Vincent van Gogh (1853-1890)
馬修森遺產收藏
Vincent van Gogh (1853-1890)

文森.梵谷(1853-1890) 《穿著襯衫,拿著掃帚及菸斗的孤獨男人》

細節
文森.梵谷(1853-1890)
《穿著襯衫,拿著掃帚及菸斗的孤獨男人》
鉛筆 白色光影筆 水墨 紙本
19 3/4 x 8 5/8 吋 (50 x 22 公分)
1882年10月-12月作於海牙
來源
荷蘭沃爾堡M.德.茲瓦特收藏 荷蘭休伯特.保羅,錫諾氏克勒男爵,卡維赫.安澤收藏 1913年11月26日, 阿姆斯特丹弗雷德里克•穆勒公司拍賣,拍品編號123 阿姆斯特丹E.J.馮•維斯林格公司收藏 紐約M.克內德勒公司收藏 現藏家家人約1952年購入
出版
W. Vanbeselaere編, <>,安特衛普, 1937年出版, 第 92, 185 及409頁, 編號 966 (標題: Man met Bezem及日期1882年11月) V.W. van Gogh 及J. van Gogh-Bonger 編, <>,倫敦, 1958年出版, 第 1冊, 第463-467及470-473頁, 編號 235-236 及 238頁; 第3冊, 第 333-336頁, 編號 R14 J.-B. de la Faille編, <>,阿姆斯特丹, 1970年出版, 第368頁, 編號 F996 (插圖; 日期1882年10月-11月) J. Hulsker編, <>, 紐約, 1980年出版, 第71頁, 編號283 (插圖) J.-B. de la Faille 及 A. Wofsy 編, <>, 三藩市, 1992年出版, 第1冊, 第257頁, 編號996 (插圖, 第2冊, 圖號 XLIII; 標題: Orphan Man with a Broom 及日期1882年10月-11月) J. Hulsker編, <>,費城, 1996年出版, 第71頁, 編號283 (插圖; 日期:1882年12月) L. Jansen, H. Luijten 及N. Bakker編, <>, 倫敦, 2009年出版, 第2冊, 第162-164 及167-172, 編號268及 270-272
展覽
1949年4月-5月, 阿姆斯特丹E.J.馮•維斯林格公司, Peinture française XIXe et XXe siècle, 編號23

拍品專文

In the last days of 1881, after a violent row with his parents over his unrequited passion for his cousin Kee Vos, the twenty-eight-year-old Van Gogh stormed out of his family’s home in Etten and fled to The Hague, determined to have his revenge by succeeding at last as an artist. “Art was not just a calling, it was a call to arms” (S. Naifeh and G.W. Smith, Van Gogh: The Life, New York, 2011, p. 254). Full of fiery optimism, he rented a flat on the outskirts of town and renewed his apprenticeship to Anton Mauve, one of the leading artists of the Hague School. Within weeks, however, he was beset by difficulties. Ever quick-tempered, he had fallen out with both Mauve and the art dealer H.G. Tersteeg, another former mentor; he was beholden to his brother Theo for money, which he spent with defiant profligacy; and he had taken up with a prostitute named Sien, who was pregnant with her second child.
Still, Van Gogh worked with fever-pitch intensity. Obsessed with drawing figures, he recruited models wherever he could, accosting strangers at train stations, soup kitchens, orphanages, and almshouses. Few were willing to make the long trek to his studio, and even fewer returned for a second session. In early fall, however, Van Gogh’s luck changed. At the Dutch Reformed Old People’s Home, he met a deaf, seventy-two-year-old pensioner named Adrianus Jacobus Zuyderland, who would become the most frequent model not just of the Hague years but of Van Gogh’s entire career – finally, a model commensurate to his boundless capacity for drawing. Zuyderland had small, heavy-lidded eyes, a hooked nose, and a bald pate; tufts of unruly white hair stuck out above his large, protruding ears, and dense mutton-chop whiskers covered his cheeks. “I am very busy with drawings of an orphan man (weesman), as the almsmen are usually called here,” Van Gogh wrote to Anthon Van Rappard on 23 September. “Don’t you think that the expressions orphan man and orphan woman (weesvrouw) are just right?” (L. Jansen, H. Luijten, and N. Bakker, eds., Vincent van Gogh: The Letters, The Complete Illustrated and Annotated Edition, London, 2009, no. 268).
Throughout the fall and winter, Zuyderland came to Van Gogh’s studio as often as he could. The artist never tired of drawing the old man’s worn visage, irrevocably marked by adversity and sorrow. “There are ruins, absolute ruins, of physiognomies, which nonetheless are full of expression,” Van Gogh explained (Letters, 2009, no. 308). Often, he depicted Zuyderland in the top hat and tailcoat or the double-breasted overcoat that pensioners were required to wear. Other times, he outfitted him from his own stash of costumes, transforming him into a fisherman with a sou’wester or a peasant with a cap and peat basket. He posed him eating, reading, praying, or doing chores, and he inserted him into “family portraits” alongside Sien and her children. In the present drawing, Zuyderland wears a billowing, artist-style blouse, suggesting a certain identification between painter and model. “Over the long winter months, Vincent grew attached to his patient, compliant, stone-deaf model,” Steven Naifeh and Gregory White Smith have written. “Homeless, wifeless, childless, friendless, and penniless, Zuyderland, too, was a Robinson Crusoe in the world, marooned in the passionless present” (op. cit., 2011, p. 316).
The present Orphan Man belonged to the writer Peter Matthiessen, a three-time National Book Award winner and founder of the Paris Review. He acquired the work around 1952, as a young man of twenty-five, with $1,500 that his grandmother had given him as a wedding gift. She encouraged him to buy something significant with the money and not to fritter it away on “practical” purchases; he thought her advice sound and selected this Van Gogh drawing from a gallery in Paris, where he was living at the time.

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