"A collection of paintings and drawings produced by Vincent van Gogh while living in the South of France is accompanied by discussions of this period of his life and work."--GoogleBooks.

A chance encounter leads to an appreciation of the spontaneous and passing friendship of strangers in this evocative short story from one of New Zealand's finest writers. David Wilson takes a trip around Europe after the death of his wife. With limited funds, he accepts the offer from a stranger to stay in his apartment in Arles. For David it is a chance to put himself on hold and live as someone else. Brilliantly tracking David's shifting sense of himself, this story captures time, place and mood with appealing subtlety and precision.

Studio of the South tells the fascinating story of Van Gogh's time in Arles and the Yellow House.

The final years of Van Gogh's life, from 1888 to 1890, were his most prolific. During his 15-month stay in Arles, he created almost 200 canvases. This was followed by 12 months at Saint-Rémy, where he created 142 paintings, and his final 70 days in Auvers, where the last 70 canvases were created. This book celebrates these last 30 months of Van Gogh's life, when he poured out his passion into portraits, landscapes, and still lifes. Reproductions of his paintings, photographs of the people and places he painted, Van Gogh's own descriptions of his work, and a detailed text by Bogomila Welsh-Ovcharov combine to create a powerful study of these intense, creative months.

Psychoanalysts have long been fascinated with creative artists, but have paid far less attention to the men and women who motivate, stimulate, and captivate them. The Muse counters this trend with nine original contributions from distinguished psychoanalysts, art historians, and literary scholars—one for each of the nine muses of classical mythology—that explore the muses of disparate artists, from Nicholas Poussin to Alison Bechdel. The Muse breaks new ground, pushing the traditional conceptualization of muses by considering the roles of spouse, friend, rival, patron, therapist—even a late psychoanalytic theorist—in facilitating creativity. Moreover, they do so not only by providing inspiration, but also by offering the artist needed material and emotional support; tolerating competitive aggression; promoting reflection and insight; and eliciting awe, anxiety and gratitude. Integrating art history and literary criticism with a wide spectrum of contemporary psychoanalytic perspectives, The Muse is essential reading for psychoanalysts and psychotherapists interested in the relationships that enhance and support creative work. Fully interdisciplinary, it is also accessible to readers in the fields of art, art history, literature, memoir, and film. The Muse sheds new light on that most mysterious dyad, the artist and muse—and thus on the creative process itself.

"Martin Bailey has written some of the most interesting books on Vincent’s life in France, where he produced his greatest work” - Johan van Gogh, grandson of Theo, the artist’s brother Studio of the South tells the story of Van Gogh’s stay in Arles, when his powers were at their height. For Van Gogh, the south of France was an exciting new land, bursting with life. He walked into the hills inspired by the landscapes, and painted harvest scenes in the heat of summer. He visited a fishing village where he saw the Mediterranean for the first time, energetically capturing it in paint. He painted portraits of friends and locals, and flower still life paintings, culminating in the now iconic Sunflowers. He rented the Yellow House, and gradually did it up, calling it ‘an artist’s house’, inviting Paul Gauguin to join him there. This encounter was to have a profound impact on both of the artists. They painted side by side, their collaboration coming to a dramatic end a few months later. The difficulties Van Gogh faced led to his eventual decision to retreat to the asylum at Saint-Remy. Based on extensive original research, the book reveals discoveries that throw new light on the legendary artist and give a definitive account of his fifteen months in Provence, including his time at the Yellow House, his collaboration with Gauguin and its tragic and shocking ending.

In a career that lasted only 10 years, Dutch-born Vincent Van Gogh created some of the best-loved paintings in modern art. Many of his most dazzling canvases were completed in the year he spent in Arles, a sunny village in the south of France. This book features detailed walking tours of Arles and Saint-Rémy where the artist lived, loved and labored. Readers will discover the sights and stories behind such an iconic work like "Starry Night."

From fifteen of New Zealand's finest short-fiction practitioners come stories to delight, amuse and move. These stories have been gathered from a range of titles, published in recent years by Vintage New Zealand and commended by readers and reviewers alike. Owen Marshall is regularly described as New Zealand's finest living short-story writer and his subtle story included here is testament to his skill. Peter Hawes presents a wickedly funny story alongside an amusing and intriguing tale from Craig Cliff's Commonwealth Prize winning collection A Man Melting. There are two very different stories playing with the genre of crime writing, from Julian Novitz and Fiona Farrell, about whom one reviewer wrote: 'she has the rare ability of turning the mundane events of domestic life into profound human experiences'. The stories range from New Zealand settings, such as Shonagh Koea's 'Rain', to stories set in America, Australia, Russia, Morocco and the Galapagos Islands, among other places. Montana Award winner Charlotte Grimshaw is represented by a vivid story of a childhood experience in France, her short story collections having been twice placed in the prestigious Frank O'Connor shortlist. Among the many other prize-winning authors, Fiona Kidman has also had a collection, The Trouble with Fire, shortlisted for this award, and the story included here is from that fine book. Sue Orr's story 'Recreation' comes from From Under the Overcoat, which won the 2012 People's Choice Award at the NZ Post Book Awards. While Sue Orr's story is a contemporary riff on a Maori myth, there are several stories touching on the war, of recent travel, of colonial appropriation, of love and friendship. Other stories are by Witi Ihimaera, Stephanie Johnson, Sarah Laing, Carl Nixon, Sarah Quigley and Peter Wells. A fabulous smorgasbord to satisfy every taste.

The best-known and most sensational event in Vincent van Gogh’s life is also the least understood. For more than a century, biographers and historians seeking definitive facts about what happened on a December night in Arles have unearthed more questions than answers. Why would an artist at the height of his powers commit such a brutal act? Who was the mysterious “Rachel” to whom he presented his macabre gift? Did he use a razor or a knife? Was it just a segment—or did Van Gogh really lop off his entire ear? In Van Gogh’s Ear, Bernadette Murphy reveals, for the first time, the true story of this long-misunderstood incident, sweeping away decades of myth and giving us a glimpse of a troubled but brilliant artist at his breaking point. Murphy’s detective work takes her from Europe to the United States and back, from the holdings of major museums to the moldering contents of forgotten archives. She braids together her own thrilling journey of discovery with a narrative of Van Gogh’s life in Arles, the sleepy Provençal town where he created his finest work, and vividly reconstructs the world in which he moved—the madams and prostitutes, café patrons and police inspectors, shepherds and bohemian artists. We encounter Van Gogh’s brother and benefactor Theo, his guest and fellow painter Paul Gauguin, and many local subjects of Van Gogh’s paintings, some of whom Murphy identifies for the first time. Strikingly, Murphy uncovers previously unknown information about “Rachel”—and uses it to propose a bold new hypothesis about what was occurring in Van Gogh’s heart and mind as he made a mysterious delivery to her doorstep. As it reopens one of art history’s most famous cold cases, Van Gogh’s Ear becomes a fascinating work of detection. It is also a study of a painter creating his most iconic and revolutionary work, pushing himself ever closer to greatness even as he edged toward madness—and one fateful sweep of the blade that would resonate through the ages.

Paul Gauguin was first a sailor, then a successful stockbroker in Paris. In 1874 he began to paint at weekends as a Sunday painter. Nine years later, after a stock-market crash, he felt confident of his ability to earn a living for his family by painting and he resigned his position and took up the painter’s brush full time. Following the lead of Cézanne, Gauguin painted still-lifes from the very beginning of his artistic career. He even owned a still-life by Cézanne, which is shown in Gauguin’s painting Portrait of Marie Lagadu. The year 1891 was crucial for Gauguin. In that year he left France for Tahiti, where he stayed till 1893. This stay in Tahiti determined his future life and career, for in 1895, after a sojourn in France, he returned there for good. In Tahiti, Gauguin discovered primitive art, with its flat forms and violent colours, belonging to an untamed nature. With absolute sincerity, he transferred them onto his canvas. His paintings from then on reflected this style: a radical simplification of drawing; brilliant, pure, bright colours; an ornamental type composition; and a deliberate flatness of planes. Gauguin termed this style “synthetic symbolism”.