Letter from Vincent van Gogh to Theo van Gogh (c. 13-17 April 1885) ... Dear Theo
Enclosed you will find some interesting pages about
colour, namely the great principles which Delacroix
believed in.
Add to this “les anciens ne prenaient pas par la
ligne, mais par les milieux,” that means, starting with
the circular or elliptical bases of the masses, instead of the
contour.
I found the exact words for the latter in Gigoux's book, but
the fact itself had already preoccupied me a long time. I
believe the fuller of sentiment a thing one makes is, and the
more true to nature, the more it is criticized and the more
animosity it rouses, but after all, in the end it will rise
above the criticism.
I was very glad to hear Portier's opinion, but the question
is whether he will stick to it. But I know some of those rare
people who have “foi de charbonnier” do exist, and
don't swing back and forth with public opinion. I am very glad
that he found “personality” in it. In fact, I try
more and more...
Letter from Vincent van Gogh to Theo van Gogh (4 or 5 May 1885) ... Because I believe this, I send it to you.
Be sure, however, that I greatly admire things in the Salon
number like “The Lark” by Jules Breton, Roll's
picture, also the Fantin Latour, also “The Coast of
Cornwall,” Vernier and some others. I think they are
splendid, though I can honestly say of many other
enormous canvases that they bore me terribly.
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,...
Letter from Vincent van Gogh to Theo van Gogh (early May 1885) ... to observe
daily.
Well, goodbye. Understand me well - I do not say that Millet
didn't use white when he painted snow, but I mean that he and
the other tonists could have done so if they had wanted to, in
the same way as Delacroix tells that Paul Veronese painted
pale, fair, nude women with a colour which, considered
separately, looked like street dirt.
With a handshake,
Ever yours, Vincent
I think you will see from the picture that I have my own way
of looking at things, but that there is some conformity with
others, for instance, certain Belgians. What a shame they
refused Josephson's picture. But why don't the rejected
painters join hands and do something for themselves? Union is
strength.
...
Letter from Vincent van Gogh to Theo van Gogh (c. 11 May 1885) ... very busy these days, drawing figures.
Thanks also for the copy of Le Temps you sent, with the
article about the Salon by Paul Mantz.
I haven't read such a good article in a long time.
I think it very good - the beginning - the picture of those
Laplanders, who, after the long winter's night, see the sun
rise from their dark hut - how in art they are also waiting for
light.
Then immediately after, his pointing to Millet, who has
decidedly given new light - “et qui restera.”
Then his pointing out Lhermitte as Millet's successor. I
think it all manly language, and perfectly correct, and broadly
observed.
But I think it a pity that he calls Roll a
“commençant” [beginner], for that means
slighting him, and Roll has already made so many beautiful
things and is “hors ligne.”
At least his “Grève de Mineurs” [Miner's
Strike] is already “hors ligne.” When Paul Mantz
says that Roll's labourers...
Letter from Vincent van Gogh to Theo van Gogh (c. 1 June 1885) ... on showing it and I shall go on sending.
If he will write me his observations, I think they may be
useful to me, and he must not hold them back. I must tell you
that I sometimes long very much to see the Louvre and the
Luxembourg again, and that sooner or later I shall have to
study the technique and colour of Millet, Delacroix, Corot and
others. But it is not immediately urgent; I think the more I
work, the greater use it will be to me when it happens
someday.
But it is a fact that one needs both nature and
pictures.
