Soon after van Gogh came to study informally with his cousin Anton Mauve, he wrote to his brother, "Mauve has taught me to see so many things that I used not to see." Mauve was van Gogh's mentor and protector when the young artist first lived in The Hague, where Mauve was one of the most important working artists. But Vincent's liaison with a homeless prostitute turned Mauve against him, and the artists parted company.
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One of van Gogh's closest friends and favorite sitters in Arles was the local postman, Joseph Roulin. While painting this work, van Gogh wrote to his brother, "I am now at work with another model, a postman in blue uniform, trimmed with gold, a big bearded face, very like Socrates." Indeed, the modest postman has all the authority of an admiral. Van Gogh also painted several portraits of Madame Roulin, as well as images of their children, delighted, as he wrote, to depict "a whole family."
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In June 1889, shortly after his arrival at an asylum in the southern French town of Saint-Rémy, Van Gogh painted an oil sketch of a hillside in bloom. In October, finding himself short of materials, he sacrificed that earlier composition, reusing the same canvas for another painting. Recent collaborative research has revealed the lost picture beneath surface layers of paint in this view of a ravine near the asylum. For more on this discovery, see: www.mfa.org/collections/europe/missing-van-gogh-discovered
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Etching and drypoint, printed in red ink, on cream laid paper.
Impression by Vincent van Gogh and Paul Ferdinand Gachet, or possibly Gachet alone (ref: S. van Heugten 1995.) 61 known impressions. Date: probably June 15.
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Black crayon, iron-gall ink (with pen and brush), charcoal, graphite, opaque white watercolor and some highlights created by erasure on moderately thick strongly textured wove paper
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