A chronologically arranged 4-volume catalog of drawings by van Gogh in the Rijksmuseum Vincent van Gogh, Amsterdam. All works are illustrated in color. Substantial catalog entries include technical description, discussion and documentation. Each volume also contains an introductory essay.

Vincent van Gogh committed suicide in 1890, and his brother, Theo, died soon thereafter. His widow, Johanna, was left with many paintings and the desire for Vincent's recognition. In this historical novel, Johanna hires Armand Roulin, painted by Vincent in Arles, to research the artists and villages of France where Vincent lived. Along the way he becomes attracted to a young woman in Auvers, also painted by Vincent. Join Armand as he travels in the steps of Vincent and meets Dr. Gachet, Paul Gauguin, Camille Pissaro, and other renown artists who worked with Vincent.

Van Gogh in Saint-Remy and Auvers is the sequel to the highly acclaimed exhibition catalogue Van Gogh in Arles. The seventy paintings, eighteen drawings, and one etching selected for the present volume--drawn from public and private collections throughout Europe, the United States, and Asia for exhibition at the Metropolitan Museum of Art--include some of Vincent van Gogh's most famous images. Remarkable for their intensity and clarity of expression, they trace the development of van Gogh as an artist from May 1889, when he left Arles for a private asylum in Saint-Remy-de-Provence, some fifteen miles northeast of Arles, to his death in Auvers-sur-Oise, near Paris, in July 1890.

Vincent van Gogh’s life and work are so intertwined that it is hardly possible to observe one without thinking of the other. Van Gogh has indeed become the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider. An article, published in 1890, gave details about van Gogh’s illness. The author of the article saw the painter as “a terrible and demented genius, often sublime, sometimes grotesque, always at the brink of the pathological.” Very little is known about Vincent’s childhood. At the age of eleven he had to leave “the human nest”, as he called it himself, for various boarding schools. The first portrait shows us van Gogh as an earnest nineteen year old. At that time he had already been at work for three years in The Hague and, later, in London in the gallery Goupil & Co. In 1874 his love for Ursula Loyer ended in disaster and a year later he was transferred to Paris, against his will. After a particularly heated argument during Christmas holidays in 1881, his father, a pastor, ordered Vincent to leave. With this final break, he abandoned his family name and signed his canvases simply “Vincent”. He left for Paris and never returned to Holland. In Paris he came to know Paul Gauguin, whose paintings he greatly admired. The self-portrait was the main subject of Vincent’s work from 1886c88. In February 1888 Vincent left Paris for Arles and tried to persuade Gauguin to join him. The months of waiting for Gauguin were the most productive time in van Gogh’s life. He wanted to show his friend as many pictures as possible and decorate the Yellow House. But Gauguin did not share his views on art and finally returned to Paris. On 7 January, 1889, fourteen days after his famous self-mutilation, Vincent left the hospital where he was convalescing. Although he hoped to recover from and to forget his madness, but he actually came back twice more in the same year. During his last stay in hospital, Vincent painted landscapes in which he recreated the world of his childhood. It is said that Vincent van Gogh shot himself in the side in a field but decided to return to the inn and went to bed. The landlord informed Dr Gachet and his brother Theo, who described the last moments of his life which ended on 29 July, 1890: “I wanted to die. While I was sitting next to him promising that we would try to heal him. [...], he answered, ‘La tristesse durera toujours (The sadness will last forever).’”

A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore.

Van Gogh in Provence: Modernizing Tradition is the third part of a trilogy initiated by the inauguration of the Fondation Vincent Van Gogh in Arles. It brings together 31 paintings which illustrate, with regard to the classic genres of portraiture, the still life and landscape, the continuity that goes hand in hand in Vincent's work with energetic new departures and innovations. Right from the start, the simple life, people and landscapes stand at the centre of Vincent's artistic vision and his inimitable expressive will. And here, in Arles and Saint-Remy-de-Provence between 1888 and 1890, he finds the light, the motifs and the inspiration that spur him on to his most important works.

"Selected Paintings From A Year With Vincent Van Gogh" is a fully illustrated book of Anthony David Padgett's project studying the legacy of Van Gogh. In 2017 he created 67 oil paintings in his own style to parallel and contrast Van Gogh's life with his own. The year brought him a deeper appreciation of nature, the seasons and family. This book shares many of the paintings from the year.

This is an eye-opening catalogue that chronicles van Gogh's ongoing relationship with nature throughout his entire career. Among the featured works are van Gogh's drawings and paintings, along with related materials that illuminate his reading, sources, and influences.

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.

Vincent van Gogh (1853–1890) immortalized the cypress tree in signature images that have become synonymous with his fiercely original power of expression. This richly illustrated publication illuminates the backstory of his invention for the first time, from his initial investigations of the motif in benchmark drawings from Arles to his realization of their full evocative potential in such iconic canvases as The Starry Night and Wheat Field with Cypresses, painted at the asylum in Saint-Rémy. Susan Alyson Stein retraces the Dutch artist’s inspired response to the flamelike evergreens as they gained ground in his works and artistic thinking over the course of his sojourn in the South of France. The volume provides further insight into Van Gogh’s creative process through a technical study focused on two celebrated works from the artist’s epic painting campaign of June 1889. The visual and literary heritage of the cypresses is featured in a compilation of images and excerpts from nineteenth-century poetry, novels, and travel writing — many translated into English for the first time.