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, 12 April 1888, Letter 3, page 2
I follow no system of brushwork at all, I hit the canvas with irregular strokes, which I leave as
they are, impastos, uncovered spots of canvas—corners here and there left inevitably unfinished—
reworkings, roughnesses; well, I'm inclined to think that the result is sufficiently worrying and
annoying not to please people with preconceived ideas about technique.
Here's a sketch, by the way, the entrance to a Provençal orchard with its yellow reed fences,
with its shelter (against the mistral), black cypresses, with its typical vegetables of various greens,
yellow lettuces, onions and garlic and emerald leeks.
While always working directly on the spot, I try to capture the essence in the drawing—then
I fill the spaces demarcated by the outlines (expressed or not) but felt in every case, likewise with
simplified tints, in the sense that everything