Should one so much as waver

Vincent van Gogh to Theo van Gogh, from Nuenen, 30 April 1885

As for Durand-Ruel - though he didn't consider the drawings worth bothering with, do show him this painting. Let him think it ugly, I don't mind - but let him have a look at it all the same, let people see that we put some effort into our endeavors. No doubt you'll hear "What a daub!" Be prepared for that, as I am prepared myself. Yet we must go on providing something genuine and honest.

Painting peasant life is a serious business, and I for one would blame myself if I didn't try to make pictures that give rise to serious reflection in those who think seriously about art and life.

Millet, De Groux, so many others, have set an example of character by turning a deaf ear to such taunts as "nasty, crude, filthy, stinking", etc., etc., so it would be a disgrace should one so much as waver. No, one must paint peasants as if one were one of them, as if one felt and thought as they do. Being unable to help what one actually is.

Letter 404
Translation courtesy of Robert Harrison.
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A genuine peasant painting

Vincent van Gogh to Theo van Gogh, from Nuenen, 30 April 1885

I've held the threads of this fabric in my hands all winter long and searched for the definitive pattern - and although it is now a fabric of rough and coarse appearance, the threads have none the less been chosen with care and according to certain rules. And it might just turn out to be a genuine peasant painting. I know that it is. But anyone who prefers to have his peasants looking namby-pamby had best suit himself. Personally, I am convinced that in the long run one gets better results from painting them in all their coarseness than from introducing a conventional sweetness. . . .

In my opinion, it would be wrong to give a painting of peasant life a conventional polish. If a peasant painting smells of bacon, smoke, potato steam, fine - that's not unhealthy - if a stable reeks of manure - all right, that's what a stable is all about - if a field has the smell of ripe corn or potatoes or of guano and manure - that's properly healthy, especially for city dwellers. Such pictures might prove helpful to them. But a painting of peasant life should not be perfumed.

Letter 404
Translation courtesy of Robert Harrison.
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Without knowing why

Vincent van Gogh to Theo van Gogh, from Nuenen, 30 April 1885

The point is that I've tried to bring out the idea that these people eating potatoes by the light of their lamp have dug the earth with the self-same hands they are now putting into the dish, and it thus suggests manual labor and - a meal honestly earned. I wanted to convey a picture of a way of life quite different from ours, from that of civilized people. So the last thing I would want is for people to admire or approve of it without knowing why.

Letter 404
Translation courtesy of Robert Harrison.
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To see it as it should be seen

Vincent van Gogh to Theo van Gogh, from Nuenen, 30 April 1885

As for the Potato Eaters - it is a painting that will do well in gold - of that I am certain. But it would do just as well on a wall papered in a deep shade of ripe corn. However, it simply mustn't be seen without being set off in this way. It will not appear to full advantage against a dark background and especially not against a dull background. And that is because it is a glimpse into a very gray interior. In real life it is also set in a gold frame, as it were, because the hearth and the light from the fire on the white walls would be nearer the spectator - they are situated outside the painting, but in its natural state the whole thing is projected backwards.

Once again, it must be set off by putting something colored a deep gold or copper round it. Please bear that in mind if you want to see it as it should be seen. Associating it with a gold tone lends brightness to areas where you would least expect it, and at the same time does away with the marbled aspect it assumes if it is unfortunately placed against a dull or black background. The shadows are painted with blue and the gold color sets this off.

Letter 404
Translation courtesy of Robert Harrison.
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On condition that he shows it

Vincent van Gogh to Theo van Gogh, from Nuenen, 30 April 1885

But now I have something to say about Portier. Of course I am not wholly indifferent to his private opinion and I also appreciate his saying that he does not take back anything of what he has said. Nor do I mind that he apparently failed to hang these first studies. But - if he wants me to send him a painting intended for him, then he can only have it on condition that he shows it.

Letter 404
Translation courtesy of Robert Harrison.
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A tremendous battle

Vincent van Gogh to Theo van Gogh, from Nuenen, 30 April 1885

My warmest good wishes for good health and peace of mind on your birthday. I should have liked to send the painting of the Potato Eaters for this day, but although it's coming along well, it isn't quite finished yet.

Though the actual painting will have been completed in a comparatively short time, and largely from memory, it has taken a whole winter of painting studies of heads and hands.

And as for the few days in which I have painted it now - it's been a tremendous battle, but one for which I was filled with great enthusiasm. Even though at times I was afraid it would never come off. But painting, too, is "acting-creating."

Letter 404
Translation courtesy of Robert Harrison.
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They will change their minds

Vincent van Gogh to Anthon van Rappard, from Nuenen, April 1884

I hope you will come. Of course you will bring along your tools, and the more you bring of your work the better I shall like it. I should like to see that sketch of the "Females of Terschelling" and the "Little Weaver" again. . . .

I think that when you come it will be a good opportunity to bring with you all the drawings of mine that you have at home. Then we can resume our work together on a number of new subjects, if you feel like it.

It is always a good thing to let one's work wander around a bit; and if people don't like it, well, never mind - show it again later anyway. If some people you've happened to show these studies to have disapproved of them or laughed at them or said of them no matter what, they will change their minds if they continue to see them over and over again - not all of them, but some.

Letter R45
Translation courtesy of Robert Harrison.
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One succeeds in convincing a few people

Vincent van Gogh to Theo van Gogh, from Nuenen, April 1884

You must by no means suppose that I have great illusions about the appreciation of my work; I think one must be satisfied if one succeeds in convincing a few people of the seriousness of one's intentions, and is understood by them without flattery.

For the rest, if there is anything more than that, so much the better, but one must think about it as little as possible. But yet I believe the work must be seen, because the few friends will sift down from that very stream of passers-by. But one need not mind what people in general say and do.

Letter 366
Translation courtesy of Robert Harrison.
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I shrug my shoulders

Vincent van Gogh to Theo van Gogh, from Nuenen, April 1884

If I, for my part, have some confidence in my own work, it is also because it costs me too much effort for me to believe that nothing will be gained by it or that it is done in vain.

And I repeat, I shrug my shoulders at the banalities in which most connoisseurs seem to indulge more and more.

Letter 366
Translation courtesy of Robert Harrison.
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A certain self-confidence

Vincent van Gogh to Theo van Gogh, from Nuenen, April 1884

As to Rappard, it is curious what absurd things he sometimes hears about his work, which he takes quite coolly. One must be prepared for that, and have a certain self-confidence, so as not to let oneself be confounded or upset. Friends whose cordiality makes up for the bother the work causes are of great value to a painter. If you should feel personal sympathy for Rappard's work, he would certainly not feel indifferent toward you either.

But he as well as I, we are getting more and more disillusioned about finding sympathy, and are more and more determined to persevere without minding what anybody says.

Letter 365
Translation courtesy of Robert Harrison.
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Calm neglect

Vincent van Gogh to Theo van Gogh, from Nuenen, April 1884

But I shall not bore you with this. If you want to divide art - by drawing sharp, straight, rigid lines - into things that one may show in the full light of day and things that one should calmly neglect with great singleness of purpose - well, that's your affair.

And at the moment the whole question is so deeply repulsive to me that I for my part will not expiate on it.

Letter 365
Translation courtesy of Robert Harrison.
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He is more advanced than I

Vincent van Gogh to Theo van Gogh, from Nuenen, April 1884

Now, just think whether it wouldn't be very unkind of you toward him if you took no notice of his visit when he comes here before long. Think over whether it is right that you, who know Rappard, have seen nothing of his work, do not even know what he makes except for what I tell you, that you do not take the slightest notice of him. Yet he is one of the people that will count - who will assert themselves - of whose work one will have to take notice. At one time Rappard came to you, and felt small in your presence because you knew so much about art. Since that year he spent in Paris - what enormous progress he has made!

I don't think you would regret it if you took my hint to heart. I simply want you to renew the acquaintance with him.

There is all the more reason for it because he is more advanced than I am. I say this simply to prevent your being guilty of negligence.

Letter 365
Translation courtesy of Robert Harrison.
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It forces one to lose one's temper

Vincent van Gogh to Theo van Gogh, from Nuenen, early April 1884

It would be less impossible for me to keep my temper in our correspondence if, when on the critical date you have not got the money, you should write, I haven't got it, you will get it on such and such a date. Now you did not write a single word in response to my saying, I am surprised that - taking into consideration that you told me I could get the money by return mail if I wanted it, and my having told you that I would rather have it at once than later - I have not heard anything about it.

If you had written at the time, I am sorry, but I haven't got it, I should not have tortured my brain with thoughts such as that you commit this negligence on purpose in order to make life a little more difficult for me. And - if you haven't got the money, I cannot reproach you with anything - but if you neglect sending it - on purpose or not on purpose, that does not matter - then it is something I wish you would unlearn - something that forces one to lose one's temper.

Letter 363a
Translation courtesy of Robert Harrison.
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I insist on your showing my work

Vincent van Gogh to Theo van Gogh, from Nuenen, early April 1884

I end with the assurance that in case you refuse to accept my proposal to send you my work regularly (you can do or not do whatever you like with it, at least as far as doing business with it is concerned, but at all events I insist on your showing it from time to time, as you did at the very beginning, and in my opinion rightly so), I shall carry through the separation - so either this alteration - or else finished. . . .

I did not send you the sixth pen drawing because, just as I insist on your showing my work now and then, I am going to show Rappard something once in a while - as he knows a lot of people - and that drawing was at Rappard's, and I should have had it back, but up to now he has kept it.

Letter 363a
Translation courtesy of Robert Harrison.
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Your confidence in my future

Vincent van Gogh to Theo van Gogh, from Nuenen, early April 1884

When I mention that I desire to look upon the 150 francs, or more or less as the case may be, as equal in value to what I send you, this is to a certain extent quite a private matter, and in no way do we touch upon the question whether my work has commercial value or not.

But in that case I shall be more justified in the eyes of Tom, Dick and Harry, and shall not have to put up with being reproached with idling away my time - or even being absolutely looked upon as "having no means of subsistence."

At the same time it is proof on your part of your confidence in my future, which, however, I shall most certainly not extort from you - and I repeat that however you may decide in this matter, it will have no influence on my opinion of the past, and that I shall never ignore your help during these years, but on the contrary, appreciate it highly.

But you will have to decide quite independently whether our relations will be continued in the future or not.

Letter 363a
Translation courtesy of Robert Harrison.
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You think too frivolously of my work

Vincent van Gogh to Theo van Gogh, from Nuenen, early April 1884

I sent you nine watercolors and five pen drawings, I wrote you I had yet a sixth pen drawing and the painted study of the old tower, which at the time you said you were eager for.

But now that I see that your expressions remain as vague as ever, I cannot but tell you without reserve that I do not consider this the way to treat me.

As for my work - up to now it seemed incontrovertible that you would rather I did not send anything than that I did.

If this is still the case - well then, I am of the opinion that either I am not worth your protection, or you think a little too frivolously of my work. I have never withdrawn my proposal to send you my work regularly.

Letter 363a
Translation courtesy of Robert Harrison.
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A definite agreement

Vincent van Gogh to Theo van Gogh, from Nuenen, early April 1884

I said in my letter of the end of January that I should be unwilling to go on in the same way as up to then, that is to say, without a definite agreement.

. . . Nothing could be more pleasant to me than to go on in the same way on condition that a definite agreement was made about the supply of work. And that in order to make a trial I should send a number of things toward the beginning of March.

Your reply was evasive, it certainly was not straightforward, I mean it was not something like this: "Vincent, I see the reasonableness of a number of your grievances, and I approve of your proposal to make an agreement that every month you will send me a number of drawings that you consider equal in value to the 150 francs I am in the habit of sending you, so that you will be able to look upon this money as earned money."

Most positively I noticed that you did not simply write something like this!

Letter 363a
Translation courtesy of Robert Harrison.
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Making me feel the bridle

Vincent van Gogh to Theo van Gogh, from Nuenen, early April 1884

Last summer, because of your making me feel the bridle a little in order to impress upon me that it was in my interest to be compliant in some things, I had already made up my mind to let you feel in return that I for my part, if I were inconvenienced by too much tugging at the bridle, should be quite willing to leave the bridle in your hands, as long as I was not attached to the other end, or in other words - if I am not free in my private life, I decline the subsidy. In short, that whether I should be able to get along financially would depend on my work (and not on my private life), at least as far as the 150 francs a month was concerned.

Letter 363a
Translation courtesy of Robert Harrison.
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No reason not to do my best

Vincent van Gogh to Theo van Gogh, from Nuenen, 1 April 1884

However, I want you to know that if you feel inclined to leave the work you are going to buy from me alone, or even tear it up, this is no reason for me not to do my best on it.

For this month I have some pen-and-ink drawings for you, in the first place those that are at Rappard's for the moment, about which I had a letter from him, telling me that he liked them all . . . .

Beside those, I have a few painted studies which are your property, which I will send you if you like, but if you don't care to have them, I will ask you if I may keep them for some time, as I need them for my work.

Letter 364
Translation courtesy of Robert Harrison.
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I must have money

Vincent van Gogh to Theo van Gogh, from Nuenen, 1 April 1884

I, for my part, needing money, am obliged to accept it, even if somebody said to me, "I want to put that drawing of yours away, or I want to throw it in the fire, you can get so much money for it"; under the circumstances I should say, "All right, give me the money, there is my work, I want to get on." I must have money, in order to get on; I try to get it, and therefore - even if you were completely indifferent to me - as long as I get your monthly allowance, without conditions forbidding me to do certain things, I will not break with you, and I agree to everything if need be.

My way of considering you and your money matches your way of considering me and my work - and as long as the balance is kept - I agree to it. If I receive money from you and you receive drawings or paintings from me, and if I have something to justify myself in the eyes of the world, though we might have nothing else in common, though we should write and speak about nothing, even then I feel satisfied for the moment, and I agree to it completely.

Letter 364
Translation courtesy of Robert Harrison.
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My proposal

Vincent van Gogh to Theo van Gogh, from Nuenen, 1 April 1884

I just received your letter and enclosed 250 francs. If I may consider your letter an answer to my proposal, I can indeed agree to what you say. In short, to avoid further discussion or quarreling, in order to have some answer when those leading ordinary lives accuse me of being without any "source of income," I want to consider the money I receive from you as money I have earned.

Of course I will send you my work every month. As you say, that work will be your property then, and I perfectly agree with you that you have every right to do anything with it . . . .

Even if it should be your high pleasure to tear up my work, or maybe leave it peacefully alone, or if you should try to do something with it, I have no right to find fault with you. But only if I am allowed to consider it a purchase on your part.

Letter 364
Translation courtesy of Robert Harrison.
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At thirty you will still be young

Vincent van Gogh to Theo van Gogh, from The Hague, early April 1882

I have sat down to write you several times, but I couldn't bring myself to finish the letter. The reason was that I wanted to write about several things which had made me think the necessity of your becoming a painter so very evident. But what I had written wasn't quite right, and I couldn't find words strong enough.

Your objections are true, but on the other hand there are many other things which counterbalance them. By thirty you would have made such progress that people would have to acknowledge you as a painter and value your work. And at thirty you will still be young.

What you have learned at Goupil's, your knowledge of many things, will simply enable you to overtake many who "started early." For those early beginners often have a sterile period, remaining on the same level for years; someone who begins energetically later on need not go through such a period.

Letter 184
Translation courtesy of Robert Harrison.
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Reason and duty

Vincent van Gogh to Theo van Gogh, from The Hague, 30 April 1883

Well, the time has not yet come when reason, not only in the sense of raison, but also of la conscience, is respected by everyone; to contribute towards bringing about that time is a duty, and in judging characters one of the first things that humanity demands is to take into consideration the circumstances of contemporary society.

How beautiful Zola is - it is especially L'Assommoir which I often think of. Apropos, how far did you get in reading Balzac? I have quite finished Les Miserables. I know very well that Victor Hugo analyzes in a different way than do Balzac and Zola, but he probes to the bottom of things just as well.

Letter 281
Translation courtesy of Robert Harrison.
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More good in the world

Vincent van Gogh to Theo van Gogh, from The Hague, 30 April 1883

Some time ago you told me many things about these Swedish painters, Heyerdahl, Edelfelt.

This week I found a reproduction of a picture by Edelfelt: "A Prayer-Meeting on the Beach." There is something in it of Longfellow's poems; it is very beautiful. It shows a sentiment of which I am very fond, and which I think does more good in the world than the Italians and Spaniards with their "Arms Merchants of Cairo," of which I get so tired in the long run.

Letter 281
Translation courtesy of Robert Harrison.
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Undermine by patience

Vincent van Gogh to Theo van Gogh, from The Hague, c. 11 April 1883

I should wish to be able to spend more, both on models and on painting materials. Though I do not sell a single one of my studies, I think they are worth the money I spend on them. The studio has become so much better and convenient, but I only have enough steam for "half speed," and should like to go "full speed."

I repeat, I do not say this to complain, nor to force you to greater sacrifices - you are really burdened beyond your strength too. But I say it for the sake of a better understanding, and to relieve my mind. For you will understand that I am often full of heavy cares. Well, we must make the best of it, and the things we can't move by force must be undermined by patience.

Letter 279
Translation courtesy of Robert Harrison.
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An unsatisfied energy

Vincent van Gogh to Theo van Gogh, from The Hague, c. 11 April 1883

To tell you the truth, my purse is rather empty; it certainly isn't your fault, yet it isn't mine, either - no matter how I contrive, I can't save more, and I need more money than I have to execute some plans. If I started on those things, I should have to give them up in the middle. But it is a melancholy thing to have to say, "I could make such and such a thing if it weren't for the expense." Then an unsatisfied energy remains, which one should wish to use instead of stifle. But I don't want to complain - I am grateful that I can make progress - though not so vigorously as I should wish. But the English say, "Time is money," and sometimes I can't help thinking it is hard to see the time pass during which things might have been done if I had had the means.

Letter 279
Translation courtesy of Robert Harrison.
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The foundation of everything

Vincent van Gogh to Theo van Gogh, from The Hague, c. 11 April 1883

One would almost conclude that some people have cauterized certain sensitive nerves within themselves - especially those which, combined, are called conscience. Well, I pity them - in my opinion they travel through life without a compass. One might suppose that the love for humanity which is the foundation of everything should be in every human being. But some pretend that there are better foundations. I'm not very curious to know them; since the old one has proved to be the right one for so many ages, it is sufficient for me.

Letter 279
Translation courtesy of Robert Harrison.
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It will find its friends

Vincent van Gogh to Theo van Gogh, from The Hague, 2 April 1883

You write about some art lovers who might take my work some time, even though it shouldn't become exactly a current article. Well, I really believe the same. If I should succeed in putting some warmth and love into my work, it will find its friends. The thing is to keep on working.

Letter 278
Translation courtesy of Robert Harrison.
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A harbor of refuge

Vincent van Gogh to Theo van Gogh, from The Hague, 2 April 1883

My ideal is to work with more and more models, quite a herd of poor peoples to whom the studio would be a kind of harbor of refuge on winter days, or when they are out of work or in great need. Where they would know that there was fire, food and drink for them, and a little money to be earned. At present this is so only on a very small scale, but I hope it will grow. Right now I confine myself to a few models, and stick to them - I cannot spare one of them, but would have use for some more.

Letter 278
Translation courtesy of Robert Harrison.
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The work gets more and more stimulating

Vincent van Gogh to Theo van Gogh, from The Hague, 2 April 1883

Thanks for the good wishes on my birthday. It happened to be a very pleasant day, as I just had an excellent model for a digger. One thing I can assure you of, the work gets more and more stimulating, and it gives me, so to speak, more vitality; and then I always think of you, because it is you who make it possible for me to work. That is, without fatal obstacles, without direct handicaps. Difficulties sometimes spur one on even more. Now the time has come to put more energy into it.

Letter 278
Translation courtesy of Robert Harrison.
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