Many particulars of his stay in Antwerp and the work Vincent
made there are contained in the solid dissertation by Doctor
Mark Edo Tralbaut, published under the title Vincent van
Gogh in zijn Antwerpse Periode (V. v. G. in his Antwerp
period) by A. J. G. Strengholt's Publishing Company, Amsterdam,
1948.
The following details are reprinted from this book, with the
exception of an interview with Hageman, which is reprinted - as
it is by Dr. Tralbaut too - from Louis Pierard's La vie
tragique de Vincent van Gogh, Editions Correa & Cie,
Paris, 1939.
Vincent arrived in Antwerp on November 27 or 28, 1885. He
lived in Beeldekensstraat (Rue des Images, Little Images
Street!) at No. 194, now [i.e. in 1952] changed to 224 Lange
Beeldekensstraat. On January 18, 1886, he was entered at the
academy (Tralbaut reproduces a facsimile of the register).
Karel Verlat, the director, saw Vincent's work and admitted
him. He followed the evening classes led by Eugene Siberdt
1 for drawing after the live model, and those led by
Frans Vinck for the drawing of ornaments. Moreover, he
participated in the day classes led by Piet van Havermaet, for
drawing from life and antique subjects.
Vincent drew at two evening clubs, apart from the academy.
Tralbaut says of this, on pp. 171-172 of his book:
As Richard Baseleer [note: Richard Baseleer was a well-known
marine painter, a contemporary of Vincent's] confided to us,
one day the whole painting class went on strike - not exactly
an everyday sort of strike, this! - because Verlat, whom the
pupils liked very much notwithstanding, was always giving them
the same models. As a result of this “palace
revolution,” a studio was fitted up in what is now
“Winkler's House” in the High Market. And ... it is
quite possible, so Baseleer asserted, that it was in this very
studio that Levens painted the portrait of Vincent, a
reproduction of which was published in Van Nu en Straks
[The Present and Presently]. He was unable to prove
this, but the statement appeared to rest on a strong
impression.
By the way, let it be mentioned in passing that Vincent made
a picture of the so-called “Winkler's House” when,
during his stay on the banks of the Scheldt, he did a drawing
of the High Market (Grote Markt), with the Cathedral tower in
the background.
The stinginess with models also found expression in another
field, namely the study from the nude, the very object of
Vincent's quest.
According to Richard Baseleer the pupils were not allowed to
paint or draw from the completely nude model, at least not in
the day classes; on the other hand, it was permitted in the
evening, but in that case never from a female specimen! The
utmost limit of propriety and moral decency, which it was under
no circumstances allowed to overstep, was the head of a woman,
but never a torso!
However, in the clubs, mostly got up by the students of the
higher classes, they were free in the choice of their models.
In his correspondence Vincent called them “drawing
clubs,” whereas the Antwerp people were in the habit of
calling them “sketching clubs.” Not the faintest
trace could be found of a regulated organization. At the end
of the week each member paid his share of the expenses, which
were strictly limited to the remuneration of the models, for
they got the room “free for nothing,” as the
members drank a pint of beer each every evening.
At the time Baseleer was also a member of a drawing club,
which was located in Reynders Street, and which owed its
existence to the reaction against…Siberdt, with the
object of getting a free choice of models. Seeing that Vincent
mentions two drawing clubs, where he went to work in the
evening, it is not impossible, on the contrary it is highly
probable, that these two clubs were the sketching clubs here
described. However, this is not absolutely certain, and seeing
that these clubs were not organized in the accepted sense of
the word and therefore possessed neither registers of members
nor records of the proceedings, nor cash books, one may
suppose there is little chance of discovering new evidence in
any records that may yet be unearthed.
Because of Vincent's membership in two such clubs, he at
last fulfilled his ardent wish, for which his artist's soul had
been craving painting from the nude.
As to Vincent's entrance into the academy, Richard Baseleer,
who was also present, told Tralbaut the following details
(see Tralbaut, pp. 138 - 139):
Both the drawing and the painting class were housed in the
covered courtyard, but they were separated by a wooden
partition. One-third of the space was reserved for the drawing
class, the remaining two-thirds at the disposal of the painting
class. As a result of this arrangement, one was obliged to
cross the whole painting class in order to reach the drawing
class.
Considered apart, this was a decidedly unfortunate solution
of the ticklish problem of the Lebenstraum, at least as
far as the youthful draftsmen and painters of the Antwerp
academy were concerned. But the acme of what may be looked upon
as a miniature babel of confusion was reached every time there
was an interval between the lessons, for then the whole crowd
of young people would swarm about, like a disturbed anthill, in
bustling tumult. True, there was a kind of supervisor to
maintain order among Mr. Verlat's pupils, and, in his absence,
of Mr. Havermaet's, in the shape of a retired Flemish gendarme,
who felt obliged to jabber at all costs some sort of lingo,
which he himself took to be French, and which for instance
would culminate in his favourite repartee: “Moi, je
frotte ma cu à toutes vos blagueries! [I wipe my
ass with all your humbug.]
But on the day when Vincent came rushing in like a bull in a
china shop, and at once began to spread all over the floor a
roll of studies that he had brought under his arm - to the
uninitiated an extremely eccentric method, but in the world of
artists a highly normal way of exhibiting work for professional
inspection - the one-time gendarme was wholly incapable of
exercising his, under other circumstances already dubious,
authority.
They all formed a jostling crowd around the newly-arrived
Dutchman, who looked more like an itinerant oilcloth merchant,
unfurling and unfolding at the bargain market his cheap
remnants of extra-pliable tablecloths than like an artist - not
to mention the now world-famous master, who at that moment was
already through with the Nuenen episode, with the universally
admired “Potato Eaters.”
Well, it was a funny spectacle! And don't ask me if there
was an uproar in consequence! The majority of the young fellows
split their sides with laughter. Richard Baseleer distinctly
remembered that the Englishman Pimm, who instructed his
colleagues in the art of boxing, the Dutchman Briette, and also
the Antwerp artist Karel Berckmans, who later sang the part of
Tamino in Mozart's Magic Flute and other star parts of
the light tenor repertoire, all attended the painting
class.
Very soon the news spread like wildfire all over the
building complex that some sort of savage had dropped in, and
people looked round at Vincent as if he were a rare specimen
out of a collection of human freaks belonging to some traveling
circus.
However, Vincent himself did not perceive this, or rather
behaved as if he did not, for a man with such acute powers of
observation as his could hardly have failed to notice it, and
later on he withdrew into that stoical taciturnity that soon
gained him a reputation for self-centeredness.
On another occasion Van Baseleer gave the following
description of Vincent's arrival at the academy (in an
interview by Charles Bernard in the Antwerp paper Le
Matin of November 13, 1927, Tralbaut, p. 140):
Van Gogh unfurls his
drawings, at which we look with something like a shuddering
terror, and immediately afterward starts painting the nude
model, who at that moment appears before the class.
Tralbaut publishes a reproduction of the official records of
the session of the academy's Board of Governors, at which
Vincent was relegated to a lower class (it was said that he
could not draw, although he had already painted the
“Potato Eaters”).We find in Piérard's
book what Piet van Havermaet told him on this point.
[Piérard, pp. 155-159] On the subject of
Van Gogh's arrival at the academy in Antwerp, here are the
reminiscences noted down from the lips of Mr. Victor Hageman
(who died in October, 1938).
At the time I was a pupil in the drawing class. There were
only a few weeks left until the end of the course. I remember
quite well that weather-beaten, nervous, restless man who
crashed like a bombshell into the Antwerp academy, upsetting
the director, the drawing master and the pupils.
Van Gogh, who was then thirty-one years old, first went into
the painting class taught by Verlat, the director of the
academy, the perfect type of the official painter, whose duty
it was to transmit to posterity, by means of the interpretative
realizations of the art of painting, memories of great
patriotic solemnities. One morning Van Gogh came into the
class, in which there were about sixty pupils, more than a
dozen of whom were German or English; In place of a
regular palette be used a board torn from a packing case that
had contained sugar and yeast. On that day the pupils had to
paint two wrestlers, who were posed on the platform, stripped
to the waist.
Van Gogh started painting feverishly, furiously, with a
rapidity that stupefied his fellow students. “He laid on
his paint so thickly,” Mr. Hageman told us, “that
his colors literally dripped from his canvas on to the
floor.”
When Verlat saw this work and its extraordinary creator, he
asked in Flemish, in a tone of voice that showed how dumfounded
he was, “Who are you?”
Van Gogh replied quietly, “Well, I am Vincent, a
Dutchman.”
Then the very academic director proclaimed contemptuously,
while pointing at the newcomer's canvas, “1 won't correct
such putrefied dogs. My boy, go to the drawing class
quickly.”
Van Gogh, whose cheeks had gone purple, restrained his
anger, and fled to the course of good Mr. Sieber (sic),
who was also frightened by the novel phenomenon, but who had a
less irascible temperament than his director.
Vincent stayed there for some weeks, drawing zealously,
taking great pains, and visibly suffering under his efforts to
grasp the vigour of the subject, working rapidly, without
making corrections, more often than not tearing up the drawing
he had just finished, or else throwing it down behind him. He
made sketches of everything that was to be found in the hall:
of the students, of their clothes, of the furniture, while
forgetting the plaster cast the professor had given him to
copy. Already everybody marvelled at the rapidity with which he
worked, as he did the same drawing or painting over again ten
or fifteen times.
One day, in the drawing class of the academy of Antwerp,
they gave the students (as if by accident) a cast of the Venus
de Milo to copy. Van Gogh, who evidently was struck by one of
the essential characteristics of the model, strongly
accentuated the breadth of the hips, and made Venus the victim
of the same disfigurements he introduced into “The
Sower” by Millet, or “The Good Samaritan” by
Delacroix, other pictures that he was to copy in the course of
his career. The beautiful Greek goddess had become a robust
Flemish matron. When honest Mr. Sieber saw this, he tore Van
Gogh's drawing sheet with the furious corrective strokes of his
crayon, reminding his disciple of the inviolable canons of his
art.
Then the young Dutchman, rustic (sic!) of the Danube
(sic!) (or of the Lower Meuse) whose rudeness had
terrified the fair clients of Goupil's at Paris, flew into a
violent passion, and roared at his professor, who was scared
out of his wits: “So you don't know what a young woman is
like, God damn you! A woman must have hips and buttocks and a
pelvis in which she can hold a child!”... This was the
last lesson Van Gogh took - or gave - at the Antwerp academy.
He had made some staunch friends among the pupils there,
especially among the English, such as Levens. (The latter was
the man who painted the portrait of Vincent that was later
published in the magazine The Present and
Presently.)
With those who understood him, who had an inkling of his
growing genius, he showed himself communicative, enthusiastic,
fraternal. Very often he spoke to them about those rough and
kind-hearted miners of the Borinage, whom he had catechized and
cared for and helped and nursed with so much love. During the
tragic strikes of 1886 he even wanted to go back to that Black
Country.
The above was confirmed by Emanuel de Bom in an article
published in the Rotterdam newspaper Nieuwe Rotterdamse
Courant of November 3, 1938, in which he quotes a letter
written by Victor Hageman. In this may be found (Tralbaut,
p.154):
“He was told to do a drawing of the Venus de
Milo,” De Bom writes. “He was of the opinion that
`that woman must have hips,' and he gave her very un-Grecian
ones, they were `comme ça' ! The drawing
master (I will not mention his name - moreover, he is dead now)
sent Van Gogh down to a lower class, and there Vincent, who
scorned nothing, did drawings of `noses and ears.'
And Baseleer told Charles Bernard in the interview already
quoted that Vincent was reported to have said of the Venus de
Milo: “Fine female, nice hips.” And he
continues:
“I can still see before me that thickset Venus with an
enormous pelvis, that extraordinary, fat-buttocked figure which
had issued from Vincent's drawing pencil. Antiquity as seen by
Rembrandt, Greece through the medium of a distorting windowpane
on the Keizersgracht in Amsterdam.”
Doctor Tralbaut describes in detail how Rubens's pictures
induced Vincent to paint his portraits in lighter tones than in
Nuenen; those who are interested in the subject are referred to
his book.
1. Vincent invariably spelled the name Sibert.
At this time, Vincent was 95 year oldSource: Dr Mark Edo Tralbaut. Letter to n/a. Written 1948 in Antwerp. Translated by Mrs. Johanna van Gogh-Bonger, edited by Robert Harrison, number htm. URL: https://www.webexhibits.org/vangogh/letter/16/etc-458a.htm.
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