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
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“An artist needn’t be a clergyman or a churchwarden, but he certainly must have a warm heart for his fellow men.”
—Vincent Van Gogh (1853–1890)
“I can’t work without a model. I won’t say I turn my back on nature ruthlessly in order to turn a study into a picture, arranging the colors, enlarging and simplifying; but in the matter of form I am too afraid of departing from the possible and the true.”
—Vincent Van Gogh (1853–1890)
“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)
“The genuine remains of Ossian, or those ancient poems which bear his name, though of less fame and extent, are, in many respects, of the same stamp with the Iliad itself. He asserts the dignity of the bard no less than Homer, and in his era, we hear of no other priest than he.”
—Henry David Thoreau (1817–1862)
“Childhood is the kingdom where nobody dies.
Nobody that matters, that is.”
—Edna St. Vincent Millay (1892–1950)
“I passed a tomb among green shades
Where seven anemones with down-dropped heads
Wept tears of dew upon the stone beneath.”
—Unknown. The Thousand and One Nights.
AWP. Anthology of World Poetry, An. Mark Van Doren, ed. (Rev. and enl. Ed., 1936)
“An artist needn’t be a clergyman or a churchwarden, but he certainly must have a warm heart for his fellow men.”
—Vincent Van Gogh (1853–1890)