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Martin Bailey - Van Goghs Finale: Auvers and the Artists Rise to Fame

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A captivating and definitive account of the final days of Van Goghs life and the incredible story of what followed. Divided into three parts, the book first examines the eventful days from the artists departure from the asylum in Saint-Remy and arrival in Auvers until the shooting which brought his life to an end. During this time Van Gogh completed 70 paintings in 70 days.The second part delves deeper into the story of the artists death, which has intrigued both experts and the public for years, revealing little-known stories and uncovering overlooked accounts.We then follow the story of how Van Gogh subsequently rose from relative obscurity to international renown and ultimately fame as one of the most recognisable and popular artists in the world.Leading Van Gogh specialist Martin Bailey writes with insight and intelligence, bringing these fateful days to life with colour and character as well as historical expertise, capturing the real sense of a tragic but meaningful life truly lived.

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VAN GOGHS FINALE AUVERS AND THE ARTISTS RISE TO FAME MARTIN BAILEY - photo 1
VAN
GOGHS
FINALE

AUVERS AND THE
ARTISTS RISE TO FAME

MARTIN BAILEY

CONTENTS PREFACE All his life Van Gogh was constantly on the move shuttling - photo 2
CONTENTS
PREFACE

All his life Van Gogh was constantly on the move, shuttling from place to place, in search of somewhere new to take his art to a higher level. But it is his final resting spot the village of Auvers-sur-Oise, 30 kilometres north-west of Paris that today offers us the deepest insight into his life and work. He arrived there on 20 May 1890, after travelling north from the asylum of Saint-Paul-de-Mausole. This cloistered retreat on the outskirts of the small town of Saint-Rmy-de-Provence had been his home for a year, following the breakdown he suffered in Arles when he mutilated his ear. Vincent left the asylum for Auvers full of optimism, hoping that he had recovered. Freed from the constraints of institutional living, he relished the prospect of moving his art forward in a fresh environment. Set just below wooded slopes, Auvers straggles along the valley of the River Oise. More than 130 years later, it still retains much of its distinctive character, in its back lanes and fields.

Detail of Church at Auvers Muse dOrsay Paris Today it takes about an hour to - photo 3

Detail of Church at Auvers, Muse dOrsay, Paris

Today it takes about an hour to reach Auvers from Paris by train, roughly the same time that it took Van Gogh back in 1890. Travellers alight at what was an imposing station for a village, its exterior little changed from the artists time. From there it is five minutes walk along the main street to the Auberge Ravoux, the inn where he stayed (). A congenial caf right up until the 1980s, it has been sensitively restored as a visitor centre, retaining much of the atmosphere of the artists time.

Climbing the 34 steps to Van Goghs bedroom one inevitably thinks of the last time that Vincent struggled up this staircase. Having shot himself while in the wheatfields, he staggered back to the auberge with a bullet lodged in his chest, an astonishing feat of endurance. Doctors were quickly summoned, but little could be done for him.

The garret room now lies bare, furnished only with a simple wooden chair with a straw seat ( For Van Gogh, empty chairs symbolically represented their previous occupants. Here, in this tiny room, the fatally injured Van Gogh calmly lay in bed and smoked his pipe, awaiting death, with his beloved brother Theo by his side.

fig 1 Auberge Ravoux Auvers fig 2 Van Goghs room Auberge Ravoux - photo 4

fig. 1 Auberge Ravoux, Auvers

fig 2 Van Goghs room Auberge Ravoux fig 3 Dr Gachets diary entry for 27 - photo 5

fig. 2 Van Goghs room, Auberge Ravoux

fig 3 Dr Gachets diary entry for 27 July 1890 Archive E W Kornfeld Bern - photo 6

fig. 3 Dr Gachets diary entry for 27 July 1890, Archive E. W. Kornfeld, Bern

Dominique-Charles Janssens, who acquired the auberge some 35 years ago, made a decision to keep the bedroom as a simple space: Visitors come and furnish the empty room with their own memories. They come not for Van Gogh the painter, but for the human being who suffered.

From the auberge, it is a 15-minute walk to the cemetery. The route along a back road first leads to the church an edifice () portrayed so gloriously by Van Gogh under a cobalt blue sky. Just beyond the church the road winds uphill a short distance, alongside the wheatfields that proved such an inspiration. It was just under a kilometre away, across these fields, that the fatal shot was fired.

For many the grave has become a place of pilgrimage (). Visitors flock to what is the most visited French cemetery after Pre Lachaise in Paris. It is an emotional experience to gaze at the simple headstones for Vincent and Theo, buried side by side and covered by a single blanket of ivy, one of the artists favourite plants. For some, the grave has a particularly deep personal meaning: a few people even bring a small quantity of the ashes of their departed loved ones to discreetly scatter into the ivy.

For me, the most memorable moment in my quest to explore Vincents final days was holding the gun that had ended his life. When I heard that the weapon was being put up for sale in 2019 I travelled to Paris just before its unveiling. I met the auctioneer Rmy Le Fur in his premises, which were crammed from floor to ceiling with objects coming up for sale, ranging from bric--brac to major artworks.

fig 4 The corroded Lefaucheux revolver which probably killed Van Gogh held in - photo 7

fig. 4 The corroded Lefaucheux revolver which probably killed Van Gogh, held in the hand of the author

Le Fur disappeared into a back room and brought out a white cardboard box. On opening the lid I saw the rusted Lefaucheux revolver resting incongruously in layers of pristine tissue paper. The late 19th-century gun was more severely corroded than I had expected, but this suggested that it had lain on the ground or just beneath the surface for decades. The wooden section of the grip was missing, having long since rotted away. Tellingly, the safety trigger was unlocked, so it had probably been fired shortly before being abandoned.

Picking up the rusted revolver I was instantly struck by how small and light it was (

Le Fur told me that in around 1960 an unnamed farmer had dug up the gun while ploughing a field on the outskirts of Auvers. It was now being sold by an anonymous owner. Months later I managed to track down details of the story and identify the original finder. He was Claude Aubert, a respected farmer who worked just beyond the northern wall of the chteau of Auvers.

Tradition has it that Van Goghs shooting took place at the back of the chteau and the gun had clearly lain there for decades. Aubert therefore quickly realized that this rusted revolver could indeed be the weapon that had killed the artist. It never occurred to him that the gun had any financial value and he gave it to his friends Roger and Micheline Tagliana, who ran the auberge where Van Gogh had once stayed. For them, it was merely a curio, occasionally brought out for friends or visitors with a special interest. Aubert died in 1989, having gained nothing financially and won no plaudits for his discovery, which suggests to me that he had been totally honest about the find.

The 1960 discovery went unpublicized and the weapon was later inherited by the innkeepers daughter, Rgine. For decades she kept it securely hidden in a drawer, before eventually deciding to sell it. By this time there was much more international interest in Van Gogh. Without the provenance the rusted gun would have been worth nothing, but with the Van Gogh connection Le Fur auctioned it on Rgine's behalf for 162,500, selling it to an anonymous buyer.

The emergence of the gun came during a long-running debate over the circumstances of Van Goghs death. Although it had always been widely assumed that it was suicide, two American writers argued in 2011 that a local teenager, Ren Secrtan, had pulled the trigger. Publication of the highly detailed biography, by Steven Naifeh and Gregory White Smith, caused a sensation.

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