Instruct: Given a question, retrieve passages that can help answer the question.
Query: What genre of art did Van Gogh practice?
Vincent Willem van Gogh (Dutch:[ˈvɪnsɛnt ˈʋɪləm vɑŋ ˈɣɔx](listen);[note 1] 30 March 1853–29 July 1890) was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings, most of them in the last two years of his life. They include landscapes, still lifes, portraits and self-portraits, and are characterised by bold colours and dramatic, impulsive and expressive brushwork that contributed to the foundations of modern art. However, he was not commercially successful and his suicide at 37 followed years of mental illness and poverty.
Breitner was hospitalised in April. Van Gogh visited him in hospital, but Breitner did not return the visits when van Gogh himself was hospitalised two months later, and they did not meet again until the following July when van Gogh was on the verge of leaving The Hague and Breitner spending more time in Rotterdam than the Hague. At that time van Gogh gave Theo a less than flattering account of Breitner's paintings as resembling mouldy wallpaper, although he did say he thought he would be all right in the end. For his part, there is no evidence that Breitner saw anything notable in van Gogh's work. He later reminisced that sketching with van Gogh was problematic because, whereas Breitner sketched discreetly in a notebook, van Gogh came laden with apparatus and attracted hostile attention. In a letter to Theo of 11 September 1882, van Gogh recounted how a fellow suddenly spat a wad of tobacco onto his drawing while sketching at the potato market.
The "peasant genre" that greatly influenced Van Gogh began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. In 1885 Van Gogh described the painting of peasants as the most essential contribution to modern art. He described the works of Millet and Breton of religious significance, "something on high." Referring to painting of peasants Van Gogh wrote to his brother Theo: "How shall I ever manage to paint what I love so much?"
In the Netherlands van Gogh was influenced by great Dutch masters as well as cousin-in-law Anton Mauve a Dutch realist painter who was a leading member of the Hague School. In Paris van Gogh was exposed to and influenced by Impressionism, Symbolism, Pointillism, and Japanese woodblock print genres which were overtime integrated into his works. The spring of 1887 seemed to trigger an awakening within van Gogh where he experimented with the genres to develop his personal style.
Père Tanguy was a Breton who was exiled and pardoned after taking part in the French Revolution. When Vincent van Gogh knew him, he owned a small artist's supply shop. The shop was an important to the painters of the era. Impressionist painters in Paris were commonly found in Père Tanguy's shop. Painters like Cézanne, Pissarro, and Gauguin, as well as their paintings, frequented the shop. Van Gogh painted a few portraits of Père Tanguy. This specific portrait, painted in the winter of 1887-88 of Père Tanguy is more well known because of its frontal perspective, like that of early photography. The development of photography is part of what inspired the impressionistic style. The technology to take an exact image of a person in turn created a style of painting determined to capture more than what the eye could see. Van Gogh's style was driven by this goal as well as his own interest to involve his own thoughts in the artwork. 
In this portrait of Père Tanguy, van Gogh communicates his friendship with Tanguy and his own love of foreign artwork. All the while, van Gogh's portrait falls into the popular theme of portrait figures surrounded by objects at that time. Van Gogh contrasts the flat, garish colors of the stylized Japanese woodcuts with the depth of the cool tones creating Père Tanguy's portrait. However, he manages to tie these two ideas together by implementing warm, bright highlights in Père Tanguy's face, hat, and hands. The angles in Tanguy's posture are also mimicked in the Japanese woodcuts. This combination shows the relationship that van Gogh saw between his friend, the shop owner, and van Gogh's pleasant experiences with exotic art. 
Mauve appears to have suddenly gone cold towards Van Gogh and did not return a number of his letters. Van Gogh supposed that Mauve did not approve of his domestic arrangement with Sien and her young daughter. Van Gogh created a number of drawings of Sien and her daughter. Having ended his relationship with Sien, Van Gogh moved to Drenthe in September 1883 and painted landscapes. Three months later, he moved back in with his parents, who were at that point living in Nuenen.
In 1884, Van Gogh created the weaver series, works of rural life and landscapes. For a brief period of time, he gave painting lessons in Eindhoven. Near the end of the year, Van Gogh began experimenting with complementary colors, influenced by the color theories of Charles Blanc.
Asnières, now named Asnières-sur-Seine, is the subject and location of paintings that Vincent van Gogh made in 1887. The works, which include parks, restaurants, riverside settings and factories, mark a breakthrough in van Gogh's artistic development. In the Netherlands his work was shaped by great Dutch masters as well as Anton Mauve a Dutch realist painter who was a leading member of the Hague School and a significant early influence on his cousin-in-law van Gogh. In Paris van Gogh was exposed to and influenced by Impressionism, Symbolism, Pointillism, and Japanese woodblock print genres.
In 1886, Van Gogh left the Netherlands and traveled to Paris to explore emerging artistic movements under the guidance and continued support of his brother Theo van Gogh, an art dealer. Surprised that Vincent had come to Paris unannounced, and in opposition to their conversations about timing of his arrival, Vincent stayed in Theo's apartment on Rue Laval until a larger apartment could be acquired. For four months, Van Gogh studied with Fernand Cormon, painting plaster casts, live nude models and props available at Cormon's studio. Cormon also encouraged open-air painting. There me met Henri de Toulouse-Lautrec, Émile Bernard, and Louis Anquetin. Through Theo and artistic social circles he also met Edgar Degas, Camille Pissarro, Paul Signac, Georges Seurat, and Paul Gauguin. Through the fellowship with these men, he was introduced to Impressionists, Symbolists, Pointillists, and Japanese art, Ukiyo-e, and woodcut prints. In spite of his unusual manner, disheveled clothes and often time frightening manner, Paris was the one place where Van Gogh developed friendships with other artists. So much so that when Toulouse-Lautrec heard disparaging remarks against Van Gogh, he challenged the man to a duel. Seeing and trading artwork with the Parisian avant-garde artists, Van Gogh understood what Theo had been trying to tell him for years about modern art. He was able to experiment with each of the movements to develop his own style, becoming what some say is "one of the most important artists in modern art."
In 1880 Van Gogh writes of his desire to be useful as an artist, "To try to understand the real significance of what the great artists, the serious masters, tell us in their masterpieces, that leads to God; one man wrote or told it in a book; another, in a picture." After having moved to Brussels Van Gogh decided to study on his own, rather than at the art academy, often in the company of Dutch artist Anthon van Rappard. It is at this point his brother Theo, working as an art dealer at the Paris Goupil & Cie branch, began sending him money for support, a practice that continued throughout the brother's lives.
Johanna Gezina "Jo" van Gogh-Bonger (4 October 1862 – 2 September 1925) was a Dutch editor and translator of the letters of the van Gogh brothers. She was the wife of Theo van Gogh, art dealer, and the sister-in-law of the painter Vincent van Gogh and became a key player in the growth of Vincent's fame.
The "peasant genre" that greatly influenced Van Gogh began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. In 1885 Van Gogh described the painting of peasants as the most essential contribution to modern art. He described the works of Millet and Breton of religious significance, "something on high." A common denominator in his favored authors and artists was sentimental treatment of the destitute and downtrodden. He held laborers up to a high standard of how dedicatedly he should approach painting, "One must undertake with confidence, with a certain assurance that one is doing a reasonable thing, like the farmer who drives his plow... (one who) drags the harrow behind himself. If one hasn't a horse, one is one's own horse." Referring to painting of peasants Van Gogh wrote to his brother Theo: "How shall I ever manage to paint what I love so much?"
During van Gogh's first twelve months in Paris he absorbed a lot of information about modern art from the best of the avant-garde artists of the time, but in practice his work in 1886 and early 1887 varied little from his paintings in the Netherlands. In the early 1887 he stayed with Émile Bernard and his parents in Asnières and the budding spring seemed to trigger an awakening within van Gogh where he experimented with the genres to develop his personal style. In a country setting, undergoing industrialization, van Gogh was able to depict his reverence for rural life and express concern about encroachment of industrialization. With new techniques, van Gogh produced paintings evoked tenderness of couples taking a walk in the park or social commentary about the ways in which factories affected country life.
Van Gogh had a particular attachment and sympathy for peasants and other working class people that was fueled in several ways. He was particularly fond of the peasant genre work of Jean-François Millet and others. He found the subjects noble and important in the development of modern art. Van Gogh had seen the changing landscape in the Netherlands as industrialization encroached on once pastoral settings and the livelihoods of the working poor with little opportunity to change vocation.
Drawn to Biblical parables, Van Gogh found wheat fields metaphors for humanity's cycles of life, as both celebration of growth and realization of the susceptibility of nature's powerful forces.
The "peasant genre" that greatly influenced Van Gogh began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. In 1885 Van Gogh described the painting of peasants as the most essential contribution to modern art. He described the works of Millet and Breton of religious significance, "something on high," and described them as the "voices of the wheat."
The most comprehensive primary source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincent's thoughts and theories of art, are recorded in the hundreds of letters they exchanged from 1872 until 1890.[7] Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene.[8]
Breitner was hospitalised in April. Van Gogh visited him in hospital, but Breitner did not return the visits when van Gogh himself was hospitalised two months later, and they did not meet again until the following July when van Gogh was on the verge of leaving The Hague and Breitner spending more time in Rotterdam than the Hague. At that time van Gogh gave Theo a less than flattering account of Breitner's paintings as resembling mouldy wallpaper, although he did say he thought he would be all right in the end. For his part, there is no evidence that Breitner saw anything notable in van Gogh's work. He later reminisced that sketching with van Gogh was problematic because, whereas Breitner sketched discreetly in a notebook, van Gogh came laden with apparatus and attracted hostile attention.
Père Tanguy, a Montmartre art supplier, tells Armand that Theo actually died six months after Vincent. He suggests that Armand travel to Auvers-sur-Oise and look for Dr. Paul Gachet, who housed Van Gogh after his release from an asylum, shared his love for art, and attended the funeral. Once there, Armand learns that the doctor is out on business. So he stays at the same inn that Van Gogh did during his time in the area. There he meets the temporary proprietress Adeline Ravoux, who was fond of Van Gogh and who was also surprised by his death. At her suggestion, Armand visits the local boatman, who informs him that Van Gogh kept close company with Dr. Gachet's sheltered daughter, Marguerite. When Armand visits her, Marguerite denies and is angered when Armand implies that Van Gogh's suicidal mood could have resulted from an argument with her father.
In 1886, Van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Van Gogh entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird". Although Van Gogh had been influenced by his cousin Anton Mauve and the Hague School, as well as the great Dutch masters, coming to Paris meant that he was exposed to Impressionism, Symbolists, Pointillists, and Japanese art ("see Japonism"). His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard, Paul Signac, and others. The works of the Japanese printmakers Hiroshige and Hokusai greatly influenced Van Gogh, both for the subject matter and the style of flat patterns of colors without shadow. In the two years from 1886 through 1888 he spent working in Paris, Van Gogh explored the various genres, creating his own unique style.
While in Amsterdam his travel companion shopped at Van Gogh's Uncle Cor's business, but he did not enter the store, likely due to strained relations after Van Gogh's experiences in The Hague. Van Gogh's art dealer uncle, Cornelis Marinus, commissioned 20 ink drawings of the city, which the artist completed by the end of May but were not acceptable to his uncle. To further complicate matters, Van Gogh had a falling out with cousin-in-law, Anton Mauve, who had funded a studio for Van Gogh and provided training and guidance in developing his artistic skills. Mauve and his family did not approve of his domestic relationship with prostitute Sien Hoornik.
In 1886 van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Vincent entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird". Although van Gogh had been influenced by great masters in the Netherlands, coming to Paris meant that he was exposed to Impressionists, Symbolists, Pointillists, and Japanese art ("see Japonism"). His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard, Paul Signac, and others. The works of the Japanese ukiyo-e artists Hiroshige and Hokusai greatly influenced van Gogh, both for the subject matter and the style of flat patterns of colors without shadow. In the two years from 1886 through 1888 he spent working in Paris, van Gogh explored the various genres, creating his own unique style.
Isaac was the son of Jozef Israëls, the noted Hague School painter revered by Vincent van Gogh. Following some early training at the Royal Academy of Art, The Hague, where he met George Hendrik Breitner (the two are credited as founding the so-called school of Amsterdam Impressionism), Isaac followed the examples of Johannes Bosboom and van Gogh and spent time in the Borinage, the Belgian mining district. Although Breitner sketched with van Gogh in their student days at The Hague (Breitner was later dismissive of Vincent's "eskimo paintings", while Vincent in turn dismissed Breitner's efforts as "mouldy wallpaper"), there is no record of Israëls ever meeting van Gogh. He did however see a selection of Vincent's paintings at Theo van Gogh's art dealership while in Paris in 1889.
The Nazis regarded any art that did not fit with their ideas of what art should be as Degenerate art. Almost all modern art was regarded as "degenerate". It was banned under the regime, seized and placed in special storehouses, and the artists who produced it were subject to sanctions. In 1938, Göring removed 13 paintings from the store of seized "degenerate art" at Kopenickerstrasse. Among others, works of Paul Cézanne and Vincent van Gogh that he sold through Angerer. German-born Dutch national Franz Koenig bought Van Gogh's "Portrait of Dr. Gachet" (first version, 1890) and "Daubigny's Garden" (1890), and Cézanne's "The Quarry" (c. 1900). Koenig died in 1941 when he fell under a train at Cologne station. According to Ivan Lindsay, Koenig was killed by the Nazis, so his collection of old master drawings could be taken from him. Of the remaining paintings, one by Edward Munch and one by Paul Signac were sold by Angerer in Sweden and two further Munchs in London. Göring paid compensation to the Städel Museum for the Van Gogh and the Folkwang Museum for the Cézanne but at a fraction of the paintings true worth.
In November 1882 Van Gogh began drawings of individuals to depict a range of character types from the working class. The "peasant genre" that greatly influenced Van Gogh began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. In 1885 Van Gogh described the painting of peasants as the most essential contribution to modern art.
List of works by Vincent van Gogh is an incomplete list of paintings and other works by the Dutch artist Vincent van Gogh (1853–1890).
Little appreciated during his lifetime, his fame grew in the years after his death. According to the legend van Gogh sold only one painting, "The Red Vineyard", bought for 400 F by the painter and art collector Anna Boch. Today, he is widely regarded as one of history's greatest painters and an important contributor to the foundations of modern art. Van Gogh did not begin painting until his late twenties, and most of his best-known works were produced during his final two years. He produced more than 2,000 artworks, consisting of around 900 paintings and 1,100 drawings and sketches. In 2013, "Sunset at Montmajour" became the first full-sized Van Gogh painting to be newly confirmed since 1928.
Two years after van Gogh's death, Breitner wrote that he did not like van Gogh's paintings:"‘I can’t help it, but to me it seems like art for Eskimos, I cannot enjoy it. I honestly find it coarse and distasteful, without any distinction, and what's more, he has stolen it all from Millet and others." 