Purchase cataloguePainted with Words is a compelling look at Vincent van Gogh's correspondence to his young colleague Émile Bernard between 1887 and 1889. Van Gogh's words and sketches reveal his thoughts about art and life and communicate his groundbreaking work in Arles to his fellow painter.
Van Gogh's letters to Bernard reveal the tenor of their relationship. Van Gogh assumed the role of an older, wiser brother, offering praise or criticism of Bernard's paintings, drawings, and poems. At the same time the letters chronicle van Gogh's own struggles, as he reached his artistic maturity in isolation in Arles and St. Rémy. Throughout the letters are no less than twelve sketches by van Gogh meant to provide Bernard with an idea of his work in progress, including studies related to the paintings The Langlois Bridge, Houses at Saintes-Maries-de-la-Mer, Boats on the beach at Saintes-Maries, The Sower, and View of Arles at Sunset.
The translations used in this presentation are from the catalogue for the exhibition: Vincent van Gogh
Painted with Words, The Letters to Émile Bernard and are reproduced by kind permission of the Van Gogh Museum, Amsterdam.
Major support for Painted with Words: Vincent van Gogh's Letters to Émile Bernard and its accompanying catalogue was provided by the International Music and Art Foundation. Generous support was also provided by the Robert Lehman Foundation and the National Endowment for the Arts.
Vincent van Gogh, letter to Émile Bernard, Arles, 5 October 1888, Letter 19, page 4
But you'll probably find these studies ugly, I don't know. In any case, neither you nor anyone
else should do an exchange grudgingly.
My brother writes that Anquetin's back in Paris; I'm curious to know what he's made. When
you see him you'll give him my kind regards.
The house will seem more lived in now that I'll see the portraits in it.
How happy I would be to see you there yourself this winter; it's true that the trip costs rather
a lot. Nevertheless, may one not risk those expenses by taking one's revenge by working? Work's so
difficult in the north in winter. Here too, perhaps; I've hardly had the experience yet and it remains
to be seen.
But it's damned useful to see the south, where life is lived more in the open air, in order to
understand the Japanese better.
And that touch of the haughty and the noble that certain places have down here will suit your
book very well. In The Red Sunset, the sun should be imagined higher, outside the painting, let's
say just at the level of the FRAME. Because it so happens that an hour, an hour and a half before it
sets, the things on the earth still keep their colors like that. Later the blue and the violet color them
darker, as soon as the sun sends out rays that are more horizontal. Thanks once again for what you
sent me, it really warmed my heart.
And a good handshake in thought, and write to me the day of your departure so that I know
when you'll be in Paris; address in Paris still avenue de Beaulieu 5, isn't it?