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The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles
From October to December 1888, Paul Gauguin shared a home in Arles with Vincent van Gogh. This was, without doubt, the most celebrated cohabitation in art history: never, before or since have two such towering artistic talents been penned up in so small a space. They were the Odd Couple of art history. Predictably, the results were explosive. The dâenouement of their life together has entered into folklore. Two months after Gauguin arrived in Arles, Van Gogh suffered a psychological crisis. He spent most of the rest of his life in a mental institution. Gauguin fled from Arles, and they never saw each other again. But in the brief period during which they worked together a stream of masterpieces was created within the studio they shared. Here, for the first time, the full story of their life together is told
352 pages, Hardcover
First published April 6, 2006
315 people are currently reading
7374 people want to read
About the author
Martin Gayford
57 books137 followersMartin Gayford is an art critic and art historian. He studied philosophy at the University of Cambridge, and art history at the Courtauld Institute of Art at the University of London. Over three decades, he has written prolifically about art and music in a series of major biographies, as well as contributing regularly to newspapers, magazines and exhibition catalogues. In parallel with his career as an art historian, he was art critic of The Spectator magazine and The Sunday Telegraph newspaper before becoming Chief Art Critic for the international television network, Bloomberg News. He has been a regular contributor to the British journal of art criticism, Modern Painters.
His books include a study of Van Gogh and Gauguin in Arles, The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles (Little Brown, 2006), which was published in Britain and the USA to critical acclaim, and has been translated, to date, into five languages; Constable in Love: Love, Landscape, Money and the Making of a Great Painter (Penguin, 2009), a study of John Constable’s romance with Maria Bicknell and their lives between 1809 and 1816; and A Bigger Message: Conversations with David Hockney (Thames and Hudson, 2011).
His books include a study of Van Gogh and Gauguin in Arles, The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles (Little Brown, 2006), which was published in Britain and the USA to critical acclaim, and has been translated, to date, into five languages; Constable in Love: Love, Landscape, Money and the Making of a Great Painter (Penguin, 2009), a study of John Constable’s romance with Maria Bicknell and their lives between 1809 and 1816; and A Bigger Message: Conversations with David Hockney (Thames and Hudson, 2011).
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September 3, 2010
I encourage anyone who is interested in art, the business of art, and artists to read this book. And I mean art in a general sense, whether it is painting, poetry, prose, photography, or any other medium. This is a phenomenal look at the mind of two artists, how they looked at the world, how they created their art, and how they related to each other.
I am not a fan of Gauguin. I consider Van Gogh one of the greatest artists the world has ever known. But this book taught me to appreciate Gauguin, and see his art in a different light. It has really taught me to look at all art differently. It has even helped me to see my own writing from a different perspective.
As these two painters spent time together, they often painted the same scene, from the same viewpoint, yet time and again their paintings were strikingly different. They would use the same models, both of them painting during the same sitting. It is educational to see how each of them viewed the model, and how they translated their visions to the canvas.
Van Gogh spent this time in awe of Gauguin, taking a backseat to the bombastic artist, who was more than willing to treat the virtually unknown Dutch painter as a student, always correcting him and encouraging him to improve or alter his style. After all, Gauguin was selling pieces right and left, while no one would buy Van Gogh's art. An important lesson for artists today who watch others prosper why they toil in obscurity.
This book has also taught me to remain true to my vision, as Van Gogh did, even in the face of his apparent "failure" as an artist.
Gauguin often scolded Van Gogh for painting too quickly, yet Van Gogh, in an effort to prove that his paintings could be good even if he painted more quickly, dashed off one of his fastest pieces. He declared to his brother that the results were "not bad". He had, in this attempt to disprove his friend and mentor, produced one of his most famous and loved paintings: Vincent's Chair. I have a print of this piece in my diningroom, and it is proof indeed that Van Gogh had no need to bow to another artist's instructions.
The Yellow House is well worth the time and money, and just might be the best book I've read in ten years.
I am not a fan of Gauguin. I consider Van Gogh one of the greatest artists the world has ever known. But this book taught me to appreciate Gauguin, and see his art in a different light. It has really taught me to look at all art differently. It has even helped me to see my own writing from a different perspective.
As these two painters spent time together, they often painted the same scene, from the same viewpoint, yet time and again their paintings were strikingly different. They would use the same models, both of them painting during the same sitting. It is educational to see how each of them viewed the model, and how they translated their visions to the canvas.
Van Gogh spent this time in awe of Gauguin, taking a backseat to the bombastic artist, who was more than willing to treat the virtually unknown Dutch painter as a student, always correcting him and encouraging him to improve or alter his style. After all, Gauguin was selling pieces right and left, while no one would buy Van Gogh's art. An important lesson for artists today who watch others prosper why they toil in obscurity.
This book has also taught me to remain true to my vision, as Van Gogh did, even in the face of his apparent "failure" as an artist.
Gauguin often scolded Van Gogh for painting too quickly, yet Van Gogh, in an effort to prove that his paintings could be good even if he painted more quickly, dashed off one of his fastest pieces. He declared to his brother that the results were "not bad". He had, in this attempt to disprove his friend and mentor, produced one of his most famous and loved paintings: Vincent's Chair. I have a print of this piece in my diningroom, and it is proof indeed that Van Gogh had no need to bow to another artist's instructions.
The Yellow House is well worth the time and money, and just might be the best book I've read in ten years.
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May 4, 2024A minha sensibilidade estética (se assim se lhe pode chamar) nunca concordou com a obra de Van Gogh - para não mencionar que a reação fisiológica ao seu uso de cores complementares me deixa doente -, e não será por batalhar numa educação no realismo/ expressionismo/ surrealismo (como se isto do gosto individual fosse algum defeito) que passarei a admirar uma arte que vai contra tudo aquilo que aprecio. No entanto, parti para esta leitura com alguma expectativa de, ao menos, entender o homem por detrás da obra. Não esperava mudar de opinião, mas esperava mudar de entendimento. Se isso se verificou é coisa que julgo (mas duvido) ainda vir a amadurecer com o tempo...
Claro que a "loucura" de Van Gogh é infame e qualquer pessoa, ainda que nunca tenha empregado tempo a olhar para um quadro, já ouviu contar a história da orelha até à exaustão. Mesmo assim, este é o derradeiro momento que alimenta rios e rios de tinta (cada vez mais), pelo que não é de estranhar que Martin Gayford, uma sumidade no reino da (história da) arte, lhe tenha também pegado.
E como Gayford não é um biógrafo, per si, mas um historiador/crítico de arte, neste livro a vida de Van Gogh é particularmente relevante para entender a obra, e foi esse ponto de vista que me interessou imediatamente. No entanto, e embora até certo ponto cumpra com a premissa, o tom académico a par da novelização/romantização em que o autor empreende não funcionam em conjunto. Além disso, há várias inconsistências neste trabalho (nomeadamente com a legendagem, as notas etc), um uso absurdo de imagens a preto e branco, e sem qualquer definição, para dar a conhecer dois pintores cuja marca é a cor, e uma perigosa incursão do autor nos meandros da medicina - defendendo um diagnóstico em detrimento de outro, como um especialista.
À parte tudo isto, a combinação Van Gogh/Gauguin só veio piorar as coisas e oferecer um contexto de bordel, álcool e alucinação que explicam demasiado bem duas carreiras feitas em estreita cumplicidade.
Porque a realidade é que tratamos aqui de dois homens decadentes, beberrōes, imaturos, belicosos e obcecados com prostitutas (galante e literalmente compradas a porcos - como as restantes mulheres); dois artistas moldados por um tempo em que a dicotomia mulher virgem (esposa) /prostituta (amante) eram binóminos perfeitamente naturais; quando explorar o homem trabalhador se começava a tornar uma afronta à dignidade humana, mas explorar as mulheres fazia parte do dia a dia. Verdade seja dita que Van Gogh é dos dois artistas/homens o mais humano, mas nem isso o salva de uma fixação perfeitamente aviltante perante os prostíbulos de que se serve como método higiénico(!).
Ok, e então se são opções de vida questionáveis? Como afetam tudo o resto?
É aqui que tendo a resvalar para a doutrinação , ainda que sem querer, já que, a partir do momento em que se plasmam numa obra, todos os elementos de um percurso particular são de peso. Sobretudo quando se defende uma história da arte holística, a qual obriga a uma leitura das obras à luz de contextos de vida pessoal e social indissociáveis do valor final de qualquer trabalho.
E foi aqui, uma vez mais, que A Casa Amarela me trouxe: continuo a não gostar da obra, e agora também não gosto das criaturas que foram Vincent Van Gogh e o seu amigo Paul Gauguin, e não gosto da pessoa evangelizadora que saiu desta leitura. Claro que aprendi que me fartei sobre todas as correlações entre meio, personalidade, eventos e arte produzida por estes dois homens, mas foi outro dos casos em que tanto revirei os olhos que corri o franco risco de ficar estrábica.
Claro que a "loucura" de Van Gogh é infame e qualquer pessoa, ainda que nunca tenha empregado tempo a olhar para um quadro, já ouviu contar a história da orelha até à exaustão. Mesmo assim, este é o derradeiro momento que alimenta rios e rios de tinta (cada vez mais), pelo que não é de estranhar que Martin Gayford, uma sumidade no reino da (história da) arte, lhe tenha também pegado.
E como Gayford não é um biógrafo, per si, mas um historiador/crítico de arte, neste livro a vida de Van Gogh é particularmente relevante para entender a obra, e foi esse ponto de vista que me interessou imediatamente. No entanto, e embora até certo ponto cumpra com a premissa, o tom académico a par da novelização/romantização em que o autor empreende não funcionam em conjunto. Além disso, há várias inconsistências neste trabalho (nomeadamente com a legendagem, as notas etc), um uso absurdo de imagens a preto e branco, e sem qualquer definição, para dar a conhecer dois pintores cuja marca é a cor, e uma perigosa incursão do autor nos meandros da medicina - defendendo um diagnóstico em detrimento de outro, como um especialista.
À parte tudo isto, a combinação Van Gogh/Gauguin só veio piorar as coisas e oferecer um contexto de bordel, álcool e alucinação que explicam demasiado bem duas carreiras feitas em estreita cumplicidade.
Porque a realidade é que tratamos aqui de dois homens decadentes, beberrōes, imaturos, belicosos e obcecados com prostitutas (galante e literalmente compradas a porcos - como as restantes mulheres); dois artistas moldados por um tempo em que a dicotomia mulher virgem (esposa) /prostituta (amante) eram binóminos perfeitamente naturais; quando explorar o homem trabalhador se começava a tornar uma afronta à dignidade humana, mas explorar as mulheres fazia parte do dia a dia. Verdade seja dita que Van Gogh é dos dois artistas/homens o mais humano, mas nem isso o salva de uma fixação perfeitamente aviltante perante os prostíbulos de que se serve como método higiénico(!).
Ok, e então se são opções de vida questionáveis? Como afetam tudo o resto?
É aqui que tendo a resvalar para a doutrinação , ainda que sem querer, já que, a partir do momento em que se plasmam numa obra, todos os elementos de um percurso particular são de peso. Sobretudo quando se defende uma história da arte holística, a qual obriga a uma leitura das obras à luz de contextos de vida pessoal e social indissociáveis do valor final de qualquer trabalho.
E foi aqui, uma vez mais, que A Casa Amarela me trouxe: continuo a não gostar da obra, e agora também não gosto das criaturas que foram Vincent Van Gogh e o seu amigo Paul Gauguin, e não gosto da pessoa evangelizadora que saiu desta leitura. Claro que aprendi que me fartei sobre todas as correlações entre meio, personalidade, eventos e arte produzida por estes dois homens, mas foi outro dos casos em que tanto revirei os olhos que corri o franco risco de ficar estrábica.
October 27, 2024
This book is awesome. If anyone wants to learn about the nine troubled weeks Vincent Van Gogh and Paul Gaugin spent together in Arles, this is the definitive account of those times. Beautifully and most sympathetically written by Martin Gaylord it pulls no punches and tells of the relationship exactly as it was, warts and all ... and there were plenty of those!
Vincent moved to Arles and eventually took possession of what he termed The Yellow House, a building divided into two parts, one with living accommodation, which he took, and the other a Café, which he used on occasions. And once settled he was determined to arrange for Gaugin to not only visit but to stay with him for an unspecified period. Vincent had always admired Gaugin, who did business with Vincent's brother, Theo, an art dealer in Paris, so as well as pestering Gaugin to join him in the south of France, he also sent missives to his brother on the subject.
The outcome was that Gaugin eventually succumbed to the ministrations, sent his art materials forward and journeyed the 700 miles from Brittany, where he was then living, to Arles. Neither artist had any idea what their relationship would be as they were two quite different personalities and both wondered if the two living together would gel.
They did so to begin with, although there were differences even at the beginning, but as time went on those differences, artistic and worldly, enlarged and the relationship began to sour. Possibly it was all down to Van Gogh because he had always been a difficult character with, so they said, a touch of madness about him. Having said that, Gaugin played his part in the affair, so much so that Van Gogh was to comment, 'Old Gaugin and I understand each other basically, and if we are a bit mad, what of it?'
Martin Gaylord captures the atmosphere in the house admirably in reconstructing these turbulent weeks with reference to letters, Vincent was a prolific letter-writer, particularly to his brother, and notebooks kept by both artists. Mild disagreements grew to more intense confrontations until Gaugin decided that he had to move. This freaked Van Gogh out but he had to live with it.
But not for long because, after cutting off his ear in a traumatic incident while Gaugin was still living with him, he went out into a cornfield and shot himself, by which time Gaugin had moved on; the nine week residency abandoned.
After telling the story, the author concentrates on Van Gogh's mental state and the analytical assessment that he carries out is first-class, particularly if the reader, (like myself) has suffered something similar in the way of a manic depressive (I do not care for the phrase bi-polar) breakdown. And it all goes towards making this a fascinating and thoroughly enjoyable read.
Vincent moved to Arles and eventually took possession of what he termed The Yellow House, a building divided into two parts, one with living accommodation, which he took, and the other a Café, which he used on occasions. And once settled he was determined to arrange for Gaugin to not only visit but to stay with him for an unspecified period. Vincent had always admired Gaugin, who did business with Vincent's brother, Theo, an art dealer in Paris, so as well as pestering Gaugin to join him in the south of France, he also sent missives to his brother on the subject.
The outcome was that Gaugin eventually succumbed to the ministrations, sent his art materials forward and journeyed the 700 miles from Brittany, where he was then living, to Arles. Neither artist had any idea what their relationship would be as they were two quite different personalities and both wondered if the two living together would gel.
They did so to begin with, although there were differences even at the beginning, but as time went on those differences, artistic and worldly, enlarged and the relationship began to sour. Possibly it was all down to Van Gogh because he had always been a difficult character with, so they said, a touch of madness about him. Having said that, Gaugin played his part in the affair, so much so that Van Gogh was to comment, 'Old Gaugin and I understand each other basically, and if we are a bit mad, what of it?'
Martin Gaylord captures the atmosphere in the house admirably in reconstructing these turbulent weeks with reference to letters, Vincent was a prolific letter-writer, particularly to his brother, and notebooks kept by both artists. Mild disagreements grew to more intense confrontations until Gaugin decided that he had to move. This freaked Van Gogh out but he had to live with it.
But not for long because, after cutting off his ear in a traumatic incident while Gaugin was still living with him, he went out into a cornfield and shot himself, by which time Gaugin had moved on; the nine week residency abandoned.
After telling the story, the author concentrates on Van Gogh's mental state and the analytical assessment that he carries out is first-class, particularly if the reader, (like myself) has suffered something similar in the way of a manic depressive (I do not care for the phrase bi-polar) breakdown. And it all goes towards making this a fascinating and thoroughly enjoyable read.
January 18, 2022
Very interesting way to look at Van Gogh and many of his best works (by concentrating on the weeks at Arles with Gauguin as his housemate). Story is also about Gauguin, too, who isn't a favorite artist of mine but the contrasts between the two gave more insight into Van Gogh and maybe made me appreciate Gauguin more also.
Book's gorgeous cover is what made me chose it; I had just been to the Van Gogh immersive/multimedia experience and wanted to spend more time with Van Gogh. Book has small b&w illustrations of Van Gogh paintings that are being discussed; I could then google the full color digital image of them and better appreciate the stories of their creation.
Good descriptions of how the technical, creative and mental processes differed so much between the two artists.
Theo Van Gogh also is major character in this story; he was Gauguin's dealer at this time and the letters Vincent wrote him are, of course, a major primary source for the book.
Author is readable but not inspired in style; subjects are fascinating enough that is still 4 stars.
Book's gorgeous cover is what made me chose it; I had just been to the Van Gogh immersive/multimedia experience and wanted to spend more time with Van Gogh. Book has small b&w illustrations of Van Gogh paintings that are being discussed; I could then google the full color digital image of them and better appreciate the stories of their creation.
Good descriptions of how the technical, creative and mental processes differed so much between the two artists.
Theo Van Gogh also is major character in this story; he was Gauguin's dealer at this time and the letters Vincent wrote him are, of course, a major primary source for the book.
Author is readable but not inspired in style; subjects are fascinating enough that is still 4 stars.
June 17, 2012
I have mixed feelings about this book. I don't think I'd recommend it to someone solely on the basis of being a good read (it's not). Gayford needed a better editor, because though he is incredibly thorough and informative, he really needs someone to smooth out the prose. The book took me a while to get through, because it doesn't really lend itself to "reading" - it's more take some in, process for a while, and then read some more. There's so much in here that I think the better version of this book would be twice as long. This is a fascinating period to focus on though - the subject-matter sort of just tells itself. (spoilers below)
For someone with no background in Van Gogh or Gauguin, getting to learn so much about how they influenced each other so vividly, what their rapport was like, and who they were as people and artists was great. Beyond that, reading Van Gogh's descent into madness with a pretty deep understanding (drawn from the first few hundred pages) of how it happened, made it that much more heartbreaking and thought-provoking. I was truly taken by Van Gogh in this book - isolated, but hapless to change it. He is presented as such a poetic, emotion-filled, thoughtful, and sensitive person that is tragically a prisoner to loneliness. And then there's his brilliance - the associations he draws, his amazing creativity and artistry - all were inspiring to me. Reading it made me feel inspired to just follow what feels right creatively for myself and to think more boldly. Though there is some insight into Gauguin in this book, I found it to be more a character study on Van Gogh (and of course there is a lot of information about how his art developed and changed over time, and what influenced him in Arles, etc). The book may just be more of a canvas for your own thoughts on the subject, since the author doesn't lead you too well until the end.
For someone with no background in Van Gogh or Gauguin, getting to learn so much about how they influenced each other so vividly, what their rapport was like, and who they were as people and artists was great. Beyond that, reading Van Gogh's descent into madness with a pretty deep understanding (drawn from the first few hundred pages) of how it happened, made it that much more heartbreaking and thought-provoking. I was truly taken by Van Gogh in this book - isolated, but hapless to change it. He is presented as such a poetic, emotion-filled, thoughtful, and sensitive person that is tragically a prisoner to loneliness. And then there's his brilliance - the associations he draws, his amazing creativity and artistry - all were inspiring to me. Reading it made me feel inspired to just follow what feels right creatively for myself and to think more boldly. Though there is some insight into Gauguin in this book, I found it to be more a character study on Van Gogh (and of course there is a lot of information about how his art developed and changed over time, and what influenced him in Arles, etc). The book may just be more of a canvas for your own thoughts on the subject, since the author doesn't lead you too well until the end.
December 12, 2010
Turgid novelization of the nine weeks Guaguin spent with Van Gogh in the yellow house in Arles in 1888. If the writing wasn't bad enough, the illustrations doom this book. What's the sense of black-and-white when the core genius is color? One illustration--a reclining nude (1887) with the face of a monkey--isn't even mentioned in the text. "Ictus" isn't a secret Christian word: it's from the Latin "icere" = "to strike" and is a sudden occurrence (or recurrence) of a disease. Van Gogh cut off his earlobe, not his ear. His brother had "general paresis of the insane," not "paralysis." The diagnosis of manic-depressive disorder is highly doubtful, partly for reasons that the author tries to finesse (no euphoria, the sudden cycling, etc.).
I found reading this book painful. If you want to learn something about these nine weeks, google the painters. This book adds little or nothing. And it's, well, boring. I wouldn't recommend it to anyone.
I found reading this book painful. If you want to learn something about these nine weeks, google the painters. This book adds little or nothing. And it's, well, boring. I wouldn't recommend it to anyone.
November 22, 2021
Really fascinating.
I have read a lot about Vincent Van Gogh and seen a lot of great movies and documentaries about his life.
This book was terrific though as it made Vincent feel all the more human and vulnerable.
All based around the Yellow House which I could imagine so clearly crammed with Vincents painting hanging on every wall.
Also a great insight into Gauguin whom I didn't know so much about.
Highly recommend this book and also Spring Cannot Be Cancelled written by Martin Gayfird with David Hockney which also was so good.
All that remains now is to actually see his paintings in real life.
I have read a lot about Vincent Van Gogh and seen a lot of great movies and documentaries about his life.
This book was terrific though as it made Vincent feel all the more human and vulnerable.
All based around the Yellow House which I could imagine so clearly crammed with Vincents painting hanging on every wall.
Also a great insight into Gauguin whom I didn't know so much about.
Highly recommend this book and also Spring Cannot Be Cancelled written by Martin Gayfird with David Hockney which also was so good.
All that remains now is to actually see his paintings in real life.
September 8, 2015
This densely written little book doesn’t fall within the current category of "nonfiction books that read like novels," but what the author lacks in narrative style he makes up for in depth of research and a contagious enthusiasm for his subject matter.
The book relates the events during the two months in 1888 in which Van Gogh and Gaughin lived and worked together in Arles. The deterioration and disastrous end results of this initially promising commune of artists are well known, i.e., the lobbed off ear. The author is an art critic and so there is lots of space devoted to analysis and deconstruction of paintings by the two artists - something that I enjoyed but others may see as "bird walking." He adds layer upon layer of contextual information which complements the bare bones facts in the account and makes for a rich reading experience. A few times he lets his investigative pride override common sense - for example, do we really need to know what time the train left and whether or not it was raining? I vote no!
Regarding the well debated issue of what exactly ailed Van Gogh, Gayford makes a good argument for bipolar disorder. He also more than hints at Van Gogh's beautiful, sweet soul and of course his brilliance, not to mention his creative genius. Not recommended as a first book on Van Gogh, but a worthy read for the more initiated.
The book relates the events during the two months in 1888 in which Van Gogh and Gaughin lived and worked together in Arles. The deterioration and disastrous end results of this initially promising commune of artists are well known, i.e., the lobbed off ear. The author is an art critic and so there is lots of space devoted to analysis and deconstruction of paintings by the two artists - something that I enjoyed but others may see as "bird walking." He adds layer upon layer of contextual information which complements the bare bones facts in the account and makes for a rich reading experience. A few times he lets his investigative pride override common sense - for example, do we really need to know what time the train left and whether or not it was raining? I vote no!
Regarding the well debated issue of what exactly ailed Van Gogh, Gayford makes a good argument for bipolar disorder. He also more than hints at Van Gogh's beautiful, sweet soul and of course his brilliance, not to mention his creative genius. Not recommended as a first book on Van Gogh, but a worthy read for the more initiated.
October 3, 2007
Ergh. I was disapointed in this book, and didn't finish it. If they had stuck to the title and really made it about those 9 weeks, then it could have been a really interesting book. Instead, the author went off on so many side-tangents and history and unecessary details that the narrative thread of those 9 weeks was lost.
I would space out when it would get to another passage (for example, describing the history of the church they were painting for a page and a half) and then I wouldn't notice when it would get back to the narrative because my mind had wandered, and my eyes were just moving along the page.
The final nail in the coffin was that I am leaving for a trip, across Washington, to Spokane tomorrow, and I was dreading having to read this book for hours on end. Never a good sign!
It's really disapointing because those 9 weeks were really interesting, leading up to when Van Gogh cut off his ear, and the book includes letters, and black and white copies of what they were painting at the time, on almost every page. I just wish the author had stuck to the straight and narrow more, and edited out all the tangents!
I would space out when it would get to another passage (for example, describing the history of the church they were painting for a page and a half) and then I wouldn't notice when it would get back to the narrative because my mind had wandered, and my eyes were just moving along the page.
The final nail in the coffin was that I am leaving for a trip, across Washington, to Spokane tomorrow, and I was dreading having to read this book for hours on end. Never a good sign!
It's really disapointing because those 9 weeks were really interesting, leading up to when Van Gogh cut off his ear, and the book includes letters, and black and white copies of what they were painting at the time, on almost every page. I just wish the author had stuck to the straight and narrow more, and edited out all the tangents!
August 15, 2025
An interesting account of Van Gogh's and Gaugin's time in Arles.
September 1, 2022
An engrossing and vivid biography chronicling Van Gogh's abortive attempt to establish a studio or artists' colony in the south of France. During these few months he produced some of his best work -- but the studio experiment ended in the crisis where he cut off his ear.
The portrait of Van Gogh that emerges is beautiful and compelling. We hear him speaking in his own words on nearly every page, and the author draws together a wealth of primary sources about various aspects of Van Gogh's life in Arles (+ before and after). The analysis seems to me honest and almost entirely on-point; the style is always engaging and occasionally eloquent.
Besides filling me with admiration for the works of Van Gogh (and getting me as close as I probably ever will to admiring those of Gaugin), the book rekindled my interest in late 19th century French fiction (a literature Van Gogh was steeped in), and offered food for thought about the creative and intellectual life, the vocation of artist, and the quest for emotional, pecuniary, and domestic stability.
The portrait of Van Gogh that emerges is beautiful and compelling. We hear him speaking in his own words on nearly every page, and the author draws together a wealth of primary sources about various aspects of Van Gogh's life in Arles (+ before and after). The analysis seems to me honest and almost entirely on-point; the style is always engaging and occasionally eloquent.
Besides filling me with admiration for the works of Van Gogh (and getting me as close as I probably ever will to admiring those of Gaugin), the book rekindled my interest in late 19th century French fiction (a literature Van Gogh was steeped in), and offered food for thought about the creative and intellectual life, the vocation of artist, and the quest for emotional, pecuniary, and domestic stability.
July 11, 2022
3.5⭐️
I’m doing a reading challenge for my local library and one of the challenge prompts was “a winner of the national book award for non fiction of any year”. I asked for recommendations and people said The Yellow House so I checked out this book because it’s nonfiction.
Howeverrrrrr upon finishing this book I realized it never won that award and ANOTHER nonfiction book exists out there that has the title Yellow House.
Back to the library I go.
Anyway. THIS BOOK.
I like art. I like Van Gogh and I can appreciate he was tragically magnificent. But I didn’t know his history or all the artists who inspired him or anything more than my elementary education on Starry Night.
So this was definitely informative and enlightening and I learned a lot. The author isn’t a natural born writer though, his love of art history was apparent but his writing skills were not.
Would I recommended? Sure but only really specifically.
I’m doing a reading challenge for my local library and one of the challenge prompts was “a winner of the national book award for non fiction of any year”. I asked for recommendations and people said The Yellow House so I checked out this book because it’s nonfiction.
Howeverrrrrr upon finishing this book I realized it never won that award and ANOTHER nonfiction book exists out there that has the title Yellow House.
Back to the library I go.
Anyway. THIS BOOK.
I like art. I like Van Gogh and I can appreciate he was tragically magnificent. But I didn’t know his history or all the artists who inspired him or anything more than my elementary education on Starry Night.
So this was definitely informative and enlightening and I learned a lot. The author isn’t a natural born writer though, his love of art history was apparent but his writing skills were not.
Would I recommended? Sure but only really specifically.
December 8, 2024
For 9 weeks in 1888, Vincent Van Gogh and Paul Gauguin shared a small house in Arles. Van Gogh wanted to create an artists’ colony in the south of France; Gauguin, initially at least, was broke and needed to live cheaply. The artists’ respective styles, approaches, influences and backgrounds are explored in great detail. The book deepened my appreciation of both. I read it on the kindle and had to keep pausing to look up the artworks discussed. Judging from other reviews, readers of the physical book would have to have done the same as the reproductions were in black and white. A strange decision (no doubt driven by costs) given the importance of colour to both artists.
February 6, 2021
I learned a lot about Van Gogh and Gauguin's relationship while they lived together for a short time in Arles, along with lots of interesting details about their paintings and philosophies. The colorful episodes that Van Gogh vacillated between highlighted his great creativity yet also his mental anguish.
I checked out Vincent's Paintings by Ralph Skea when I was about halfway through the book, so that I could see the paintings in color, which really helped. Since this book only has black and white pictures, it was hard to picture what the author was describing about each one.
I checked out Vincent's Paintings by Ralph Skea when I was about halfway through the book, so that I could see the paintings in color, which really helped. Since this book only has black and white pictures, it was hard to picture what the author was describing about each one.
January 16, 2021
My ma bought me the wrong book for Christmas. Easily done and no complaints here as this gem turned out to be a surprisingly delightful read. Hoping for the other ' the yellow house' title for my birthday 🤞
August 25, 2015
I love doing background research for my novels, I guess that’s the journalist in me. With hindsight, I researched my first novel Ignoring Gravity too much, I didn’t recognise the point at which I knew enough and when to let my imagination take over. I was reading about adoption, something I haven’t experienced myself and know no-one who has. So I turned to books [a typical reaction for me]. As a reader, I hate writers who put all their research onto the page. Needless to say, a lot of the stuff I put in the first draft, was stripped out later.
My second novel Connectedness is three-quarters written and the researching process was much briefer. It is a sequel to the first book, so still about adoption, but this time I decided to make my new main character an artist. Because… I love art, but what knowledge I have is self-taught and disconnected. So, it was an opportunity to learn. And I have loved the process, going to galleries and exhibitions, trying to paint watercolours, and reading, always reading.
The most dramatic art book I have read by far is The Yellow House by Martin Gayford. It is about the three months in 1888 when Vincent Van Gogh and Paul Gaugin shared a house, a house painted yellow, in the French town of Arles. It gives an intimate glance into the head of an artist, the creative process, the doubts, the mania, the egoism. As well as being famous for the time Van Gogh cut off his ear, this period also produced the Sunflowers series, Van Gogh’s Chair and Gaugin’s Chair, and various portraits of the Roulin family and self-portraits by the two artists.
Vincent's chair symbolised home, for him. Gayford: "Furniture was part of having a home - a nest like the bird's nests he painted and drew many times while he was working at Nuenen. A domestic nest was something which Vincent strove to attain, and had finally achieved in the Yellow House. On the other hand, empty chairs suggested absent companionship, the loneliness that had often been his lot." How could I use this for my character Justine Tree? I wanted to find a way to demonstrate how the loss of giving away her daughter for adoption, when she was a student. touched every piece of art she made even decades later as an internationally-acclaimed artist.
I’ve mentioned Martin Gayford before in this blog. As part of my art research, I read his book about sitting for a portrait by Lucian Freud. Sitting on my ‘to read’ shelf is his A Bigger Message: Conversations with David Hockney which I was given for Christmas. I am a huge Hockney fan, even more so after his Yorkshire Wolds series of paintings and i-Pad pictures.
Read more about my thoughts on books and writing at www.sandradanby.com
My second novel Connectedness is three-quarters written and the researching process was much briefer. It is a sequel to the first book, so still about adoption, but this time I decided to make my new main character an artist. Because… I love art, but what knowledge I have is self-taught and disconnected. So, it was an opportunity to learn. And I have loved the process, going to galleries and exhibitions, trying to paint watercolours, and reading, always reading.
The most dramatic art book I have read by far is The Yellow House by Martin Gayford. It is about the three months in 1888 when Vincent Van Gogh and Paul Gaugin shared a house, a house painted yellow, in the French town of Arles. It gives an intimate glance into the head of an artist, the creative process, the doubts, the mania, the egoism. As well as being famous for the time Van Gogh cut off his ear, this period also produced the Sunflowers series, Van Gogh’s Chair and Gaugin’s Chair, and various portraits of the Roulin family and self-portraits by the two artists.
Vincent's chair symbolised home, for him. Gayford: "Furniture was part of having a home - a nest like the bird's nests he painted and drew many times while he was working at Nuenen. A domestic nest was something which Vincent strove to attain, and had finally achieved in the Yellow House. On the other hand, empty chairs suggested absent companionship, the loneliness that had often been his lot." How could I use this for my character Justine Tree? I wanted to find a way to demonstrate how the loss of giving away her daughter for adoption, when she was a student. touched every piece of art she made even decades later as an internationally-acclaimed artist.
I’ve mentioned Martin Gayford before in this blog. As part of my art research, I read his book about sitting for a portrait by Lucian Freud. Sitting on my ‘to read’ shelf is his A Bigger Message: Conversations with David Hockney which I was given for Christmas. I am a huge Hockney fan, even more so after his Yorkshire Wolds series of paintings and i-Pad pictures.
Read more about my thoughts on books and writing at www.sandradanby.com
October 8, 2017
The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles (2006) by Martin Gayford is a biography of the brief period in which two of the greatest painters of the late 19th century attempted to live together. It sounds like the plot of some failed sitcom – Vincent Van Gogh and Paul Gauguin share a house and the result is a rip-roaring romp! Or not. Both artist had famously large personalities and quite differing styles and ideologies so the combination of their lifestyles in the same dwelling looked less like a post-impressionist composition and more like Jackson Pollock. Being a student of Art History I was already quite familiar with this period in both Van Gogh’s and Gauguin’s lives so my overall reward from this book was wholly unsatisfactory. However, I am aware that I am writing from a position that the common reader might not have so I will praise this work. It follows a lucid timeline and never gets confused with its surprisingly vast premise. The book’s main source were the letters Van Gogh wrote during the period of the Yellow House and these have been published in many formats over the years so if you want the primary source, read the letters. Nevertheless, if you are more interested in reading a narrative and learning a lot more about Gauguin and Van Gogh then I would recommend this book. There are reproductions of the works that were painted by both artists during the period plastered throughout the book as well which can only aid in one’s understanding of the conceit.
August 2, 2010
Despite its dry and perfunctory style, Martin Gayford's account of one of the most significant windows of time in art history is finely detailed and sharply focused. It serves as an illuminating supplement to the broader and more well-known events leading up to Van Gogh's death, and casts some light on the artistic chemistry between him and Gauguin. It is, however, just a supplement. Most of the narrative and chronological material has been covered elsewhere, many times. Unfortunately, this more extraneous material makes up the bulk of this dense little volume, and thus feels unnecessary if you're at all acquainted with the story or not interested in the extra detail this history provides. This is history by rote, rehashing a story told many times before, and not necessarily with better telling either.
June 13, 2016
I loved this book for many reasons. It was an interesting insight into the relationship between Vincent and Gauguin and the influence they had on each other's art. I loved the pictures and analyses of the paintings and sketches, some of which I had not seen before, especially where a comparison was made between Vincent and Gaugin's paintings of the same subject at the same time. The description of contemporary events (like Theo watching the construction of the Eiffel Tower from his window) and writers like Zola and Guy de Maupassant also added to the overall picture. I particularly liked the theory that Vincent's action of cutting off his ear and giving it to a prostitute was influenced by what Jack the Ripper did to his prostitute victims. And one of Vincent's favourite paintings was the Jewish Bride by Rembrandt, which is also my favourite!
April 24, 2024
Under ett par månader i slutet av 1888 bor konstnärerna Vincent van Gogh och Paul Gauguin tillsammans i ett gult hus i Arles i södra Frankrike. Det är på van Goghs initiativ – han har ambitioner att etablera en konstnärskoloni och Gauguin är den förste kollega han lyckas locka dit. Det skulle också visa sig bli den ende.
"The Yellow House" av Martin Gayford är berättelsen om dessa turbulenta månader. Om konstnärernas vardag, om diskussionerna, om absinth på kvarterskrogen, om Vincents enda försök att koka en soppa ("How he mixed it I don't know", suckade Gauguin, "as he mixed his colours in his pictures I dare say. At any rate, we couldn't eat it."), om hushållsekonomin (de hade olika lådor där de lade pengar för olika slags utgifter, och antecknade på ett papper när de tog pengar ur lådorna. Bland utgifterna ingick "hygienic excursions", det vill säga bordellbesök.) men – såklart – framför allt om deras målande.
De gav sig ofta ut tillsammans och målade samma motiv. Men såklart på helt olika sätt. Gayford är en engagerad ciceron och det är intressant att få följa – ofta genom konstnärernas egna brev och berättelser – tankarna bakom mästerverken och hur de form. Seden är det ju en smula komiskt att de hade sådan brist på modeller (de hade inga pengar att betala dem med) att de fick måla om samma personer om och om igen.
Till slut gick det inte längre. Vincent van Goghs psykiska ohälsa, vars mest dramatiska uttryck var när han skar av sig en bit av örat, och Gauguins längtan till Söderhavet drev dem isär. van Gogh blev intagen på mentalsjukhus och flyttade sedermera till Auvers-sur-Oise norr om Paris, där han avled till följd av ett självmordsförsök i juli 1890.
Under stora delar av sitt liv fick van Gogh ekonomiskt stöd av sin lillebror Theo, som var konsthandlare i Paris. Påståendet att Vincent inte sålde en enda tavla under sitt liv stämmer inte helt men samtiden uppskattade uppenbarligen inte hans konst. Det hugger lite i hjärtat att läsa i ett av Vincents brev till brodern, där han i förtvivlan över sin prekära ekonomiska situation utbrister: "I cannot help it that my pictures do not sell."
Ack, om han ändå hade vetat vilken lysande framtid som skulle möta hans målningar.
"The Yellow House" av Martin Gayford är berättelsen om dessa turbulenta månader. Om konstnärernas vardag, om diskussionerna, om absinth på kvarterskrogen, om Vincents enda försök att koka en soppa ("How he mixed it I don't know", suckade Gauguin, "as he mixed his colours in his pictures I dare say. At any rate, we couldn't eat it."), om hushållsekonomin (de hade olika lådor där de lade pengar för olika slags utgifter, och antecknade på ett papper när de tog pengar ur lådorna. Bland utgifterna ingick "hygienic excursions", det vill säga bordellbesök.) men – såklart – framför allt om deras målande.
De gav sig ofta ut tillsammans och målade samma motiv. Men såklart på helt olika sätt. Gayford är en engagerad ciceron och det är intressant att få följa – ofta genom konstnärernas egna brev och berättelser – tankarna bakom mästerverken och hur de form. Seden är det ju en smula komiskt att de hade sådan brist på modeller (de hade inga pengar att betala dem med) att de fick måla om samma personer om och om igen.
Till slut gick det inte längre. Vincent van Goghs psykiska ohälsa, vars mest dramatiska uttryck var när han skar av sig en bit av örat, och Gauguins längtan till Söderhavet drev dem isär. van Gogh blev intagen på mentalsjukhus och flyttade sedermera till Auvers-sur-Oise norr om Paris, där han avled till följd av ett självmordsförsök i juli 1890.
Under stora delar av sitt liv fick van Gogh ekonomiskt stöd av sin lillebror Theo, som var konsthandlare i Paris. Påståendet att Vincent inte sålde en enda tavla under sitt liv stämmer inte helt men samtiden uppskattade uppenbarligen inte hans konst. Det hugger lite i hjärtat att läsa i ett av Vincents brev till brodern, där han i förtvivlan över sin prekära ekonomiska situation utbrister: "I cannot help it that my pictures do not sell."
Ack, om han ändå hade vetat vilken lysande framtid som skulle möta hans målningar.
December 31, 2022
There is an intensity in this book born of the story it portrays of the three months Vincent Van Gogh and Paul Gauguin shared Van Gogh's house in Arles in the south of France. Neither artist was famous at the time, and their collaboration was meant to foster their individual growth as artists, along with their creative output. Gayford skillfully shows the influence each had on the other and how their lives and art became intertwined for that brief but crucial time, during which each man produced some of his best work.
The book is also a portrait of a time and a region and the impact each had on these two artists. Van Gogh had a dream to create an artistic renaissance in the south of France, and Gauguin was his sometimes reluctant partner for a time ... while yearning to do the same but somewhere in the tropics. The book captures their creative partnership and describes both the appearance and significance of the images they created. The one drawback, is that for two artists who reveled in color and saw it symbolically and emotionally, there are no color plates in the book ... easily remedied by Googling, but still.
I learned a lot ... there are extensive notes at the end of the book detailing sources, but the narrative isn't broken by footnotes, a plus. I hadn't realized how many places each man had traveled to before winding up in Arles. I had never recognized the symbolism or some of the personal iconography in works I thought I knew well ... and Gayford points out both and weaves in the writing of each man, whether letters or diaries or stories as well as the books they were reading, to tease out the symbolism and iconography, deepening my appreciation of the paintings. He also details some of the technical aspects of the work. But the greatest takeaway for me was finally understanding what Van Gogh suffered from, for clearly he suffered. Gayford's analysis is fascinating, but going into it here is spoiler territory, so I won't venture there.
The book is also a portrait of a time and a region and the impact each had on these two artists. Van Gogh had a dream to create an artistic renaissance in the south of France, and Gauguin was his sometimes reluctant partner for a time ... while yearning to do the same but somewhere in the tropics. The book captures their creative partnership and describes both the appearance and significance of the images they created. The one drawback, is that for two artists who reveled in color and saw it symbolically and emotionally, there are no color plates in the book ... easily remedied by Googling, but still.
I learned a lot ... there are extensive notes at the end of the book detailing sources, but the narrative isn't broken by footnotes, a plus. I hadn't realized how many places each man had traveled to before winding up in Arles. I had never recognized the symbolism or some of the personal iconography in works I thought I knew well ... and Gayford points out both and weaves in the writing of each man, whether letters or diaries or stories as well as the books they were reading, to tease out the symbolism and iconography, deepening my appreciation of the paintings. He also details some of the technical aspects of the work. But the greatest takeaway for me was finally understanding what Van Gogh suffered from, for clearly he suffered. Gayford's analysis is fascinating, but going into it here is spoiler territory, so I won't venture there.
August 19, 2017
Vincent van Gogh and Paul Gauguin lived together for a few months in Arles, where they each produced some of their most famous paintings. But all was not peace and artistic harmony, and a lot of the problems stemmed from Vincent's volatility. This was an interesting and unflinching look at their lives during this time, including the bickering and brothels and madness. Both of them wrote Vincent's brother (an art dealer) and others often, so there's quite a bit of documentation of how the two felt during those weeks. What really stuck with me were the descriptions of Vincent's mood swings. It's quite likely that one of the things plaguing him was bipolar disorder. This is a subject close to my heart, and I found it far more thought-provoking and even upsetting than I'd expected. But in a good way, if that makes any sense.
In terms of art, my favorites by far were the times when Gauguin and Vincent painted the same scene/person. Seeing their different interpretations side by side was simply fascinating. I definitely will need to pick up more books about these artists and their contemporaries.
A note on this edition: This is the fault of the publisher rather than the author, but the photographs really should be in color. Color is so important in both Vincent and Gauguin's paintings. I ended up looking up a lot of them on my phone while I was reading. The black and white photos simply did not do them justice.
In terms of art, my favorites by far were the times when Gauguin and Vincent painted the same scene/person. Seeing their different interpretations side by side was simply fascinating. I definitely will need to pick up more books about these artists and their contemporaries.
A note on this edition: This is the fault of the publisher rather than the author, but the photographs really should be in color. Color is so important in both Vincent and Gauguin's paintings. I ended up looking up a lot of them on my phone while I was reading. The black and white photos simply did not do them justice.
March 30, 2023
I loved this book and couldn't get enough of it. So much so that once I reached the final chapter, I stopped reading it for about a week simply because I didn't want it to come to an end. Which, obviously, was just delaying the inevitable. It was fantastic.
There are some valid criticisms lodged toward this book. Some suggest it is poorly sourced, that too much license was taken with perspectives on different life events, etc. However, I never got the impression that this was meant to be any sort of academic work, thus I never had an issue with sourcing. I took this to be a general overview of the life of a beautiful, troubled human being. It is presented in a narrative style, which makes it easy to read, while offering insights on the creations of each artist and their technique. As I understand it, much of Vincent's life is no longer shrouded in mystery, so the details added in are an extra bonus. Are they 100% accurate? Likely not, given the circumstances. But to me, that isn't the point. The point is to learn, generally, about one of history's most beloved artists and what made him tick. And I feel the book achieves this very well.
I would highly recommend this to anyone interested in the life of Van Gogh and, especially, his time living in Arles with Paul Gauguin.
There are some valid criticisms lodged toward this book. Some suggest it is poorly sourced, that too much license was taken with perspectives on different life events, etc. However, I never got the impression that this was meant to be any sort of academic work, thus I never had an issue with sourcing. I took this to be a general overview of the life of a beautiful, troubled human being. It is presented in a narrative style, which makes it easy to read, while offering insights on the creations of each artist and their technique. As I understand it, much of Vincent's life is no longer shrouded in mystery, so the details added in are an extra bonus. Are they 100% accurate? Likely not, given the circumstances. But to me, that isn't the point. The point is to learn, generally, about one of history's most beloved artists and what made him tick. And I feel the book achieves this very well.
I would highly recommend this to anyone interested in the life of Van Gogh and, especially, his time living in Arles with Paul Gauguin.
October 9, 2024
This is an account of the nine weeks Gauguin spent living in Arles, France with Van Gogh. Initially living under the same roof was largely compatible, their eating, drinking and discussing art techniques resulted inan intense and astonishing outpouring of creativity.
Inevitably as Gauguin bean to sell paintings and was on the road to success Van Gogh started to crumble under the strain which ultimately resulted in a violent act with the consequence that Gauguin rweturning to Paris without any further contact with Van Gogh.
The author explores their fragile and short relationship, their art and the clash between these two geniuses. The book provides a clear perception, not only of the oainters but also the lives and culture of the inhabitants of Arles. YUnfortunately today Arles is more a TOURIST TRAp then the village of Van Gogh's time.
Inevitably as Gauguin bean to sell paintings and was on the road to success Van Gogh started to crumble under the strain which ultimately resulted in a violent act with the consequence that Gauguin rweturning to Paris without any further contact with Van Gogh.
The author explores their fragile and short relationship, their art and the clash between these two geniuses. The book provides a clear perception, not only of the oainters but also the lives and culture of the inhabitants of Arles. YUnfortunately today Arles is more a TOURIST TRAp then the village of Van Gogh's time.
November 22, 2021
A visit to Van gogh museum in Arles peaked my interest into picking this book that was at display in the bookshop. This was my Vincent 101, a introduction to the art & the artist, and the madness behind the same. While there were a few artworks at display in the museum, the depth of connections & interpretations leading up to the same is not known. The author does a great job of recounting some of the great works Van Gogh & Gauguin collaborated on. Especially, the book does great job of recounting the life of the artist at specific points in time when the art was made. I would totally recommend anyone wanting to read about this tiny slice of great lives lived.
July 10, 2022
My knowledge of Gauguin was scanty so I appreciated this book which covers the nine weeks he lived with Van Gogh in Arles. Van Gogh had his heart set on creating an artist community in Arles and went to a great deal of effort to fix up the Yellow House which could be used, so he believed, as the headquarters. Unfortunately, Van Gogh’s health issues never allowed for his dream to materialize and the two painters went their way. This book depicts very well those nine tense weeks, the interactions between the two and the works that were created. It was indeed a very intense time, in more ways than one.
October 18, 2017
I had no idea that Van Gogh and Gauguin shared a house in France for a period of time.
These two painters were polar opposites in many ways, but they shared a house for a short time to work on their art in a beautiful, tranquil area. They produced a lot of significant art during their time together. I especially liked how the setting was described before the two famous artists arrived on the scene. I also liked learning about the commercial business behind being a famous artist. Some things never change!
These two painters were polar opposites in many ways, but they shared a house for a short time to work on their art in a beautiful, tranquil area. They produced a lot of significant art during their time together. I especially liked how the setting was described before the two famous artists arrived on the scene. I also liked learning about the commercial business behind being a famous artist. Some things never change!
February 15, 2020
Moving, as you would expect from a narrative based on Vincent. The writing merges excerpts from sources and the writers own narration beautifully. A very detailed, almost day by day recollection of the period of Vincent's life in the Yellow House. The last few chapters especially are heart-rendering.
April 13, 2023
A neat concept for a book on the narrow nine-week history of Van Gogh and Gauguin. Coming from basic familiarity with Van Gogh and no familiarity with Gauguin it was difficult at times to stay engaged as the book rightfully assumes a fair bit of prior knowledge. If one was more familiar with this world, I can see this book being far more enjoyable.
February 24, 2018
Just saw the wonderful "Loving Vincent" film, and I figured no better time to read it, now that I have the backstory as to what happened in the weeks before Van Gogh's suicide. I've had this book for a couple of years after picking up a hard copy in a local used bookstore. Stay tuned.
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