FOOTNOTES:[1]1 See “Mercure de France,” vol. 48, p. 127 (Oct. 1903), Article, “Paul’ Gauguin,” by Charles Morice.[2]“Mercure de France,” vol. 48 (Oct. 1903), p. 127.[3]That Vincent also often felt depressed about his work may be gathered from the following passage, taken from a letter to his brother, not included in this volume: “C’est une perspective assez triste de devoir se dire que jamais la peinture que je fais n’aura une valeur quelconque.”[4]See Emile Bernard’s preface to his publication of Van Gogh’s letters in the “Mercure’ de France,” vol. 7, p. 324.[5]As to how he overcame his academic period, see Meier Graefe’s work, “Impressionisten” (p. 122) where the author has some interesting things to say.[6]“Mercure de France,” vol. 48 (1903), p. 105.[7]The italics are mine.—A. M. L.[8]Not included in this collection of letters.[9]I could not discover who the owner was; but the present number of the exhibit is 984F and the picture is marked “In Bruikleen” = lent.[10]I have reasons to believe that this wonderful picture was sold by the Sonderbund people at the very time of my visit to Cologne for the sum of £450. But I was unable to discover the name of the new owner.[11]See particularly his picture No. 1105 at the Ryksmuseum, Amsterdam.[12]I wonder if it is to this work that Gauguin refers when, speaking of the progress Van Gogh was making under his tuition, he asks Morice: “Avez-vous vu la gure et les cheveux, jaune de chrome?”[13]“Mercure de France,” vol. 48 (1903), p. 127.[14]Ibid., p. 129.[15]Both belonging to Galerie E. Druet in 1911.[16]Belonging to Bernheim Jeune in 1911.[17]“Mercure’ de France,” vol. 13 (1895).[18]“Impressionisten,” p. 128. By-the-bye, Meier Graefe does not say why he thinks this, nor does he reveal the source of his judgment.[19]“Mercure’ de France,” vol. 48, p. 126.[20]At Amsterdam. The picture here referred to, which, as far as I was able to judge, measured 10 in. by 6 in., represents a monk seated by the side of a sick or dying man’s bed.—Tr.[21]A word suggesting bold virtuosity in expressing an impression.—Tr.[22]The German iswanzenartig, but the above rendering gives, I think, a better idea of Van Gogh’s meaning than a literal translation would.—Tr.[23]Van Gogh must be referring, here, to Japanese prints which have undergone a process of craping. For details of this process see “Japanese Colour Prints” by E. F. Strange (pp. 110, 111).—TR.[24]This sentence does not seem to make sense, even in the French, without this interpolation.—Tr.[25]The writer is undoubtedly referring to the St. Matthew in the Louvre.[26]In the Middle Ages these were corporations consisting of all people engaged in the writing and general production of books, as at Antwerp, for instance. These guilds, which in other places, as at Bruges, were also called St. John Guilds, were often joined by the first printers, until their numbers in any particular town allowed them to form a guild of their own.—Tr.[27]The German is “No. 30 Quadrat,” which is rendered approximately by the above.—Tr.[28]German “No. 30.”—Tr.[29]The German is:zwei Bilden in Breitformat. The only English term which appears to be used to designate a picture the horizon line of which runs parallel to the longest sides of the canvas, and which is therefore the reverse of an “upright,” is “landscape-shape.”—TR.[30]See note onp. 40.[31]See note onp. 91.[32]Ger. “No. 15.”—Tr.[33]See note,p. 40.[34]These figures are approximate only. The German equivalents are Nos. 25, 30, and 20.—Tr.[35]See notep. 91.[36]Reference to Diaz’s self-sacrificing friendship for Millet.
FOOTNOTES:
[1]1 See “Mercure de France,” vol. 48, p. 127 (Oct. 1903), Article, “Paul’ Gauguin,” by Charles Morice.
[1]1 See “Mercure de France,” vol. 48, p. 127 (Oct. 1903), Article, “Paul’ Gauguin,” by Charles Morice.
[2]“Mercure de France,” vol. 48 (Oct. 1903), p. 127.
[2]“Mercure de France,” vol. 48 (Oct. 1903), p. 127.
[3]That Vincent also often felt depressed about his work may be gathered from the following passage, taken from a letter to his brother, not included in this volume: “C’est une perspective assez triste de devoir se dire que jamais la peinture que je fais n’aura une valeur quelconque.”
[3]That Vincent also often felt depressed about his work may be gathered from the following passage, taken from a letter to his brother, not included in this volume: “C’est une perspective assez triste de devoir se dire que jamais la peinture que je fais n’aura une valeur quelconque.”
[4]See Emile Bernard’s preface to his publication of Van Gogh’s letters in the “Mercure’ de France,” vol. 7, p. 324.
[4]See Emile Bernard’s preface to his publication of Van Gogh’s letters in the “Mercure’ de France,” vol. 7, p. 324.
[5]As to how he overcame his academic period, see Meier Graefe’s work, “Impressionisten” (p. 122) where the author has some interesting things to say.
[5]As to how he overcame his academic period, see Meier Graefe’s work, “Impressionisten” (p. 122) where the author has some interesting things to say.
[6]“Mercure de France,” vol. 48 (1903), p. 105.
[6]“Mercure de France,” vol. 48 (1903), p. 105.
[7]The italics are mine.—A. M. L.
[7]The italics are mine.—A. M. L.
[8]Not included in this collection of letters.
[8]Not included in this collection of letters.
[9]I could not discover who the owner was; but the present number of the exhibit is 984F and the picture is marked “In Bruikleen” = lent.
[9]I could not discover who the owner was; but the present number of the exhibit is 984F and the picture is marked “In Bruikleen” = lent.
[10]I have reasons to believe that this wonderful picture was sold by the Sonderbund people at the very time of my visit to Cologne for the sum of £450. But I was unable to discover the name of the new owner.
[10]I have reasons to believe that this wonderful picture was sold by the Sonderbund people at the very time of my visit to Cologne for the sum of £450. But I was unable to discover the name of the new owner.
[11]See particularly his picture No. 1105 at the Ryksmuseum, Amsterdam.
[11]See particularly his picture No. 1105 at the Ryksmuseum, Amsterdam.
[12]I wonder if it is to this work that Gauguin refers when, speaking of the progress Van Gogh was making under his tuition, he asks Morice: “Avez-vous vu la gure et les cheveux, jaune de chrome?”
[12]I wonder if it is to this work that Gauguin refers when, speaking of the progress Van Gogh was making under his tuition, he asks Morice: “Avez-vous vu la gure et les cheveux, jaune de chrome?”
[13]“Mercure de France,” vol. 48 (1903), p. 127.
[13]“Mercure de France,” vol. 48 (1903), p. 127.
[14]Ibid., p. 129.
[14]Ibid., p. 129.
[15]Both belonging to Galerie E. Druet in 1911.
[15]Both belonging to Galerie E. Druet in 1911.
[16]Belonging to Bernheim Jeune in 1911.
[16]Belonging to Bernheim Jeune in 1911.
[17]“Mercure’ de France,” vol. 13 (1895).
[17]“Mercure’ de France,” vol. 13 (1895).
[18]“Impressionisten,” p. 128. By-the-bye, Meier Graefe does not say why he thinks this, nor does he reveal the source of his judgment.
[18]“Impressionisten,” p. 128. By-the-bye, Meier Graefe does not say why he thinks this, nor does he reveal the source of his judgment.
[19]“Mercure’ de France,” vol. 48, p. 126.
[19]“Mercure’ de France,” vol. 48, p. 126.
[20]At Amsterdam. The picture here referred to, which, as far as I was able to judge, measured 10 in. by 6 in., represents a monk seated by the side of a sick or dying man’s bed.—Tr.
[20]At Amsterdam. The picture here referred to, which, as far as I was able to judge, measured 10 in. by 6 in., represents a monk seated by the side of a sick or dying man’s bed.—Tr.
[21]A word suggesting bold virtuosity in expressing an impression.—Tr.
[21]A word suggesting bold virtuosity in expressing an impression.—Tr.
[22]The German iswanzenartig, but the above rendering gives, I think, a better idea of Van Gogh’s meaning than a literal translation would.—Tr.
[22]The German iswanzenartig, but the above rendering gives, I think, a better idea of Van Gogh’s meaning than a literal translation would.—Tr.
[23]Van Gogh must be referring, here, to Japanese prints which have undergone a process of craping. For details of this process see “Japanese Colour Prints” by E. F. Strange (pp. 110, 111).—TR.
[23]Van Gogh must be referring, here, to Japanese prints which have undergone a process of craping. For details of this process see “Japanese Colour Prints” by E. F. Strange (pp. 110, 111).—TR.
[24]This sentence does not seem to make sense, even in the French, without this interpolation.—Tr.
[24]This sentence does not seem to make sense, even in the French, without this interpolation.—Tr.
[25]The writer is undoubtedly referring to the St. Matthew in the Louvre.
[25]The writer is undoubtedly referring to the St. Matthew in the Louvre.
[26]In the Middle Ages these were corporations consisting of all people engaged in the writing and general production of books, as at Antwerp, for instance. These guilds, which in other places, as at Bruges, were also called St. John Guilds, were often joined by the first printers, until their numbers in any particular town allowed them to form a guild of their own.—Tr.
[26]In the Middle Ages these were corporations consisting of all people engaged in the writing and general production of books, as at Antwerp, for instance. These guilds, which in other places, as at Bruges, were also called St. John Guilds, were often joined by the first printers, until their numbers in any particular town allowed them to form a guild of their own.—Tr.
[27]The German is “No. 30 Quadrat,” which is rendered approximately by the above.—Tr.
[27]The German is “No. 30 Quadrat,” which is rendered approximately by the above.—Tr.
[28]German “No. 30.”—Tr.
[28]German “No. 30.”—Tr.
[29]The German is:zwei Bilden in Breitformat. The only English term which appears to be used to designate a picture the horizon line of which runs parallel to the longest sides of the canvas, and which is therefore the reverse of an “upright,” is “landscape-shape.”—TR.
[29]The German is:zwei Bilden in Breitformat. The only English term which appears to be used to designate a picture the horizon line of which runs parallel to the longest sides of the canvas, and which is therefore the reverse of an “upright,” is “landscape-shape.”—TR.
[30]See note onp. 40.
[30]See note onp. 40.
[31]See note onp. 91.
[31]See note onp. 91.
[32]Ger. “No. 15.”—Tr.
[32]Ger. “No. 15.”—Tr.
[33]See note,p. 40.
[33]See note,p. 40.
[34]These figures are approximate only. The German equivalents are Nos. 25, 30, and 20.—Tr.
[34]These figures are approximate only. The German equivalents are Nos. 25, 30, and 20.—Tr.
[35]See notep. 91.
[35]See notep. 91.
[36]Reference to Diaz’s self-sacrificing friendship for Millet.
[36]Reference to Diaz’s self-sacrificing friendship for Millet.