General statement- By Juhi Kulkarni

Vincent Van Gogh – Tree drawings.

An article to understand Vincent Van Gogh through his letters and observational
drawings of particularly trees.

“Drawing is at the root of everything,” Vincent, (June 3, 1883)

Vincent Van Gogh’s reverence as well as gratitude towards nature is apparent

throughout his letters illustrated by drawings. Amongst the thousands of drawings
Vincent did, trees fascinated him since early 18751, as his art pursuit began from his
mid twenties, leaving lasting impression on his life leading to most profound
understandings and erudition. “Post was his main communication with the world
outside. His charm, and intellectual power – which comes through so strongly in
letters – functioned better at a distance. Face to face, almost everyone – found his
company too much,”2 Martin Gayford writes, “To comprehend the complex thoughts
and associations in Van Gogh’s mind, it is necessary to put his letters and paintings
together. In that way, we can get extremely close to him: near enough to register the
surging highs and lows of his emotional thermometer, to follow his swirling thoughts,
almost to hear his voice.”3 From 1872 to 1881 Vincent wrote around two hundred
letters to Theo, from Northern Europe, which contained the description of various
foliage. Anna Suh writes, “Foremost among there is his ability to find solace and
inspiration in landscapes and nature…although Vincent was eventually to renounce
his religious beliefs, his love for nature was to prove more long lived.”4 During these
years he was more fascinated with rural life and manual laborers but we do see in
certain loose sketches his inclination is beginning to grow towards nature, as it gave
way to his new aspiration to become an artist. In his letters to Theo, Vincent writes,

1
Anna Suh, 2006, Vincent Van Gogh; A self portrait in art and letters, 1st edn. Black Dog & Leventhal
Publishers, New York. Pg 10.
2
Martin Gayford, winter 2009, The Real Van Gogh, RA magazine, No. 105, winter 2009,Pg 40
3
Ibid Pg 46
4
Anna Suh, 2006, Vincent Van Gogh; A self portrait in art and letters, 1st edn. Black Dog & Leventhal
Publishers, New York. Pg 9
1
“Am often sketching till late at night, to record some souvenirs and strengthened my
thoughts, which are spontaneously aroused when I see things”5, this seems to
bestow on him solace in difficult times of loneliness and the act of observing stated
to engulf him.

(PIC1) 173, Br. 1990: 173 | CL: 151 from Vincent van Gogh, to Theo van Gogh, 12 October 1881,
Original manuscript, Amsterdam, Van Gogh Museum, inv. no. b171 V/1962

Trees began to make an appearance in his sketches as subjectively

inconsequential but appropriate to add something to the letter he was sending to
Theo to subconsciously mark himself as an artist. Vincent writes, “First of all two
large drawings of pollard willows- more or less like the sketch below. Next a similar
one, but oblong, of the road to Leur…And now goodbye, I have walked a long way
today but I did not want to let the letter go without enclosing something.”6 With the

5
Ibid Pg 15.
6
Ibid Pg 25.
2
second sketch we can also observe that Vincent had now slowly begun to gain
control over the complex aspect of addition of perspective. Eventually as he began to
show progress in skills of drawing, “There has been change in my drawing, both in
my way of doing it and in its result….I have learnt to measure and observe and to
look for making lines so that once seemed desperately impossible to me is slowly
beginning to be possible”7, Vincent writes to Theo. Ann Dumas observes his letters
and sketches saying, “What comes across is his incredibly intense response to nature
- a kind of epiphany – an exaltation of nature that never gets tarnished. When he was
young, he wanted to be a preacher. Then he channels his religiosity into his art.”8
John Berger writes, “He is loved, I said to myself in front of the drawing of olive trees,
because for him the act of drawing or painting was a way of discovering and
demonstrating why he loved so intensely what he was looking at, and what he looked
at during the eight years of his life as a painter, belonged to everyday life.” 9

When he moved to Hague in January of 1882, after a fall out with his
parents, his personal life was in turmoil by getting involved with an unmarried
woman. However, as an artist he was engrossed with technical aspects of different
media, as well as question of perspective, colour, light and shade. Despite of social
isolation he continued to produce many drawings working at a brisk pace. He
developed strong independent thoughts and rigid opinions on the importance of
drawings as a primary skill and seemed to experience a little necessitate for formal
drawing. During this time, he began drawing landscapes profusely that added to his
creative skills of visualization and perspective, in his letter to Theo he says, “I have
been hard at work, and I am busy from morning till night. I carry on drawing these
small town views almost daily, and I am beginning to get the hang of it.”10 As his
obsession with nature grew so did his observation skills, his vivid descriptions are
allegory to what he saw as he began to have a greater confidence in his drawings,
“When I see how several painters I know here few struggling with their watercolours

7
Ibid Pg 22.
8
Martin Gayford, Ann Dumas Behind the scenes, RA magazine, winter 2009, No. 105, winter 2009,
Pg 48
9
John Berger (edited by Jim Savage), Vincent (Sept 2005), Berger on Drawing, 2nd ed, Ireland:
Occasional Press. ISBN978-0-9548976-3-5, Pg 13.
10
Anna Suh, 2006, Vincent Van Gogh; A self portrait in art and letters, 1st edn. Black Dog & Leventhal
Publishers, New York. Pg 36.
3
and paintings so that they can’t see the solution anymore. I sometimes think: Friend
the fault is in your drawing, don’t regret for a moment that I did not go in for
watercolour and oil painting straight away. I am sure I will catch up if only I struggle
on, so that my hand does not waver in drawing and perspective”11, he writes to Theo.

The years between 1884-87 saw in his life a lot of development, his
helpfulness during his mother’s convalescence led to a rapprochement of sort with
his parents, but after his father’s death, being sucked into another controversy, he
had to relocate to Antwerp. His stint at the Antwerp Academy did don’t last very long
and in March of 1886 and even though at that moment, his relation with his brother
was strained, he showed up in Paris unannounced. However, his drawings were
getting more complex and intricate and no longer just mere sketches. He says to
Theo, “ For the current month I have already got the following drawings, Winter
garden – pollard birches – lane of poplar – the kingfisher.”12 With his technique of
drawing getting more proficient his works looked more secure and intense. He
started to use various hand gestures, strokes and his tools confidently. Evidently this
gave a big boost to his self-esteem. He writes to Theo, “If I have any self confidence
about my work, it is because too much effort is spent on it to believe that nothing
could be gained by it, or that it would be in vain. And again, I just shrug off the
generalities most art critics increasingly appear to lapse into.”13 He became self
absorbed and isolated with the act of making. He writes to Theo, “Now there is not a
day that I don’t make something or other. Just by learning as I go along. Every
drawing made every study painted means a step forward....To learn to look at the
landscape at large in its simple likes and contrasts of light and dark. My study is not
yet mature enough for me but the effect moved me, and as far as light and dark
goes, it was as I draw it for you here.”14

11
Ibid Pg 49.
12
Ibid Pg 121
13
Anna Suh, 2006, Vincent Van Gogh; A self portrait in art and letters, 1st edn. Black Dog & Leventhal
Publishers, New York. Pg 124.
14
Ibid Pg 106.
4
(PIC2) Pollard birches, 1884 Vincent van Gogh (1853-1890), Pencil, pen in black ink, on wove paper, 39
x 54 cmVan Gogh Museum, Amsterdam (Vincent van Gogh Stichting)

John Berger writes, “I can think of no other European painter whose work
expresses such a stripped respect for everyday things without elevating them in
some way…He became strictly existential, ideologically naked and from this
nakedness of his which his contemporaries saw as naivety or madness came his
capacity to love suddenly and at any moment what is saw in front of him. Taking a
pen or a brush he then strove to realize, to achieve that love. Lover-painter affirming
the toughness of an everyday tenderness we all dream of in our better moments and
instantly recognize when it is framed. Drawing like these were not so much
preparatory studies as graphic hopes; they showed in a simpler way – without the
complications of handling pigment- where the act of painting could hopefully lead
him. They were maps of his love.”15 By the summer of 1888, Van Gogh expressed
more confidence in his methods, which he called crude even garish, still sought to

15
John Berger (edited by Jim Savage), Vincent (Sept 2005), Berger on Drawing, 2nd ed, Ireland:
Occasional Press. ISBN978-0-9548976-3-5, Pg 14.
5
strip his art down to essential in both composition and colour, and spoke admiringly
of Japanese prints as models in his endeavor. Slowly but certainly Vincent stated to
use these sketches

(PIC3) 600, Br. 1990: 602 | CL: 478, from Vincent van Gogh, to Theo van Gogh, Arles, on or about
Friday, 20 April 1888, Original manuscript, Amsterdam, Van Gogh Museum, inv. nos. b518 a-b V/1962

as a base for his paintings, which were to come, in comparison to this day
photographic references used by many artists. Vincet writes to Theo, “Here is a
sketch of an orchard tree that I’d planned specially for you for May 1. It’s absolutely
simple and done at one go. A whirl of impasto with the faintest hint of yellow and
lilac on the first white clump.”16 Martin Gayford writes, “In many ways the letters
mixes words with images, as was the case with his discussions of the cypresses,
where he added drawings to explain what he was describing. All that was missing in

16
Anna Suh, 2006, Vincent Van Gogh; A self portrait in art and letters, 1st edn. Black Dog & Leventhal
Publishers, New York. Pg 187.
6
colour and that he supplied in words – literally in some places, where he made notes
on the drawing to indicate the colour he was painting. Van Gogh made associations
with what he saw, which is generally apparent only through his letters. Van Gogh’s
was paper existence in double senses.”17

(PIC4 )Vincent van Gogh, Drawing, Reed pen,Arles: May - 9-10, 1888Museum of Art, Rhode Island
School of Design, Providence, Rhode Island, United States of America, North America,
F: 1416r, JH: 1415

Vincent drenched into work, despite the discomforts as he moved to the

town of Arles in late February of 1888. He was always inspired by the rural living and
here began his prolific period that was exulted only with his death. “If they don’t cut
the meadows. I’d like to do this study again, as the subject was truly beautiful and I
had trouble finding the right composition.”18, a sense of exigent reverberates through
Vincent’s letters now as if he is demanding to accomplish everything in a given
moment, quite often frustrating to rush against time, “What’s always urgent is the

17
Martin Gayford, winter 2009, The Real Van Gogh, RA magazine, No. 105, winter 2009, Pg 42.
18
Anna Suh, 2006, Vincent Van Gogh; A self portrait in art and letters, 1st edn. Black Dog & Leventhal
Publishers, New York. Pg 188.
7
need to draw – whether directly with the brush or using something else, such as a
pen – one can never do enough. I am not trying to exaggerate the essential and leave
the ordinary deliberately vague”19 Vincent writes to Theo. By summer of that year,
Van Gogh began to show signs of fatigue and vehemence but began to find deeper
meaning through his work. He writes to Theo, “Don’t imagine that I’d remain in such
a feverish state artificially; you have to understand that I am in the midst of
complicated planning. These things are indeed so, but this eternally existing art and
this revival — this green shoot growing from the roots of the old felled trunk — these
are things so spiritual that a kind of melancholy remains with us when we reflect that
at less expense we could have made life instead of making art. You really ought, if
you can, to make me feel that art is alive, you who perhaps love art more than I do.”20

Mont Majour had an important place in his life. He often wanted his friends
Bernard and Gauguin to join him here, and very often wrote letters to them
describing the beauty and solace of the place. However the wind constantly
disturbed him and he got quite often irritated with the fact that it was becoming a
hindrance in his work. Vincent produced few of his most stunning pieces in his time
period. “I wish everyone could come down to south like me…It’s strange, one
evening recently at Mont Majour I saw the sun setting red, its rays falling among the
trunks and foliage of some pine trees growing among the pile of rocks, colouring the
trunks and leaves fiery orange…what I’d like to do is a panorama...I’ve been to Mont
Majour at least fifty times looking at this flat landscape…..What a picture I could
make of it if it weren’t for this confounded wind. That’s upsetting thing here, when
you set up your easel somewhere. And that’s why my painted studies are not as
finished as my drawings; the canvas is always shaking.”21 Vincent wrote to Theo.

19
Anna Suh, 2006, Vincent Van Gogh; A self portrait in art and letters, 1st edn. Black Dog & Leventhal
Publishers, New York. Pg 193.
20
Ibid Pg 209.
21
Ibid Pg 211.
8
 (PIC5) Vincent van Gogh, Drawing, Pencil, pen, reed pen, and ink on paper
Arles: July, 1888,Van Gogh Museum,Amsterdam, The Netherlands, EuropeF: 1447, JH: 1503

During the fall of 1888, during a bout of nervous exhaustion his frenetic
output lessened somewhat, still insisted upon painting only from life. In late October
Gauguin arrived, but his stay lasted only nine weeks during which despite many
pleasant exchanges the two men argued terribly, during their final dispute in fit of
temper Van Gogh severed his ear lobe, and traumatized Gauguin fled Arles. Vincent
wrote to Theo, “I think there is some serious problems still to be over come here for
both of us (Gauguin and Van Gogh), but these difficulties are inside ourselves than
anywhere else.”22 Even with onset of such hysterical behaviour Vincent remained
true to his art. Vincent writes to Theo “it’s nature that I feed on. I exaggerate;
sometimes I make changes to the subject. Nevertheless, I don’t invent the whole
picture, on contrary I find it ready made in nature but in need of unraveling.” 23

22
Anna Suh, 2006, Vincent Van Gogh; A self portrait in art and letters, 1st edn. Black Dog & Leventhal
Publishers, New York. Pg 239
23
Ibid Pg 237.
9
 (PIC 6) Vincent van Gogh, Drawing, Pencil, reed pen, brown and black ink on Whatman paper, Arles:
July, 1888. Musee des Beaux-Arts Tournai, Tournai, Belgium, Europe, F: None, JH: Add. 3

Describing the intensity of his work John Berger writes about Vincent’s “The
gestures comes from his hands, his wrists, arm, shoulder, perhaps even the muscles
in his neck, yet the strokes he makes on the paper are following the currents of
energy which are not physically his and which only become visible when he draws
them. Currents of energy? The energy of a tree’s growth, …The pattern is like a
24
fingerprint.” If John Berger is right, that is what set Van Gogh apart, where one
artist saw nothing but stubble, Van Gogh saw so much beauty that it left him
speechless. More than that, where one artist saw emptiness, Van Gogh saw eternity.
“In all nature,” he once said, “I see expression and soul.” One moral of the story is
certainly this, if a field of stubble stretching to the horizon moves you, you will never
be without something to passionately draw or paint.

24
John Berger (edited by Jim Savage), Vincent (Sept 2005), Berger on Drawing, 2nd ed, Ireland:
Occasional Press. ISBN978-0-9548976-3-5, Pg 13.

10
 (PIC 7) Vincent van Gogh: A Corner in the Garden of Saint-Paul Hospital (the asylum).

Oil on canvas. Saint-Remy, May, 1889. Location unknown. Image courtesy

http://www.pinterest.com/pin/312155817894638785/

Recuperated from his ear cutting incident Vincent left the hospital in January
1889, he made several copies of summer sunflowers and a number of composition of
still life paintings. After few more relapses Van Gogh decided to relocate to an asylum
in nearby St.Remy. Here his brushwork became more animated and his painting took
on that surging quality that is uniquely Van Gogh’s. During this time he made his
most famous paintings including the Starry Nights and his vibrant studies of Cypress
trees, Wheatfield and Olive groves. In fall he started an ambitious series translations
of artists like Delacroix and Rembrandt, in September his works were exhibited in a
group show in Paris to favorable reviews from both critics and his fellow artists.

11
Kimmelman observes that, “the drawings translate sky, rocks and plains into a swarm
of swirls, dots, jabs and scratches. Foaming, cable-knit patterns imply the heaving
gusts of wind rustling olive branches and bending gnarled olive trunks; whispery,
microscopic speckles, endless numbers of them, mimic the quality of dull light on
receding fields as they evaporate into the horizon. As he kept reinventing drawing, he
also found himself.”25

(PIC 8) Vincent van Gogh,Letter Sketches, Saint-Rémy: 25-Jun, 1889

Van Gogh Museum, Amsterdam, The Netherlands, Europe, F: 596, JH: 1750

Ann Dumas comments, “In a sequence such as this viewers can virtually see
Van Gogh’s creative processes in action…the letters have made look at his art
differently. Now I see that both his words and his paintings have the same immediacy
of expressions. In the swirling forms and the sky of painting like cypresses, we can
see the way the brushwork illuminates the whole composition and is an extremely
direct response to what his sees and feels. The two drawings and oil painting were all
made around 25th June 1889 and depict an almost identical clump of swirling conifers
with a crescent moon above and the Alpilles mountains in the background- but each
has small differences. The position and the size of moons shift in each image.
Technical analysis shows that he didn’t necessarily didn’t do the letter and drawing
after the painting it was more dynamic, he might have worked on them all together.”

25
Michael Kimmelman , The Evolution of a Master Who Dreamed on Paper, October 14, 2005,Art
Review, Vincent van Gogh, New York Times.

12
26
His artwork and methodology now had reached its peak and Vincent had got a
hold over his craft fully. We can see the underlined confidence in his strokes and
movements, and effortlessness in his expression of love in art.

(PIC 9) Cypresses, Vincent van Gogh, Saint-Remy, 1889, Pencil, reed pen and ink, 62.3×46.8 cm, New
York, The Brooklyn Museum, F 1525, JH 1747

Regardless of these promising signs and reassurances to Theo he preoccupied

with morbid thoughts in nostalgia for the North. Still working like one possessed,
Vincent suffered yet another attack in late December. In his art, as his obsession for
Cyprus grew so did the complexity of his drawings. Vincent writes to Theo “There is
no news to write as every day is the same, the only idea I have are thinking that
wheat field or a cypress tree is really worth looking at closely, and that sort of
thing...The cypresses continue to occupy my thoughts: I’d like to do something with
them like a painting of sunflowers, because I’m amazed that they haven’t yet been
done in the way I see them. They have beauty line and proportion like that of an

26
Martin Gayford, Ann Dumas, Behind the scenes, RA magazine, winter 2009, No. 105, winter 2009.
Pg 48
13
Egyptian obelisk…And the equality of the green is so distinguished….. I think of the
two canvasses I’ve done a sketch of here will be the best. The trees are very tall and
solid.” 27 His spirit seemed to uplift with drawing. He writes to Theo, “Well, and yet it
was in these depths of misery that I felt my energy revive and I said to myself, I shall
get over it somehow, I shall set to work again with my pencil, which I had cast aside
in my deep dejection, and I shall draw again, and from that moment I have had the
feeling that everything has changed for me, and now I am in my stride and my pencil
has become slightly more willing and seems to be getting more so by the day. My
over-long and over-intense misery had discouraged me so much that I was unable to
do anything. I cannot tell you how happy I am that I have taken up drawing again. I
had been thinking about it for a long time, but always considered it impossible and
beyond my abilities.”28

(PIC 10) Wheat field with Cypresses ,Vincent van Gogh – 1889 Drawing Height: 47 cm (18.5 in.), Width:
62 cm (24.41 in.)Van Gogh Museum (Netherlands)

Vincent’s drawings in his last three years have had a very strong impact on his
art. Especially the ones he made with pen and ink. The quill and reed pens held only
a small amount of ink. This meant that his drawings were composed of a myriad of
short strokes because long strokes were impossible and he was necessarily dipping

27
Ibid Pg 257.
28
http://www.vangoghgallery.com/drawings/
14
his pens in an inkbottle again and again. Reed pens had a blunt end; their squared-off
strokes can be distinguished from the finer and more delicate strokes of a quill pen.
Van Gogh often used both. Sometimes he began with a pencil sketch and drew with
pens over it. He did not trace the pencil lines; they were more of a road map. He did
not erase them afterwards, but allowed them to remain visible. The style Vincent
used in his drawings carried over into his oil paintings where he also employed short,
blunt strokes. When using a reed pen, that type of stroke was a necessity, when
painting in oil, they were his choice. These two drawings, Starry nights and Wheat
field with cypresses, later to become iconic oil paintings, show the variety of marks
that van Gogh employs to describe texture and form. The whole drawing area is
completely covered with a particular mark doing a particular job. The way that the
starlit sky in ‘Starry Night’ is described simply with lines is quite fascinating. But
looking closer to see that the lines are a wide variety of thicknesses and strengths of
ink and flow this way and that to almost give a sense of movement in the heavens.
Add to this the colour of the oil version and you have another painting full of life.

(PIC11) Vincent van Gogh: Starry Night. Drawing. Saint-Remy: June, 1889. Moscow: Museum of
Architecture.

Even though he suffered major epileptic seizures in December of 1889 and

January of 1890, he continued to work profusely during the winters. He also
exhibited more work, one and only of which was sold in his lifetime. He writes to

15
Theo, “ work is going on well. I’ll be out of doors there. I’m sure that the desire to
work will devour me and make me insensible to everything else and in a good mood.
And I’ll let myself go there, not without consideration but without dwelling on
regrets for things that might have been. I’ve done two canvases of the fresh grass in
the gardens, one of which is extremely simple and here’s a quick sketch of it.”29

(PIC 12) Vincent van Gogh to Theo van Gogh, Br. 1990: 869 | CL: 631, Saint-Rémy-de-Provence,
Sunday, 4 May 1890, Original manuscript, Amsterdam, Van Gogh Museum, inv. no. b680 V/1962

Late January, as a proud new uncle Vincent set out to make more work but
suffered another attack. As he moved to the town of Auvers, he stopped in nearby
Paris to meet his sister in law and nephew. Under the care of Dr. Paul Gachet, he
developed a close friendship and painted some seventy canvases, an astonishing

29
http://vangoghletters.org/vg/letters/let868/letter.html
16
outburst of creativity. He wrote to Gauguin, “Have you also seen the olive trees? If
you like something like you were saying about your Christ in the Garden of Olives,
not destined to be understood, but anyhow up to that point I follow you, and my
brother clearly grasps this nuance. I also have a cypress with a star from down there.
30

(PIC 13) Br. 1990: 893 | CL: 643, Vincent van Gogh to Paul Gauguin, Auvers-sur-Oise, on or about
Tuesday, 17 June 1890, Original manuscript, Amsterdam, Van Gogh Museum, inv. no. b691 V/1962

“A last try – a night sky with a moon without brightness, the slender crescent barely
emerging from the opaque projected shadow of the earth – a star with exaggerated
brightness, if you like, a soft brightness of pink and green in the ultramarine sky
where clouds run. Below, a road bordered by tall yellow canes behind which are the

30
Ibid
17
blue low Alpilles, an old inn with orange lighted windows and a very tall cypress, very
straight, very dark.”31 Vincent writes to Theo with certain finality in his subconscious.

(PIC 14) Vincent van Gogh, Letter Sketches, Auvers-sur-Oise: 23-Jul, 1890, Van Gogh Museum,
Amsterdam, The Netherlands, Europe, F: 651, JH: 2106

In summer of 1890, on 27th July, his life ends in farmhouses and fields in the
northern town of Auvers with billowing clouds of coiled toppling lines, like tumbling
putti, made with watercolors and oils, imitating the staccato patter of reed pens. In
an old vineyard, under a baby blue sky, chickens scratch in the cool shade of a
pergola. Van Gogh sketched this not long before he shot himself, when, he told Theo,
“As for my own work, I risk my life for it and my sanity is half shot away because of
it.”32 It is the accomplishment of somebody who finally discovered how to make the
hardest thing he had ever tried to do look easy. What looks so simple was the result
of years of practice, patience and perseverance that went into his works. And in the

31
Anna Suh, 2006, Vincent Van Gogh; A self portrait in art and letters, 1st edn. Black Dog & Leventhal
Publishers, New York. Pg 303
32
Ibid pg 311
18
end while looking for hope for his brother in his art, after his life, as he shot himself,
he wrote, “I still love art and life very much.” 33

Bibliography

1. Anna Suh, Vincent Van Gogh; A self-portrait in art and letters, 1st edn. 2006, Black
Dog & Leventhal Publishers, New York. ISBN10-1-57912-586-7
2. John Berger (edited by Jim Savage), Vincent (Sept 2005), Berger on Drawing, 2nd edn,
Ireland: Occasional Press. ISBN978-0-9548976-3-5
3. Graham Rich, Van Gogh, 2nd edn, Tick tock entertainment, Great Britian.
ISBN1-86007-455-3
4. Leo Jansen, Hans Luijten and Nienke Bakker, Vincent van Gogh - The Letters, First
published 2009, Thames and Hudson, London, ISBN 9780500238653
5. Ives, Colta, Susan Alyson Stein, Sjraar van Heugten, and Marije Vellekoop, with
Marjorie Shelley, Vincent van Gogh: The Drawings, 1st edn (2005), Met Publication,
6. Ronald de Leeuw, The Letters of Vincent van Gogh, 1st published (March 1, 1998),
Penguin Classics, ISBN-10: 0140446745.
7. Steven Naifeh, Gregory White Smith, Van Gogh: The Life, Reprint edition (December
4, 2012), Random House Trade Paperbacks; ISBN-13: 978-0375758973
8. Irving Stone, Jean Stone, Dear Theo: The Autobiography of Vincent Van Gogh, 1st
edn, (September 1, 1995), Plume book, NYC, ISBN0452-27504-0.
9. Irving Stone, Lust for Life, 50th anniversary edition (June 1, 1984), 50th anniversary
edition (June 1, 1984), ISBN-13: 978-0452262492.

Websites
http://vangoghletters.org/vg/bookedition.html (accessed March 2014)

http://www.yuricareport.com/Art%20Essays/VincentAsDraftsman.html (accessed March

2014)

http://www.vangoghgallery.com/ (accessed March 2014)

Journals
Michael Kimmelman , The Evolution of a Master Who Dreamed on Paper, October 14,
2005,Art Review, Vincent van Gogh, New York Times.

33
http://vangoghletters.org/vg/letters/RM25/letter.html
19
Martin Gayford, winter 2009, The Real Van Gogh, RA magazine, No. 105, winter 2009.

Martin Gayford, Ann Dumas, Behind the scenes, RA magazine, winter 2009, No. 105, winter
2009.

20