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Posthumous fame of Vincent van Gogh : ウィキペディア英語版
Posthumous fame of Vincent van Gogh

(詳細はVincent van Gogh chronology''
The fame of Vincent van Gogh began to spread in France and Belgium during the last year of his life, and in the years after his death in the Netherlands and Germany. His friendship with his younger brother Theo was documented in numerous letters they exchanged from August 1872 onwards. The letters were published in three volumes in 1914 by Johanna van Gogh-Bonger, Theo's widow, who also generously supported most of the early Van Gogh exhibitions with loans from the artist's estate. Publication of the letters helped spread the compelling mystique of Vincent van Gogh the intense and dedicated painter who suffered for his art, and died young, throughout Europe and the rest of the world.
His fame reached its first peak in Austria and Germany before World War I, and at the end of World War I in Switzerland. Due to the economic crisis in Germany and France after 1918, pioneer collections of Impressionist and Post-Impressionist art which included works by Van Gogh were dissolved. Thus, British and American collectors (private as well as public) had the opportunity to acquire first rate works relatively late. The American novelist Irving Stone published an account of Vincent van Gogh's life in 1934 entitled ''Lust for Life'' that was largely based on the letters to Theo; this book and later the movie of the same name added to further the artist's fame.〔() Life Magazine, ''Vincent van Gogh The Dutch Master of Modern Art has his Greatest American Show'', October 10, 1949, pp. 82-87]Retrieved July 2, 2010〕〔(National Gallery of Art, Washington DC ) Retrieved July 2, 2010〕
==Lifetime exhibits==

During his lifetime, Van Gogh contributed works of his own only on a few and minor occasions which mainly passed unnoted by critics and public. For example, in 1887, a display of Japanese woodcuts in the Restaurant ''Au Tambourin'', 62 Boulevard de Clichy, then run by Augustina Ségatori,〔Carol Zemel (1997), ill. p. 186〕 for which Van Gogh probably interpreted three famous ''ukiyo-e'' prints by Keisai Eisen and Hiroshige.
Towards the end of this year, he organized another exhibition in the ''Grand-Bouillon Restaurant du Chalet'', 43 Avenue de Clichy, on Montmartre to which his friends Émile Bernard, Louis Anquetin and evidently Henri de Toulouse-Lautrec contributed. Van Gogh considered the first one a disaster,〔Beaubourg〕 while he was prepared to take the second one as a success: Bernard and Anquetin sold paintings, and he himself had exchanged works with Paul Gauguin.〔Letter (510 ); for the paintings exchanged, see Annet Tellegen, ''Vincent en Gauguin. Schilderijenruil in Parijs'', Museumjournaal 1966, pp. 42-44.〕 There are two short accounts of this exhibition, one based on information supplied by Seurat, and the other one written by Émile Bernard:
:- In 1890, Seurat recalled to have met Vincent there for the first time, "''in one of these populaire soup kitchens in Avenue de Clichy, now closed. The hall was decorated with his canvases (1887).''"〔(Vincent Van Gogh - Biography, Quotes & Paintings ), retrieved June 14th 2007.〕
:- Already in 1889, at the time of the Volpini Exhibition, Émile Bernard had prepared a review of Van Gogh's work for Aurier's ''Moderniste'', which was, as this modest paper ceased to appear suddenly, published for the first time a century later, in 1990.
In 1888, Van Gogh joined the "Société des Artistes Indépendants"; so this year three of his paintings were on show in their annual exhibition in Paris, and two in the year following (due to restrictions caused in 1889 by the Exposition Universelle). In 1890 and 1891, their annual exhibitions comprised ten paintings by Vincent; part of them had been shown before by the society "Les XX" in Brussels, in 1891 completed by a dozen of drawings (some of them only on view "by demand"). According to letters from his brother Theo, Vincent's contributions to these few exhibitions established his renown amongst French vanguard painters like Claude Monet and Paul Signac.

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