Vincent van Gogh

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Willem van Gogh (30 March 1853 – 29 July 1890) was a Dutch post-impressionist painter who is one of the most influential and influential figures in Western art history.

He made over 2,100 artworks, including 860 oil paintings, the majority of which date from the last two years of his life in less than a decade.

Landscapes, still lives, portraits, and self-portraits are among the many types of modern art's heritage that were characterized by bold colors and striking, impulsive, and expressive brushwork.

He was not financially well-known, and his suicide at the age of 37 came after years of mental illness and poverty. Van Gogh, who was born in a middle-class family, drew as a child and was thoughtful, quiet, and thoughtful.

As a young man, he worked as an art dealer, often flying, but he became depressed after being transferred to London.

He converted to faith and spent time in southern Belgium as a Protestant missionary.

Life

Vincent Willem van Gogh was born in Groot-Zundert, the Netherlands' majority Catholic province of North Brabant. He was the oldest living child of Theodorus van Gogh (1822–1885), a Dutch Reformed Church minister, and his partner, Anna Cornelia Carbentus (1819–1907). Van Gogh was given the name of his grandfather and a brother who was stillborn just a year before his birth. Vincent was a common name in the Van Gogh family. The name had been borne by his grandfather, Vincent (1789–1864), and a Leiden esology graduate in 1811. This Vincent had six sons, three of whom were art dealers, and could have been named after his own great-uncle, a sculptor (1729–1802).

Van Gogh's mother came from a wealthy family in The Hague, and his father was the youngest son of a minister. Cornelia, Anna's younger sister, married Theodorus' older brother Vincent, who died (Cent). Van Gogh's parents married in May 1851 and then moved to Zundert. Theo's brother was born on May 1st, 1857. Cor and his three siblings were involved in Elisabeth, Anna, and Willemina (also known as "Wil"). Van Gogh retained contact with Willemina and Theo in later life. Van Gogh's mother was a devoted and religious woman who emphasized the importance of family to the point of being around her. Theodorus's salary as a minister was modest, but the family was still owed a house, a maid, two cooks, a gardener, and a horse; his mother Anna instilled in the children a responsibility to uphold the family's high social status.

Van Gogh was a devoted and thoughtful child. He was taught at home by his mother and a governess, and in 1860, he was sent to the village school. He was enrolled in a boarding school in Zevenbergen, where he felt rejected, in 1864, and he fought to return home. Rather, his parents took him to Tilburg's middle school, where he was also deeply unhappy in 1866. He began collecting art at an early age. His mother encouraged him to draw as a child by his mother, and his early drawings are vivid, but not in the same way as his later drawings. Constant Cornelis Huijsmans, a prolific painter in Paris, enrolled the students at Tilburg. His aim was to abandon photography in favour of capturing the impressions of things, especially nature or common objects. Van Gogh's deep unhappiness seemed to have dominated the lessons, which had no effect on the lessons. He had just returned home in March 1868. His youth had been described as "austere and cold, as well as sterile," he later wrote.

Cent Cent's uncle, Van Gogh, was hired by Goupil & Cie in The Hague in July 1869. After completing his education in 1873, he was sent by Goupil's London branch on Southampton Street and took up lodgings at 87 Hackford Road, Stockwell. Van Gogh's time was a happy one for him; he was a natural performer at work and, at 20, was earning more than his father. Jo Van Gogh-Bonger, theo's wife, later remarked that this year was the best year of Vincent's life. He became obsessed with his landlady's daughter, Eugénie Loyer, but she turned against him after revealing her feelings; she was actually engaged to a former lodger. He became more isolated and religiously zealous. In 1875, his father and uncle arranged a transfer to Paris, where he became resentful of topics such as the degree to which art dealers commodified art, and he was dismissed a year later.

He returned to England in April 1876 to teach unpaid in a small boarding school in Ramsgate. Van Gogh went with him when the owner moved to Isleworth in Middlesex. The plan was not fruitful; he went on to become a Methodist minister's aide. His parents had gone to Etten in 1876, but he returned home at Christmas for six months and began working at a book store in Dordrecht. He was dissatisfied with his position and spent his time translating passages from the Bible into English, French, and German. He devoted himself to Christianity, becoming more pious and monastic. Van Gogh ate frugally, avoiding meat, according to his flatmate of the time, Paulus van Görlitz.

In 1877, the family sent him to live with his uncle Johannes Stricker, a respected theologian, in Amsterdam to support his religious conviction and his aspiration to become a pastor. Van Gogh studied for the University of Amsterdam's theology entrance examination, but he failed the exam and left his uncle's house in July 1878. He completed a three-month course at a Protestant missionary school in Laken, near Brussels, but also failed.

He took up a job at Petit-Wasmes, Belgium's working class, coal-mining district of Borinage, in January 1879. He gave up his luxurious lodgings at a bakery to a homeless person and moved to a tiny hut where he slept on straw to show his love for his impoverished congregation. His humble living conditions did not embed him to church authorities, who chastised him for "undermining the priesthood's dignity." He then walked the 75 kilometers (47 mi) to Brussels and returned to Cuesmes for a short time, but then gave in to the pressures from his parents to return home to Etten. He stayed there until about March 1880, which caused fear and annoyance for his parents. His father was particularly distraught and suggested that his son be admitted to Geel's lunatic asylum.

Van Gogh arrived in Cuesmes in August 1880, where he worked with a miner until October. After Theo's suggestion that he take up art in earnest, he became interested in the people and scenes around him, and he captured them in drawings. He travelled to Brussels later this year to follow Theo's recommendation that he study with Dutch artist Willem Roelofs, who persuaded him, to attend the Académie des Beaux-Arts, despite his aversion to formal schools of art. He enrolled at the Académie in November 1880, where he studied anatomy and the relevant rules of modeling and perspective.

In April 1881, Van Gogh returned to Etten for an extended stay with his parents. He continued to draw, often using his neighbors as subjects. Cornelia "Kee" Vos-Stricker, the daughter of his mother's older sister Willemina and Johannes Stricker, arrived in August 1881 for a visit. He was ecstatic and went for long walks with her. Kee was seven years older than he was and had an eight-year-old son. Van Gogh shocked everybody by announcing his love for her and suggesting marriage. ("No, nay, never"), she retorted with the words "nooit, neen, nimmer"). Van Gogh returned to Amsterdam to try selling paintings and talk with his second cousin, Anton Mauve. Van Gogh, the renowned artist, was the one who longed to be. Mauve invited him back in a few months and suggested that he spend the intervening time in charcoal and pastels; Van Gogh returned to Etten and followed this suggestion.

Van Gogh wrote a letter to Johannes Stricker late in November 1881, one of which he referred to Theo as an assault. He departed for Amsterdam within days. Kee would not recognize him, and her parents wrote that his "persistence is disgusting." "Let me see her for as long as I can hold my hand in the fire," he held his left hand in the blazing of a lamp. He didn't recall the incident well, but later assumed that his uncle had blown out the fire. The father of Kee made it clear that her repulse should be heeded and that the two will not marry, largely because of Van Gogh's inability to care for himself.

Mauve took Van Gogh as a student and introduced him to watercolour, which he maintained for the next month before returning home for Christmas. He quarrelled with his father, who refused to attend church, and moved to The Hague. Mauve introduced him to oil painting in January 1882 and lent him money to open a studio. Van Gogh and Mauve were both out within a month, owing to the ease with which drawing from plaster casts is a hit. Van Gogh could afford to recruit only people from the street as models, a tactic that Mauve seems to have rejected. Van Gogh died of gonorrhoea in June and spent three weeks in hospital. He first painted in oils and then borrowed funds from Theo soon after. He loved the medium and liberally applied the paint, scraping off the canvas and working back with the jungle. He was surprised at how good the results were, as he wrote.

Mauve seemed to have gone cold against Van Gogh by March 1882, and he stopped responding to his letters. He had heard of Van Gogh's new domestic relationship with an alcoholic prostitute, Clasina Maria "Sien" Hoornik (1850–1904), and her young daughter. Van Gogh had been married to Sien about 1882, when she had a five-year-old daughter and was pregnant. Van Gogh had previously had two children who died, but she was unaware of this. Willem was born on July 2nd, and she welcomed her first child. When Van Gogh's father found the truth of their marriage, he put pressure on him to leave Sien and her two children. Vincent defied him at first and considered moving the family out of the city, but in late 1883, he left Sien and the children.

Sien may have forced Sien back to prostitution; the family's life became less stable, and Van Gogh's family life may have been irreconcilable with his artistic growth. Sien gave her daughter to her mother and baby Willem to her brother. Willem remembered visiting Rotterdam as an uncle tried to convince Sien to marry to legitimize the child. Van Gogh was his father, but the circumstances of his birth make this unlikely. Sien drowned herself in the River Scheldt in 1904.

Van Gogh moved to Drenthe, northern Netherlands, in September 1883. He went to live with his parents in December and then in Nuenen, North Brabant.

Van Gogh's Nuenen concentrated on drawing and painting. He created sketches and paintings of weavers and their cottages while living outside and working quickly. Van Gogh also completed The Parsonage Garden at Nuenen, which was stolen from the Singer Laren in March 2020. Margot Begemann, a neighbor's daughter ten years his senior, came to him in August 1884; she fell in love and he reciprocated, but less enthusiastically. They wanted to marry, but neither of their families were in favour of marriage. Margot was distraught and died of a strychnine overdose, but she recovered after Van Gogh rushed her to a nearby hospital. His father died of a heart attack on March 26, 1885.

In 1885, Van Gogh created several groups of still lives. During his two-year stay in Nuenen, he created many drawings and watercolours, as well as nearly 200 oil paintings. His palette mainly consisted of sombre earth tones, particularly dark brown, and showed no hint of the vibrant hues that distinguished his later work.

In 1885, a dealer in Paris showed an interest. When Vincent asked if he had paintings lined up to display, he said no. Van Gogh's first major work, The Potato Eaters, and a series of "pesant character studies" that were the culmination of many years of study culmination. When he said that Theo was not making enough effort to sell his paintings in Paris, his brother replied that they were too heavy and not in keeping with Impressionism's bright style. In August, his work was officially on view in the shop windows of Leo Leurs in The Hague, for the first time. In September 1885, one of his young peasant sitters became pregnant; Van Gogh was accused of coerceding her to marry her; and the village priest forbade parishioners from modeling for him.

He moved to Antwerp in November and rented a room above a painter's store in the rue des Images (Lange Beeldekenstraat). He lived in poverty and ate poorly, but he wanted to invest the money Theo sent painting supplies and models. His go-to-diete was bread, coffee, and cigarettes. He told Theo in February 1886 that he could only remember eating six hot meals since the previous May. His teeth became loose and painful. He dedicated himself to the study of colour theory and spent time in museums, particularly investigating Peter Paul Rubens' work, expanding his palette to include carmine, cobalt blue, and emerald green. Van Gogh collected Japanese ukiyo-e woodcuts in the docklands and later added elements of their style to some of his paintings. He was heavily consuming alcohol again, and he was hospitalized between February and March 1886, when he was possibly treated for syphilis.

Despite his antipathy toward academic teaching, he took the higher-level admission exams at the Academy of Fine Arts in Antwerp and, in January 1886, matriculated in painting and drawing. He became sick and run down as a result of overwork, inadequate diet, and heavy smoking. After plaster models at the Antwerp Academy in 1886, he began attending drawing lessons. Because of his unconventional painting style, Charles Verlat, the artist of the academy and tutor of a painting class, got him into trouble. Van Gogh had also clashed with Franz Vinck, the drawing class's coach. After the presentation of antique plaster models by Eugène Siberdt, Van Gogh's drawing classes began again. When Siberdt's request that drawings specify the shape and concentrate on the line, Siberdt and Van Gogh came into conflict. When Van Gogh was expected to draw the Venus de Milo in a drawing class, he created the limbless, naked torso of a Flemish peasant woman. Siberdt regarded this as a protest against his artistic direction and made corrections to Van Gogh's crayon drawing with his crayon so ferocially that he tore the paper. Van Gogh burst into a tumultuous protest and yelled at Siberdt: 'You obviously don't know what a teenage woman is like, God damn it!' A woman must have hips, buttocks, and a pelvis in which she can carry a baby.' According to several sources, this was the last time Van Gogh attended classes at the academy, and he left later for Paris. The academy's educators announced on March 31 1886, about a month after the incident with Siberdt, that 17 students, including Van Gogh, would have to repeat a year. Van Gogh's accusation from the academy by Siberdt is therefore unfounded.

Van Gogh left Paris in March 1886 and spent time in Montmartre with Theo's rue Laval apartment and studied at Fernand Cormon's studio. In June, the brothers acquired a larger apartment in Lepic, Belgium. Vincent painted portraits of friends and acquaintances, still life paintings, Le Moulin de la Galette's perspectives, Montmartre, Asnières, and along the Seine. In Antwerp in 1885, he had become interested in Japanese woodblock prints and had used them to decorate his studio's walls; in Paris, he collected hundreds of them. After Keisai Eisen's (which he later enlarged in a painting), he tried his hand at Japonaiserie, traceing a figure from a drawing on the front of the magazine The Courtesan or Oiran (1887).

Van Gogh adopted a more vibrant palette and a bolder approach after seeing Adolphe Monticelli's portrait at the Galerie Delareybarette, particularly in paintings such as his Seascape at Saintes-Maries (1888). Two years ago, Vincent and Theo paid for the publication of a book on Monticelli paintings, and Vincent bought some of Monticelli's works to add to his collection.

Van Gogh learned about Fernand Cormon's atelier from Theo. He worked at the studio in April and May 1886, where he frequented the circle of Australian artist John Peter Russell, who painted his portrait in 1886. Émile Bernard, Louis Anquetin, Henri de Toulouse-Lautrec, who created a portrait of him in pastel, was also visited by Van Gogh. They met in Julien "Père" Tanguy's paint store (which was at that time, the only place where Paul Cézanne's paintings were on view). For the first time, two major exhibitions were held in 1886, exhibiting Pointillism and Neo-impressionism, as well as drawing attention to Georges Seurat and Paul Signac. Theo owned an Impressionist painting in his gallery on boulevard Montmartre, but Van Gogh was slow to acknowledge the latest artistic advances.

The brothers were involved in wars. Theo found life with Vincent to be "most unbearable" at the end of 1886. They had returned to Asnières, a northwestern suburb of Paris, where they learned Signac by early 1887. He used elements of Pointillism, a process in which a multitude of small coloured dots are applied to the canvas so that they appear as seen from a distance. The style emphasizes the ability of complementary colors, including blue and orange, to create vibrant contrasts.

Van Gogh painted parks, restaurants, and the Seine, including Bridges across Asnières' Seine. Theo and Vincent befriended Paul Gauguin, who had just arrived in Paris in November 1887. Vincent organised an exhibition at the Grand-Bouillon Restaurant du Chalet, 43 avenue de Clichy, Montmartre, towards the end of the year. Bernard, Anquetin, and most likely Toulouse-Lautrec. Bernard wrote an in-depth review that the exhibition was ahead of anything else in Paris. Bernard and Anquetin were selling their first paintings, and Van Gogh was exchanging work with Gauguin. Artists, designers, and their social situations began during this exhibition, which has now grown to include visitors, including Camille Pissarro and his son Lucien, Signac, and Seurat. Van Gogh left in February 1888, feeling drained from life in Paris, having created more than 200 paintings in his two years. In his studio just hours before his departure, he and Theo paid his first and only visit to Seurat.

In February 1888, Van Gogh sought asylum in Arles, Ill from alcohol and coughing as a result of smoke. He seems to have ruled out the possibility of establishing an art colony. Christian Mourier-Petersen, a Danish artist, became his companion for two months, and Arles looked exotic at first. "The Zouaves, the brothels, the adorable little Arlésienne going to her First Communion, the priest in his surplice, the people drinking absinthe all seem to me animals from another world."

The time in Arles was one of Van Gogh's most prolific periods: he made 200 paintings and more than 100 drawings and watercolours. He was captivated by the local countryside and light; his paintings from this time are rich in yellow, ultramarine, and mauve. They include harvests, wheat fields, and general rural landmarks from the area, including The Old Mill (1888), one of seven canvases sent to Pont-Aven on October 4th, 1888, from Paul Gauguin, Émile Bernard, Charles Laval, and others. Arles' portrayals are influenced by his Dutch upbringing; the patchworks of fields and avenues are flat and lacking perspective, but they are exceptional in their use of color.

He painted landscapes in March 1888 using a gridded "perspective frame; three of the works were on view at the annual exhibition of the Société des Artistes Indépendants. He was visited by American artist Dodge MacKnight, who was living near Fontvieille in April. On May 1, 1888, he signed a lease for the eastern wing of the Yellow House at 2nd place Lamartine, which cost him 15 francs per month. The rooms had been unfurnished and uninhabited for months.

Van Gogh moved from the Hôtel Carrel to the Café de la Gare on May 7th, having befriended the owners, Joseph and Marie Ginoux. The Yellow House had to be furnished before he could fully move in, but he was able to use it as a studio. He wanted a gallery to show his work (1888), Bedroom in Arles (1888), Van Gogh's Chair (1888), and Still Life: Vase with Twelve Sunflowers (1888), all intended for the Yellow House's decoration.

Van Gogh wrote that he tried to "establish the belief that the café is a place where one can defile oneself, go mad, or commit a crime." He rented lessons to a Zouave second lieutenant, Paul-Eugène Milliet, and painted boats on the sea and the village when he visited Saintes-Maries-de-Mer in June. In July, MacKnight introduced Van Gogh to Eugène Boch, a Belgian painter who occasionally lived in Fontvieille, and the two exchanged visits.

Van Gogh, who returned to Arles in 1888, hoped for friendship and to discover his vision of an artist's group. Van Gogh prepared for Gauguin's arrival by completing four Sunflower designs in a week. "I'd like to do a decoration for the studio in the hopes of living in a studio of our own with Gauguin," he wrote in a letter to Theo. "There are things more than sunflowers in the country"

Van Gogh painted a portrait of him as Boch visited again, as well as the analysis of The Poet Against a Starry Sky.

Van Gogh bought two beds on advice from the station's postal manager Joseph Roulin, whose portrait he painted, in preparation for Gauguin's visit. He spent his first night in the still sparsely furnished Yellow House on September 17th. Van Gogh began to work on the Yellow House's Décorating, the most ambitious initiative he ever undertook. Van Gogh's Chair and Gauguin's Chair were two of his chair paintings, as well as Gauguin's Chair.

Gauguin had been pleading in Arles from the beginning of October 23-10, and the two artists were painted together in November. Gauguin depicted Van Gogh in his painting The Painter of Sunflowers; Van Gogh's son made photographs from memory after Gauguin's suggestion. Memory of the Garden at Etten is one of the "imaginative" paintings on display. When they made the pendants Les Alyscamps, they enjoyed their first joint outdoor venture at the Alyscamps. Gauguin's single painting on tour was his portrait of Van Gogh.

Van Gogh and Gauguin visited Montpellier in December 1888, where they saw works by Courbet and Delacroix in the Musée Fabre. Van Gogh adored Gauguin and wanted to be treated as his equal, but Gauguin was selfish and domineering, which angered Van Gogh. They often quarrelled; Van Gogh feared that Gauguin would abandon him, and the situation, which Van Gogh described as "excessive tension," is quickly approaching a crisis point.

It is unclear what happened to van Gogh's ear's mutilation. Gauguin said, fifteen years later, that the night occurred in multiple instances of physically threatening behaviour. Their marriage was complicated, and Theo may have owe a lot to Gauguin, who was suspicious of him financially. Vincent seems to have known that Gauguin was planning to leave. Heavy rain fell on the two men as a result of their stay in the Yellow House for the following days. After he left for a walk and "rushed toward me, an open razor in his hand," Gauguin said. This account is uncorroborated; Gauguin was almost certainly absent from the Yellow House that night, most likely staying in a hotel.

Van Gogh returned to his room after an altercation on December 23, 1888, where he may have heard voices and perhaps in part severed his left ear with a razor, causing severe bleeding. He bandaged the wound, wrapped the ear in paper, and delivered the box to a lady at a brothel Van Gogh and Gauguin, who were both frequented. Van Gogh was discovered unconscious by a policeman and admitted to the hospital, where he was treated by Félix Rey, a young doctor who was still in training. The ear was taken to the hospital, but Rey did not attempt to reattach it as too much time had passed. Bernadette Murphy, a Van Gogh researcher and art historian, discovered the woman named Gabrielle, who died in Arles at the age of 80 in 1952 and whose descendants now live just outside Arles. Gabrielle, a 17-year-old cleaning girl at the brothel and other local establishments at the time when Van Gogh presented her with his ear, was a girl named "Gaby" in her youth.

Van Gogh had no recall of the incident, meaning that he may have suffered from an acute mental disorder. The hospitalization was "acute mania with generalized delirium," and the local police ordered that he be placed in hospitalized care within a few days. Gauguin immediately informed Theo, who had proposed marriage to his old friend Andries Bonger's sister Johanna on December 24th. Theo rushed to the station to board a night train to Arles that evening. He arrived on Christmas Day and comforted Vincent, who seemed to be semi-lucid. He left Arles for the return journey to Paris that evening.

Van Gogh repeatedly and unsuccessfully pleaded for Gauguin, who had asked a policeman attending the trial to "be kind enough, Monsieur," and if you ask, tell him I have left for Paris." Gauguin fled Arles, but never saw Van Gogh again. They continued to communicate, and Gauguin suggested that they create a studio in Antwerp in 1890. Marie Ginoux and Roulin, among other visitors to the hospital, were also interested.

Despite a pessimistic diagnosis, Van Gogh recovered and returned to the Yellow House on January 7th, 1889. He spent the next month between hospital and home, suffering from hallucinations and poisoning delusions. The police closed his house in March after 30 people (including the Ginoux family) petitioned him to be "the redheaded madman"; Van Gogh returned to hospital. In March, Paul Signac visited him twice; in April, Van Gogh was moved to Dr Rey's house after floods destroyed paintings in his own home. In Saint-Rémy-de-Provence, two months later, he left Arles and voluntarily entered an asylum. "Sometimes moods of indescribable anguish, and other times when the veil of time and fatality of circumstances seemed to be broken apart for a moment," he wrote.

Doctor Félix Rey was given by Van Gogh in 1889. The physician was not keen on the painting and used it to rebuild a chicken coop before giving it away. The portrait was on display at the Pushkin Museum of Fine Arts in 2016 and is estimated to be worth more than $50 million.

Van Gogh and his caregiver, Frédéric Salles, a Protestant clergyman, entered the Saint-Paul-de-Mausole asylum on May 8th, 1889. Saint-Paul was a former monastery in Saint-Rémy, less than 30 kilometres (19 mi) from Arles, and it was managed by Théophile Peyron, a former naval doctor. Van Gogh had two cells with barred windows, one of which he used as a studio. His paintings were primarily based on the clinic and its garden. He conducted several studies of the hospital's interiors, including Vestibule of the Asylum and Saint-Rémy (September 1889), as well as its gardens, including Lilacs (May 1889). Some of his creations from this period, such as The Starry Night, are characterized by swirls. He was allowed short guided walks, during which time he painted cypresses and olive trees, including Ploughman Seen from Above, Olive Trees, in the Alpilles' 1889. Country road in Provence by Night (1890). He made two new versions of Bedroom in Arles and The Gardener in September 1889.

A shortage of subject matter resulted in a lack of subject matter because of limited access to life outside of the clinic. Van Gogh did not focus on interpretations of other artists' works, such as Millet's The Sower and Noonday Rest and variations on his own earlier paintings. Van Gogh compared his copies to a musician's interpretation of Beethoven.

Gustave Doré (1890) was engraved after an engraving by Gustave Doré (1832–1883). Tralbaut claims that the portrait's front-face of the painting with the viewer's eye is Van Gogh himself; Jan Hulsker dismisses this.

Van Gogh suffered a serious relapse between February and April 1890. He was still able to paint and draw a little during this period, although he later told Theo that he had made a few small canvases "from memory... reminisces of the North." Two Peasant Women Digging in a Snow-Covered Field at Sunset was one of these. According to Hulsker, this small group of paintings formed the nucleus of several drawings and research sheets depicting landscapes and figures that Van Gogh created during this period. Van Gogh's illness was the first time his work had a major effect on his career, according to him. Van Gogh asked his mother and brother to draw and rough sketches of his early 1880s sketches so he could begin to create new paintings from his old sketches. Sorrowing Old Man ("At Eternity's Gate"), a color report by Hulsker, is "another ostensible remembrance of days long past." According to art critic Robert Hughes, his late paintings depict an artist at the height of his talents.

"I started right away to take a picture for him to hang in their bedroom, branches of white almond blossom against a blue sky," Van Gogh wrote about his nephew's birth.

1890 Exhibitions and recognition

See also Vincent van Gogh's display at Les XX, 1890.

Albert Aurier lauded his service in the Mercure de France in January 1890 and called him "a genius." Van Gogh created five versions of L'Arlésienne (Madame Ginoux), based on a charcoal sketch Gauguin produced when she sat for both artists in November 1888. Van Gogh was also invited by Les XX, a Brussels group of avant-garde painters, to participate in their annual exhibition in February. Henry de Groux, a Les XX member, mocked Van Gogh's work at the opening dinner. Toulouse-Lautrec expressed delight, and Signac declared that if Lautrec relinquished, he would continue to fight for Van Gogh's name. De Groux apologised for the slight change and left the company.

Van Gogh was included in the sixth exhibition of the Société des Artistes Independence in the Pavillon de la Ville de Paris's Champs-Elysée from 20 March to May 1890. Van Gogh's show featured ten paintings. Eight of these trees can be identified as Cypresses (F613 / JH 1746), Road menders ('The tall plane trees') (F 657 / JH 1896), Ravine (F 657 / JH 1896), Trees with ivy in the garden of the asylum (F 613 / JH 1896 ), Wheatfield at sunrise (F 609 / JH 1896), Sunflowers in a vase (F 454/JH 1562 ) or Sunflowers in a vase (JH 1561 ) Wheatfield after a storm (F 611/JH 1723 ) and Olive grove (JH 1854 / JH 1854).

Although Van Gogh's exhibit was on view at the Artists Indépendants in Paris, Claude Monet said his work was the best in the show.

Van Gogh left the clinic in Saint-Rémy in May 1890 to travel nearer to both Dr Paul Gachet and Theo in the Paris suburb of Auvers-sur-Oise and Theo. Camille Pissarro recommended Gachet as an amateur painter who had worked with many other artists. Van Gogh's first impression was that Gachet was "lesser than I am," or at least as much."

Charles Daubigny, a painter from Auvers in 1861, met with other artists, including Camille Corot and Honoré Daumier, in turn. Van Gogh completed two paintings of Daubigny's Garden in July 1890, one of which is likely to be his last work.

During his last weeks in Saint-Rémy, his thoughts returned to "memories of the North" and several of the nearly 70 oils, painted during as many days in Auvers-sur-Oise, are reminiscent of northern scenes. He created several portraits of his doctor, including Portrait of Dr Gachet and his only etching, in June 1890. In each case, the focus is on Gachet's melancholic disposition. There are some paintings that are obviously incomplete, including Thatched Cottages by a Hill.

Van Gogh wrote in July that he had been absorbed "in the vast plain against the hills, boundless as the sea, delicate yellow." In May, he first became captivated by the wheat fields, when the wheat was young and green. He referred to Theo in July as "vast fields of wheat under turbulent skies."

They portrayed his "sadness and profound loneliness" and that "canvases will show you what I cannot say in words, namely, how fit and rejuvenating I find the countryside." Hulsker argues that wheatfield with Crows was from July 1890, but not his last oil work, and that it is associated with "melancholy and extreme loneliness." Seven oil paintings from Auvers have been identified by Hulsker, who describes the completion of Wheatfield with Crows.

In 2020, research by senior researchers at the museum Louis van Tilborgh and Teio Meedendorp, examining Wouter van der Veen's final work Tree Roots found that it was "strongly probable" that the exact location where Van Gogh's final work Tree Roots was located some 150 meters (490 ft) from the Auberge Ravoux inn, where a tangle of gnarled roots grew on a hillside In a postcard from 1900 to 1910, these trees with gnarled roots are shown. Van Gogh is said to have been painting just hours before his death, according to Mr Van der Veen.

Van Gogh is accused of shooting himself in the chest with a 7mm Lefaucheux pinfire revolver on July 27, 1890, age 37. There were no witnesses and he died 30 hours after the shooting. The shooting may have occurred in a wheat field in which he had been painting or in a local barn. The bullet was deflected by a rib and passed through his chest without causing apparent damage to internal organs, but not by his spine. He was able to walk back to the Auberge Ravoux, where he was attended to by two doctors, but without a surgeon, the bullet could not be removed. The doctors tended to him as well as they could, but then he was left alone in his bed, smoking his pipe. Theo rushed to his brother's house the next morning, finding him in good spirits. Vincent's health began to fail within hours, as a result of an untreated infection resulting from the wound. He died in the early hours of 29 July. "The sadness will last forever," Vincent's last words were, according to Theo.

Van Gogh was buried on July 30 in Auvers-sur-Oise's municipal cemetery. The funeral was attended by twenty family members, acquaintances, and locals. Andries Bonger, Charles Laval, Lucien Pissarro, Émile Bernard, Julien Tanguy and Paul Gachet attended the funeral. Theo had been sick, and his health began to decline even more after his brother's death. He died on January 25, 1891 at Den Dolder, and was buried in Utrecht, weak and unable to comprehend because of Vincent's absence. Johanna van Gogh-Bonger had Theo's body exhumed and relocated from Utrecht to Be re-buried alongside Vincent's at Auvers-sur-Oise in 1914.

Several debates have been held regarding Van Gogh's illness and its effects on his work have arisen, and numerous retrospective diagnoses have been formulated. Van Gogh was diagnosed with an episodic disorder with periods of normal functioning, according to the report. In 1947, Perry was the first to mention bipolar disorder, and Hemphill and Blumer have supported him. Wilfred Arnold, a biochemist, has claimed that the signs are more consistent with acute intermittent porphyria, and that the common correlation between bipolar disorder and creativity may be triggering. Epilepsy epilepsy has also been associated with bouts of depression. Whatever the illness, his illness was likely exacerbated by hunger, overwork, insomnia, and alcohol.

The Van Gogh gun, which was said to have been used in 1965 and was auctioned on 19 June 2019 as "the most common weapon in art history." The weapon went for €162,500 (£144,000; $182,000), much more than expected.

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