Posthumous fame of Vincent van Gogh
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- For a timeline, see Vincent van Gogh chronology
The fame of Vincent van Gogh began to spread in France and Belgium during the last year of his life, and in the years after his death in the Netherlands. It reached its first peak in Austria and Germany before World War I, and at the end of World War I in Switzerland. Due to the economic crisis in Germany and France after 1918, pioneer collections of Impressionist and Post-Impressionist art which included works by Van Gogh were dissolved. Thus, British and American collectors (private as well as public) had the opportunity to acquire first rate works relatively late.
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[edit] Lifetime exhibits
During his life time, Van Gogh contributed works of his own only on a few and minor occasions which mainly passed unnoted by critics and public. For example, in 1887, a display of Japanese woodcuts in the Restaurant Au Tambourin, 62 Boulevard de Clichy, then run by Augustina Ségatori,[1] for which Van Gogh probably interpreted three famous ukiyo-e prints by Keisai Eisen and Hiroshige.
Towards the end of this year, he organized another exhibition in the Grand-Bouillon Restaurant du Chalet, 43 Avenue de Clichy, on Montmartre to which his friends Emile Bernard, Louis Anquetin and evidently Henri de Toulouse-Lautrec contributed. Van Gogh considered the first one a disaster,[2] while he was prepared to take the second one as a success: Bernard and Anquetin sold paintings, and he himself had exchanged works with Paul Gauguin.[3] There are two short accounts of this exhibition, one based on information supplied by Seurat, and the other one written by Emile Bernard. In 1890, Seurat recalled to have met Vincent there for the first time,
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- "in one of these populaire soup kitchens in Avenue de Clichy, now closed. The hall was decorated with his canvases (1887)."
Already the year ago, Emile Bernard had prepared a review of Van Gogh's work for Aurier's Moderniste, which was, as this modest paper ceased to appear suddenly, published for the first time a century later, in 1990.
In 1888, Van Gogh joined the "Société des Artistes Indépendants"; so this year three of his paintings were on show in their annual exhibition in Paris, and two in the year following (due to restrictions caused in 1889 by the Exposition Universelle). In 1890 and 1891, their annual exhibitions comprised ten paintings by Vincent; part of them had been shown before by the society "Les XX" in Brussels, in 1891 completed by a dozen of drawings (some of them only on view "by demand"). According to letters from his brother Theo, Vincent's contributions to these few exhibitions established his renown amongst French vanguard painters like Claude Monet and Paul Signac.
[edit] Early promoters
Probably it is little more than for curiosity that one of the first mentions of Van Gogh in newspapers was printed in Arles. September 30, 1888, L'Homme de Bronze told its readers
- "Mr. Vincent, impressionist painter, works in the night, as we are assured, in the glow of the gas lanterns on one of our public places."[4]
Earlier this year, Van Gogh's contribution to the exhibition of the Artists Indépendants has been reviewed.
Notes on Van Gogh's exhibits were again published in 1889, amongst them a review by the Dutch painter Joseph Jacob Isaacson, a friend of Meyer de Haan and Theo van Gogh, printed in the 17 August 1889 issue of the Amsterdam weekly De Portefeuille. Vincent felt more troubled than honoured, and asked Isaacson to stop writing about him.
But there was no chance to turn the wheel back: January 1890 - in the first issue refounding the Mercure de France - Albert Aurier published his enthousiastic essay 'Les Isolés: Vincent van Gogh', on which Vincent's fame as an artist is based as well as Aurier's as a leading art critic.
Another voice was that of Octave Mirbeau who's review article 'Vincent van Gogh' in L'Echo de Paris on 1 March 1891. Later that year Van Gogh's friend Émile Bernard contributed short pieces on Van Gogh for La Plume and Les Hommes d’aujourd’hui.
Julius Meier-Graefe wrote influentially of Van Gogh, his publications including: Entwicklungsgeschichte der modernen Kunst (Stuttgart, 1904 and later Munich 1927), Über Vincent van Gogh, Sozialistische Monatshefte (February 1906), Vincent van Gogh (Munich 1912), and Van Gogh der Zeichner (Berlin, 1928, published by Otto Wacker).
In the English-speaking world, the Bloomsbury art critics Roger Fry and Clive Bell were his first champions. Fry, in a 1924 essay, "Vincent Van Gogh," reported that after Van Gogh's death, he "disappeared" and "scarcely any picture dealer in Bond Street gave him another thought" until the 1910 show titled "Post Impressionist Exhibition" in which "his works dazzled, astonished and infuriated all cultured England." Fry's essay canonized Van Gogh as "a saint" of art, "the victim of the terrible intensity of his convictions—his conviction that somewhere one might lay hold of spiritual values compared with which all other values were of no account." His works gave "an expression in paint for the desperate violence of his spiritual hunger...."[5]. That set the agenda for many subsequent Van Gogh studies, which are predominantly biographical to this day. Van Gogh fits modern culture's attempt to find secular substitutes for a religion it no longer believed in, as M.H. Abrams describes in "Natural Supernaturalism" (1970).
[edit] Early exhibitions
There were retrospectives in Brussels and Paris in 1891. During the 1890s, Van Gogh exhibitions were staged in several Dutch and Belgian towns. In 1893, Julien Leclercq brought together a first exhibition featuring Van Gogh, Gauguin and other "modernists" touring Denmark, Norway, Sweden, Finland and Berlin. In 1895 and in 1896 Ambroise Vollard mounted Van Gogh retrospectives in his galleries Rue Lafitte; other minor dealers in Paris had works by Van Gogh continuously on display. In 1901, Leclercq arranged a Van Gogh Exhibition at the Galeries Bernheim Jeune in Paris .
In 1901, the Berlin Secessionists entered the scene, accompanied by the art dealers Bruno Cassirer and especially his cousin Paul, who set the pace for the years to come. Paul Cassirer first established a market for Van Gogh, and then, with the assistance of Johanna van Gogh-Bonger, controlled market prices for him. However, Johanna was keen to maintain her independence, and contributed important loans to Roger Fry's 1910 London exhibition, as well as to the Sonderbund exhibition of 1912 in Cologne. This was organized by an independent committee of artists, collectors and museum professionals, but in fact dependent on loans arranged by Cassirer, Bernheim Jeune and other art dealers.
The first major exhibition from the artist's estate was shown in 1892 in the Amsterdam 'Panorama' Building, the next in 1905 in the Stedelijk Museum Amsterdam, followed in 1914 by a display concentrating on Van Gogh's drawings.
[edit] Early private and public collectors
Van Gogh's friends, his colleagues and promoters were at the same time his first collectors. Paul Gauguin, Émile Bernard, Toulouse Lautrec, Émile Schuffenecker, Edgar Degas as well as Albert Aurier, Octave Mirbeau, Julien Leclercq and Van Eeden - each of them held works by Vincent.
In 1903, the first works of Vincent entered museum collections in Vienna and Rotterdam, as well as Folkwang Museum, then privately run by Karl-Ernst Osthaus in Hagen (later transferred to Essen).
[edit] Forgeries
In the "Winter Season 1927/1928" a problem began that has overshadowed Van Gogh-research ever since — the emergence of forgeries. Otto Wacker staged an extensive exhibition of drawings by Van Gogh, catalogued and annotated by Julius Meier-Graefe. Then in January 1928, Paul Cassirer opened a large retrospective of paintings, from which two were removed just before the opening, as their authenticity had been questioned. The suspect paintings had been provided by Otto Wacker, and a scandal ensued.
Little attention was paid at this time to the considerable number of Van Gogh masterpieces already held by the Museum of Modern Art New York (established in 1929), along with the Tate Gallery in London and other British and American galleries.
There has been a reaction against the depiction of Van Gogh as a saint. John Rewald was one of the first to attempt an anti-hagiography; books pointing to Van Gogh's neuroticism have continued since. Counter-claims, particularly based on Van Gogh's three volumes of letters, support Roger Fry's praise.[6]
[edit] Resources
[edit] Notes
- ^ Carol Zemel (1997), ill. p. 186
- ^ Beaubourg
- ^ Letter 510; for the paintings exchanged, see Annet Tellegen, Vincent en Gauguin. Schilderijenruil in Parijs, Museumjournaal 1966, pp. 42-44.
- ^ Roland Dorn 1988, p. 387
- ^ Transformations, NY: Doubleday, 1956, pp 235-236
- ^ New York: Bulfinch imprint of Little, Brown, 1958, 1978, 1991
[edit] References
- Indépendants-catalogues reprinted
- Les XX-catalogues reprinted
| Vincent van Gogh |
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 Groups and series of works: The Décoration for the Yellow House | The Roulin Family | Display at Les XX, 1890 | Auvers size 30 canvases | Auvers Double-squares and Squares |
