Vincent van Gogh - Sunset at Montmajour 1888

Sunset at Montmajour  1888
Sunset at Montmajour
Oil on canvas 93.3 x 73.3 cm. Arles: Summer, 1888
Private collection

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2013 - AMSTERDAM, Netherlands - The Van Gogh Museum says it has identified a long-lost Vincent Van Gogh painting that spent years in a Norwegian attic because it was thought not to be authentic. It is the first full-size canvas by the Dutch master discovered since 1928.
"Sunset at Montmajour" depicts a dry landscape of oak trees, bushes and sky, painted with Van Gogh's familiar thick brush strokes. It can be dated to the exact day it was painted because Vincent described it in a letter to his brother, Theo, and said he painted it the previous day -- July 4, 1888.
A letter written by Vincent van Gogh to his brother Theo on July 1888, describing a landscape that he had painted the previous day:
"Yesterday, at sunset, I was on a stony heath where very small, twisted oaks grow, in the background a ruin on the hill, and wheatfields in the valley. It was romantic, it couldn’t be more so, à la Monticelli, the sun was pouring its very yellow rays over the bushes and the ground, absolutely a shower of gold. And all the lines were beautiful, the whole scene had a charming nobility. You wouldn’t have been at all surprised to see knights and ladies suddenly appear, returning from hunting with hawks, or to hear the voice of an old Provençal troubadour. The fields seemed purple, the distances blue. And I brought back a study of it too, but it was well below what I’d wished to do."

The Letters of Vincent van Gogh

To Theo van Gogh. Antwerp, Tuesday, 19 or Wednesday, 20 January 1886.
My dear Theo,
Wanted to tell you that Verlat has seen my work at last, and when he saw the two landscapes and the still life that I brought with me from the country, he said — ‘yes, but that doesn’t concern me’ — when I showed him the two portraits, he said — that’s different, if it’s the figure you can come. So I’m going to begin tomorrow by starting work in the painting class at the academy. While I’ve moreover arranged with Vinck (a pupil of Leys’s by whom I saw things in the manner of Leys, medieval) to draw some plaster casts in the evening.
I don’t think I can go wrong with either of these two things — and I can probably learn something there that could be useful to me, be it for painting, be it for drawing. And in any event it’s an attempt to get to know people. I saw in passing that there are several people of my age working in the painting class and in the drawing class. And certainly if I were to become a little friendly with Verlat or Vinck or whomever, it would save me money for models. Anyway — that’s mainly the practical side of the matter. I also have to go to two people with a view to portraits; I don’t know if anything will come of it.
One is a matter of making two portraits of a couple of very pretty girls — types with very dark eyes, dark hair — two sisters who, I imagine, are being kept.
And the other is a portrait of a married woman. But I tell you, nothing is settled yet and it could fall through.
I do know, though, that if need be I’d be prepared to do them for nothing, just so that I can practise.
But, when you think that I’ll have to go and work either there or elsewhere at someone’s home etc., I’ll have to do something about my clothes, because I’ve been wearing mine for two years and they’ve suffered, particularly recently. If it were just a 40-franc suit, say, it would be good enough.
And if Verlat says that I have to purchase some painting gear or other, I also have to be prepared to do that too. Accordingly. Try, as I asked you, to send 50 francs, then I can get by till the end of the month and would buy myself a new pair of trousers and waistcoat at once, and the jacket in February.
It’s dreadfully cold here, and I often feel far from well, but anyway, as long as the painting’s going, that doesn’t really matter.
I’ve already drawn there 2 evenings, and I have to say that that I think it’s very good to draw plaster casts, particularly for doing peasant figures, for instance, but not, please, as it’s usually done! I actually find all the drawings I see there hopelessly bad — and fundamentally wrong. And I know that mine are totally different — time will just have to tell who’s right. Damn it, not one of them has any feeling for what a classical statue is.
I, who haven’t seen a good cast of a classical piece for years — and the ones they have here are very fine — and who have always had live models in front of me in those years — I’m astounded by the ancients’ immense knowledge and aptness of sentiment now that I really see it again. Anyway. All the same, it’s to be expected that the academic gentlemen will accuse me of heresy, but — so be it.
I’d like to make some progress with Verlat if I could. I find much of what he does both hard and wrong in colour, and — paint — but I know that he also has his good days. That, for instance, he paints a better portrait than most of the others. And so we’ll see. I continue to feel cheerful in spite of everything, precisely because it does me good to be in all sorts of circumstances so unlike the country, and it could well be that I found myself at home here.
Anyway. But do your best to write to me soon, and it’s really necessary that I have that extra 50 francs for the month. I won’t manage otherwise, and things are too urgent.
Yours truly,