1. These ideas, which recur in the continuation of the letter, are derived from the views put forward in Michelet’s La femme and L’amour.
2. For this comparison with Landelle, see letter 234.
3. The doctor who treated Sien was Prof. A.E. Simon Thomas: see letter 224, n. 4.
4. External use of brandy was recommended for ulcers and infections. See M.A. van Andel, Volksgeneeskunst in Nederland. Utrecht 1909, p. 387.
a. ‘Home’ was written in English.
5. ‘La femme est une réligion’ (Woman is a religion) is the title of a chapter in Jules Michelet, La femme (part 1, chapter 6). See Michelet 1863, pp. 112-126; also cited on pp. 117 and 355. Moreover, in L’amour he wrote: ‘Objet sacré, ne craignez rien. Vous êtes une réligion’ (Sacred object, fear nothing. You are a religion) (p. 151).
b. Means: ‘a persistent fever that slowly undermines the constitution’.
6. The windmill De Laakmolen near The Hague (F 844 / JH 59 [3108]) and View of The Hague from the northeast (F 916 / JH 162 [3109]). By ‘experiment’ Van Gogh very probably meant the works on Harding paper, which he discusses further on in the letter (l. 178-179). The windmill De Laakmolen near The Hague is on Harding paper.
[3108] [3109]
7. Either Carpenter’s yard and laundry (F 944 / JH 153 [2376]), or another, unknown drawing of the same subject (see letter 245, n. 2).
[2376]
c. Read: ‘fond’ (basis).
8. Van Gogh had cared for the sick during his time in the Borinage.
9. One example of a pen drawing of a studio by Adriaen van Ostade is The studio (Staatliche Museen zu Berlin, Kupferstichkabinett). Ill. 1932 [1932]. See also letter 114, n. 11 for the lithograph The studio of Adriaen van Ostade [1821]. Van Gogh made a similar gibe at academic studios in letter 253.
[1932] [1821]
10. Sien’s figure could have been known to Theo from the two unknown versions of Sorrow which he had at this time (see letters 216 and 222), as well as from the figure studies mentioned in letter 224: Seated woman (F 935 /JH 143) or Seated woman (F 937 / JH 144) and Woman sewing (F 932 / JH 145 [2372]).
[2372]
11. It is not known which ‘nude studies’ are referred to here.
12. The reference is to the ‘Tentoonstelling van schilderijen (uit particuliere verzamelingen) ten voordeele van het fonds der Academie’ (Exhibition of paintings ((from private collections)) for the benefit of the Academy’s fund), Academy of Fine Arts, The Hague, which was originally to be held from 15 June to 9 July 1882 but was extended to 16 July (according to a report in Het Vaderland of 10 July 1882). Prinsessegracht was known as ‘Boschkant’ because it was opposite the Haagse Bos.
The 51 works exhibited came from the collections of H.W. Mesdag (15 works), T. Mesdag Kz. (10 works) and F.H.M. Post (12 works) as mentioned, and also those of J. Verstolk-Völcker and H.J. van Wisselingh. The following artists were represented (number of works between brackets): Bergeret (1), Rosa Bonheur (1), Emile Adélard Breton (2), Jules Breton (1), Corot (10), Courbet (4), Daubigny (5), Diaz de la Peña (8), Dupré (4), Jacque (2), Mancini (1), Mettling (1), Munkacsy (1), Ricard (1), Th. Rousseau (3), Trayer (1), Troyon (4), Vollon (1). See exhib. cat. The Hague 1882-2.
13. Théodore Rousseau, The descent of the cattle in the High Jura mountains, c. 1835-1836 (The Hague, The Mesdag Collection). The work measures 259 x 162 cm. Ill. 402 [402]. See exhib. cat. The Hague 1882-2, p. 14, no. 43; and cat. The Hague 1996, pp. 381-384, cat. nos. 286-287.
[402]
14. Gustave Courbet, Hilly landscape, c. 1858-1859 (The Hague, The Mesdag Collection). Ill. 731 [731]. See exhib. cat. The Hague 1882-2, p. 7, no. 17 and cat. The Hague 1996, pp. 140-141, cat. no. 72. The attribution to Courbet is not undisputed.
[731]
15. The works by Jules Dupré in the exhibition were: November (November) (cat. no. 33; cf. cat. The Hague 1996, pp. 187-188, cat. no. 122), Heide bij ondergaande zon (Heath at sunset) (cat. no. 34), Berglandschap (Mountain landscape) (cat. no. 35) and Avondstond (Evening) (cat. no. 36; cf. cat. The Hague 1996, p. 190, cat. no. 126).
[271] [273] [274]
16. Van Gogh’s description doubtless refers to Charles-François Daubigny’s Dorp in Frankrijk (Un chemin à Auvers) (Village in France (A road in Auvers)) (present whereabouts unknown). See exhib. cat. The Hague 1882-2, p. 8, no. 22, and Hellebranth 1976, p. 55, cat. no. 145. Ill. 42 [42]
[42]
17. Here Van Gogh is probably referring to Vijver bij Ville d’Avray (Pond at Ville-d’Avray) (p. 5, no. 8) from the J. Verstolk-Völcker collection (present whereabouts unknown). There had been a description of it in Het Vaderland of Monday, 26 June 1882.
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