Posthumous Fame Of Vincent Van Gogh
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 and Germany. His friendship with his younger brother Theo was documented in numerous letters they exchanged from August 1872 onwards. The letters were published in three volumes in 1914 by Johanna van Gogh-Bonger, Theo's widow, who also generously supported most of the early Van Gogh exhibitions with loans from the artist's estate. Publication of the letters helped spread the compelling mystique of Vincent van Gogh the intense and dedicated painter who suffered for his art, and died young, throughout Europe and the rest of the world.
His fame 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. The American novelist Irving Stone published an account of Vincent van Gogh's life in 1934 entitled Lust for Life that was largely based on the letters to Theo; this book and later the movie of the same name added further the artist's fame.
Read more about Posthumous Fame Of Vincent Van Gogh: Lifetime Exhibits, Early Promoters, Early Exhibitions, Early Private and Public Collectors, Art Historians, Forgeries and Reattribution, Theft
Famous quotes containing the words van gogh, posthumous, fame, vincent, van and/or gogh:
“When van Gogh paints sunflowers, he reveals, or achieves, the vivid relation between himself, as man, and the sunflower, as sunflower, at that quick moment of time. His painting does not represent the sunflower itself. We shall never know what the sunflower itself is. And the camera will visualize the sunflower far more perfectly than van Gogh can.”
—D.H. (David Herbert)
“Fashion, though in a strange way, represents all manly virtue. It is virtue gone to seed: it is a kind of posthumous honor. It does not often caress the great, but the children of the great: it is a hall of the Past.”
—Ralph Waldo Emerson (1803–1882)
“I see my reputation is at stake,
My fame is shrewdly gored.”
—William Shakespeare (1564–1616)
“Down, down, down into the darkness of the grave
Gently they go, the beautiful, the tender, the kind;
Quietly they go, the intelligent, the witty, the brave.
I know, But I do not approve. And I am not resigned.”
—Edna St. Vincent Millay (1892–1950)
“The variables of quantification, ‘something,’ ‘nothing,’ ‘everything,’ range over our whole ontology, whatever it may be; and we are convicted of a particular ontological presupposition if, and only if, the alleged presuppositum has to be reckoned among the entities over which our variables range in order to render one of our affirmations true.”
—Willard Van Orman Quine (b. 1908)
“Those Dutchmen had hardly any imagination or fantasy, but their good taste and their scientific knowledge of composition were enormous.”
—Vincent Van Gogh (1853–1890)