congratulate you on your birthday; as I
should very much like to give you something of my work that
will please you, I have set aside a little study of a book for
you , and also, on a somewhat larger scale, a
flower, with a lot of books with pink, green and bright red
bindings - they were my set of seven Parisian novels , the same subject - Theo will
take them along for you - I have a study for Jet Mauve too.
... | Letter from Vincent van Gogh to Theo van Gogh
(5 June 1888)
... ones who
have praised the stuff.
About this staying on in the South, even if it is more
expensive, consider: we like Japanese painting, we have felt
its influence, all the impressionists have that in common; then
why not go to Japan, that is to say to the equivalent of Japan,
the South?
Only it's bad policy to stay here alone, when two or three
could help each other to live cheaply.
I wish you could spend some time here, you would feel it
after a while, one's sight changes: you see things with an eye
more Japanese, you feel colour differently. The Japanese draw
quickly, very quickly, like a lightning flash, because their
nerves are finer, their feeling simpler.
I am convinced that I shall set my individuality free simply
by staying on here.
I have only been here a few months, but tell me this - could
I, in Paris, have done the drawing of the boats in an hour? Not
even with the perspective frame, and this one is done without
measuring, just by letting my... | Letter from Vincent van Gogh to Emile Bernard
(6-11 June 1888)
... that of green and red,
for example.
The Japanese make use of it for that matter. They express
the mat and pale complexion of a young girl and the piquant
contrast of the black hair marvellously well by means of white
paper and four strokes of the pen. Not to mention their black
thornbushes starred all over with a thousand white flowers.
At last I have seen the Mediterranean, which you will
probably cross sooner than I shall.
I spent a week at Saintes-Maries, and to get there I drove
in a diligence across the Camargue with its vineyards, moors
and flat fields like Holland. There, at Saintes-Maries, were
girls who reminded one of Cimabue and Giotto - thin, straight,
somewhat sad and mystic. On the perfectly flat, sandy beach
little green, red, blue boats, so pretty in shape and colour
that they made one think of flowers. A single man is their
whole crew, for these boats hardly venture on the high seas.
They are off when there is no wind, and make for the shore when
... |
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