Product Description
First Steps, after Millet, 1890, Vincent van Gogh, Dutch. Historical artwork in public domain. In fall and winter 1889–90, while a voluntary patient at the asylum in Saint-Rémy, Van Gogh painted twenty-one copies after Millet, an artist he greatly admired. He considered his copies "translations" akin to a musician's interpretation of a composer's work. He let the black-and-white images—whether prints, reproductions, or, as here, a photograph that his brother, Theo, had sent—pose "as a subject," then he would "improvise color on it." For this work of January 1890, Van Gogh squared-up a photograph of Millet's First Steps and transferred it to the canvas. Title: First Steps, after Millet Artist: Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise) Date: 1890 Medium: Oil on canvas In October 1889 Theo van Gogh sent his brother Vincent, at Saint-Rémy, a group of reproductions of works by Jean-François Millet, including a photograph of the drawing from which this painting was copied. The photograph, squared by Van Gogh when he decided to copy it in January 1890, is now in the Van Gogh Museum, Amsterdam. The Millet drawing itself is now in the Lauren Rogers Museum of Art, Laurel, Mississippi. Millet made at least two other versions of this composition, one now in the Cleveland Museum of Art and one formerly in the collection of Georges Petit, Paris (ill. in La Vie et l'oeuvre de J.-F. Millet, by Alfred Sensier, Paris, 1881, p. 345 [according to Sterling and Salinger 1967, Van Gogh is known to have owned a copy of this book]). A drawing by Millet of this subject with a different setting was sold at Christie's, London, on November 27, 1992, lot 17. References on the original Vincent van Gogh. Letter to his brother Theo. [on or about October 25, 1889] [Van Gogh Museum, Amsterdam, inv. no. b659 V/1962; pub. in Van Gogh Letters 1958, letter no. 611; Van Gogh Letters 2009, letter no. 815], thanks Theo for the Millet reproductions, which arrived the previous evening, mentioning that "it might be interesting to try to do Millet's drawings as paintings"; remarks "How beautiful the Millet is, A Child's first steps!". Vincent van Gogh. Letter to his brother Theo. [on or about January 13, 1890] [Van Gogh Museum, Amsterdam, inv. nos. b672 a-b V/1962; pub. in Van Gogh Letters 1958, letter no. 623; Van Gogh Letters 2009, letter no. 839], writes that he will begin copying Millet's "First steps" that week, and that it will form a series along with five other copies after Millet. Vincent van Gogh. Letter to his brother Theo. [February 1, 1890] [Van Gogh Museum, Amsterdam, inv. no. b674 V/1962; pub. in Van Gogh Letters 1958, letter no. 625; Van Gogh Letters 2009, letter no. 850], mentions that he will send to Theo five or six finished canvases after Millet, including this work. Vincent van Gogh. Letter to his brother Theo. [April 29, 1890] [Van Gogh Museum, Amsterdam, inv. no. b678 V/1962; pub. in Van Gogh Letters 1958, letter no. 629; Van Gogh Letters 2009, letter no. 863], mentions that he is sending Theo "canvases after Millet," probably including this work. Theo van Gogh. Letter to his brother Vincent. May 3, 1890 [Van Gogh Museum, Amsterdam, inv. no. b760 V/1962, http://vangoghletters.org/vg/letters/let867/letter.html; pub. in Van Gogh Letters 1958, letter no. T33; Van Gogh Letters 2009, letter no. 867], states that the group of Millet copies the artist had sent him (a group that probably includes The Met's picture) "are perhaps the finest things you've done, and make me believe that big surprises still await us the day you set yourself to doing figure compositions". H[ans]. R[osenhagen]. "Von Ausstellungen." Die Kunst für alle: Malerei, Plastik, Graphik, Architektur 17 (January 30, 1902), p. 240, mentions it as one of the more notable paintings by Van Gogh on view at Paul Cassirer's gallery. Is[raël]. Querido. Op de Hoogte 2 (August 1905), ill. p. 480, [see Ref. La Faille 1928]. Moderne Galerie Heinrich Thannhauser. Nachtragswerk II mit 105 Abbildungen zur Grossen Katalogausgabe 1916. Munich, July 1917, pl. 20, as "Der erste Schritt". Kurt Pfister. Vincent van Gogh. Potsdam, 1922, pl. 43. J.-B. de La Faille. L'Oeuvre de Vincent van Gogh: Catalogue Raisonné. Paris, 1928, vol. 1, p. 190, no. 668; vol. 2, pl. 181. R. H. Wile[n]ski. French Painting. Boston, 1931, p. 296. W. Scherjon. Catalogue des tableaux par Vincent van Gogh décrits dans ses lettres. Périodes: St. Rémy et Auvers sur Oise. Utrecht, 1932, p. 98, no. 93, ill. W. Scherjon and Jos. De Gruyter. Vincent van Gogh's Great Period: Arles, St. Rémy and Auvers sur Oise (complete catalogue). Amsterdam, 1937, p. 288, Saint-Rémy no. 93, ill. J.-B. de La Faille. Vincent van Gogh. London, [1939], pp. 472, 569, 575, 588, no. 685, ill. Meyer Schapiro. Vincent van Gogh. New York, 1950, p. 25, calls it "The First Step". Vincent van Gogh. The Complete Letters of Vincent van Gogh with Reproductions of All the Drawings in the Correspondence. Greenwich, Conn., 1958, under letter nos. 611, 623, 625, 629 (the last is probably a reference to this work). Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 190–91, ill., discuss exactly which Millet drawing Van Gogh may have copied, suggesting one which belonged in 1911 to Moulton and Ricketts, Chicago (now Lauren Rogers Museum of Art, Laurel, Mississippi), and one formerly in the collection of Georges Petit, Paris, illustrated on page 345 of Alfred Sensier's 1881 book on Millet, of which Van Gogh is known to have owned a copy [see Notes]. Jean Leymarie. Van Gogh. [1st ed., 1968]. New York, 1977, pp. 147, 210, ill. p. 167, erroneously as still in the collection of George N. Richard; states that Van Gogh painted it for Theo and his wife, as a pendant to "The Vigil" (F647, as "Night: The Watch"; Van Gogh Museum, Amsterdam), another copy he had made after Millet. J.-B. de La Faille. The Works of Vincent van Gogh: His Paintings and Drawings. Amsterdam, 1970, pp. 262–63, 637, no. 668, ill., believes that Van Gogh probably copied it from the Millet drawing formerly in the collection of Georges Petit, and illustrated in Sensier's book of 1881 on Millet [see Notes]. Paolo Lecaldano. L'opera pittorica completa di Van Gogh e i suoi nessi grafici. Vol. 2, Da Arles a Auvers. repr. [1st ed., 1966]. Milan, 1971–77, p. 226, no. 760, ill. p. 224, as "Due contadini con una bambina (I primi passi)"; states that it was copied after the Millet drawing once in the collection of Petit [see Notes]. Charles Scott Chetham. The Role of Vincent van Gogh's Copies in the Development of His Art. PhD diss., Harvard University. New York, 1976, p. 190, fig. 42. Jan Hulsker. The Complete Van Gogh: Paintings, Drawings, Sketches. [1st ed., Amsterdam, 1977]. New York, 1980, pp. 432–33, no. 1883, ill. Griselda F. S. Pollock. "Vincent van Gogh and Dutch Art." PhD diss., Courtauld Institute of Art, London, 1980, vol. 1, pt. 3, p. 610 n. 93. Paul Vogt. Museum Folkwang Essen: Die Geschichte einer Sammlung junger Kunst im Ruhrgebiet. Cologne, 1983, pp. 16, 18, states that Osthaus was offered the picture by Cassirer sometime before 1905, and turned it down, and that he was offered it again at a lower price in October 1905 by Van Gogh-Bonger and bought it; quotes a letter from painter Christian Rohlfs written at the end of 1905 in which he states, "Osthaus has four new Van Goghs and three drawings.". Haruo Arikawa in Vincent van Gogh. Exh. cat., National Museum of Western Art. Tokyo, 1985, pp. 82, 84, 86, 202–3, 233–34, 236, 266, no. 85, ill. (color), calls the Millet drawing now in the Cleveland Museum of Art the original of this copy by Van Gogh [see Notes]. Ronald Pickvance The Metropolitan Museum of Art. Van Gogh in Saint-Rémy and Auvers. New York, 1986, pp. 18, 172–74, no. 46, ill. (color), states that it was included in the batch of works sent to Theo from Saint-Rémy on April 29, 1890; illustrates the photograph (fig.39; Van Gogh Museum, Amsterdam) of the Millet drawing Theo sent his brother, squared for transfer by Vincent. Walter Feilchenfeldt. Vincent van Gogh & Paul Cassirer, Berlin: The Reception of Van Gogh in Germany from 1901 to 1914. Zwolle, The Netherlands, 1988, pp. 14–15, 20, 22, 111, 145, 149, 156–57, ill., dates the offering by Cassirer to Osthaus to February 1902 [see Ref. Vogt 1983]; states that Van Gogh-Bonger sold it to Osthaus in February 1906 [but see Ref. Dorn 1990 and correspondence in archive file]. Roland Dorn in Vincent van Gogh and the Modern Movement: 1890–1914. Exh. cat., Museum Folkwang, Essen. Freren, Germany, 1990, pp. 160, 163, 165, 167, no. 51, ill. (color), states that Van Gogh-Bonger sold this work to Osthaus in 1905. Hans Bronkhorst. Vincent van Gogh. New York, [1990], pp. 160–63, ill. (color). Magdalena M. Moeller in Vincent van Gogh and the Modern Movement: 1890–1914. Exh. cat., Museum Folkwang, Essen. Freren, Germany, 1990, p. 316. Jan Hulsker. Vincent van Gogh: A Guide to His Work and Letters. Amsterdam, 1993, pp. 42, 57, 76, dates letter no. 623 to about January 12–15, 1890, lists the works mentioned in both letters, and corrects a passage of the French to English translation [see Refs. Gogh 1889 and 1890]. Peter Denham in Van Gogh: His Sources, Genius and Influence. Exh. cat., National Gallery of Victoria, Melbourne. Sydney, 1993, p. 104, no. 49, ill. in color, dust jacket and p. 105 (overall and details). Roger Benjamin. "Performing the Masters: Van Gogh's Copies." Van Gogh: The Songlines of Legend. Ed. Felicity St. John Moore. Melbourne, [1994], p. 26, discusses this picture within the context of van Gogh's other copies after Millet, painted around the same time. Matthias Arnold. Vincent van Gogh: Werk und Wirkung. Munich, 1995, pp. 228–29, 232. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 495, ill. Jan Hulsker. The New Complete Van Gogh: Paintings, Drawings, Sketches. rev. ed. Amsterdam, 1996, pp. 432, 434, 496, no. 1883, ill. p. 433. Cornelia Homburg. The Copy Turns Original: Vincent van Gogh and a New Approach to Traditional Art Practice. Amsterdam, 1996, pp. 88–89, 143 n. 277, fig. 38. Carol Zemel. Van Gogh's Progress. Berkeley, 1997, p. 17. Naomi Margolis Maurer. The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent van Gogh and Paul Gauguin. Madison, N.J., 1998, p. 99, fig. 175 (color). Louis van Tilborgh in Millet/Van Gogh. Exh. cat., Musée d'Orsay. Paris, 1998, pp. 121–22, 152–53, 156–58 n. 43, pp. 170, 175, no. 81, ill. (color). Bogomila Welsh-Ovcharov. Van Gogh in Provence and Auvers. [New York], 1999, ill. p. 214 (color). Ronald Pickvance. Van Gogh. Exh. cat., Fondation Pierre Gianadda. Martigny, 2000, pp. 48, 103. Chris Stolwijk and Han Veenenbos. The Account Book of Theo van Gogh and Jo van Gogh-Bonger. Amsterdam, 2002, pp. 50, 146, 184, ill., identify it as one of seven works sold by Van Gogh-Bonger to Karl Ernst Osthaus, Hagen, for which she recorded payment of 4,731.60 guilders in February 1906; note that these works were included in an exhibition at the Museum Folkwang, Hagen (now Essen) in September–October 1905. Dorothee Hansen in Van Gogh: "Fields". The "Field with Poppies" and the Artists' Dispute. Ed. Wulf Herzogenrath and Dorothee Hansen. Exh. cat., Kunsthalle Bremen. Ostfildern-Ruit, Germany, 2002, pp. 106–7, 195, no. 31, ill. (color), gives incorrect date of 1889 on p. 195, and correct date of January 1890 on p. 106; lists the painting as being sold to the Museum Folkwang, Hagen in 1905 for 2,400 marks. Bettina Heil in "An 'Invasion of French Art'?: Acquisitions at German Museums from 1900 to 1914, The Museum Folkwang in Hagen." Van Gogh: "Fields". The "Field with Poppies" and the Artists' Dispute. Ed. Wulf Herzogenrath and Dorothee Hansen. Exh. cat., Kunsthalle Bremen. Ostfildern-Ruit, Germany, 2002, p. 217, lists the painting as acquired by the Museum Folkwang in Hagen under the auspices of Karl Ernst Osthaus for 2,400 marks in 1905. Pierre Cabanne. Van Gogh. Paris, 2002, pp. 174–75, ill. (color), erroneously states that MoMA owns it. Alfred Nemeczek. "Das Mohnfeld der Ehre." Art 10 (October 2002), p. 45, ill. p. 43 (color). Dorothee Hansen in Dorothee Hansen et al. Van Gogh: Fields. Exh. cat., Toledo Museum of Art. Toledo, 2003, pp. 15, 70–71, ill. (color). Walter Feilchenfeldt. By Appointment Only: Cézanne, Van Gogh and Some Secrets of Art Dealing. English ed. London, 2006, p. 58, notes that Johanna van Gogh-Bonger sold it to Osthaus in 1905, along with three other paintings and three drawings. Kathryn Calley Galitz in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 250–52, no. 49, ill. (color) [Catalan ed., Barcelona, 2006, pp. 136–37, no. 41, ill. (color)], comments that this picture "likely resonated with Theo [van Gogh], whose son, Vincent Willem, was born earlier that year"; observes that its soft green palette differentiates this picture from others done in Saint Rémy and prefigures Van Gogh's last landscapes from Auvers-sur-Oise. Stefan Koldehoff in Van Gogh and Expressionism. Ed. Jill Lloyd and Michael Peppiatt. Exh. cat., Neue Galerie, New York. Ostfildern, 2007, p. 171, states that Karl-Ernst Osthaus, Hagen, purchased it in February 1906 from Johanna van Gogh-Bonger together with six other van Gogh pictures, for 4,731.60 guilders [see Ref. Stolwijk and Veenenbos 2002]. Heinz Widauer in Van Gogh: Heartfelt Lines. Ed. Klaus Albrecht Schröder et al. Exh. cat., Albertina, Vienna. Cologne, 2008, pp. 110, 402, no. 126, ill. pp. 109, 403 (color), calls it "First Steps". Vincent van Gogh. Vincent van Gogh—The Letters. Ed. Leo Jansen, Hans Luijten, and Nienke Bakker. London, 2009, vol. 5, pp. 127–8, under letter no. 815, pp. 184–85, fig. 20 (color), under letter no. 839, p. 195, fig. 9 (color), under letter no. 850, p. 213, under letter no. 863, state that Van Gogh probably included all but two of his copies after Millet, including this work, in the consignment sent to Theo on April 29, 1890. Pascal Grenier and Nicole Quellet-Soguel in Le monde selon Suchard. Ed. Chantal Lafontant Vallotton and Vincent Callet-Molin. Exh. cat., Musée d'art et d'histoire de Neuchâtel. Hauterive, Switzerland, 2009, pp. 132, 166 nn. 36, 38, p. 167 n. 40, ill. (color), discuss the painting's provenance. Kathryn Calley Galitz in Earth, Sea, and Sky: Nature in Western Art; Masterpieces from The Metropolitan Museum of Art. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2012, pp. 89, 221–22, no. 36, ill. (color and b&w) [Chinese ed., Hefei Shi, 2013, pp. 82–83, no. 36, ill. (color)]. Catherine Restrepo. "Bouquet of Flowers in a Vase: Van Gogh's 'Unexpected' Painting." Providence College Art Journal 2012, no. 1 (2012), pp. 29–30. Asher Ethan Miller. "The Path of Nature: French Paintings from the Wheelock Whitney Collection, 1785–1850." Metropolitan Museum of Art Bulletin 70 (Winter 2013), p. 27, fig. 29 (color). William H. Robinson in Van Gogh Repetitions. Exh. cat., Phillips Collection, Washington. New Haven, 2013, pp. 31, 39 n. 35, fig. 15 (color), mentions the work as one in a cycle of six works the artist used to decorate his brother's Paris apartment, all based on wood engravings after Millet's series "The Four Hours of the Day" and "The Seasons". Marcia Steele and Elizabeth Steele in Van Gogh Repetitions. Exh. cat., Phillips Collection, Washington. New Haven, 2013, pp. 173, 177 n. 8, discusses the artist's transfer of his gridded photographic image of Millet's drawing to his final painting. Kathrin Pilz et al. "Van Gogh's Copies from Saint-Rémy: Between Reminiscence, Calculation and Improvisation." Van Gogh's Studio Practice. Ed. Marije Vellekoop et al. Brussels, 2013, pp. 110, 113 n. 49, 114 nn. 53– 55, pp. 115, 120, 130 table 1, note that the artist used a standard figure 30 canvas format, that he enlarged the grid by a factor of 3.5 to transfer the original image from his source photograph, and that this factor is an exception to his usual manner of enlarging by a factor of a maximum whole number; observe that the enlarged size of his canvas in comparison to his source forced the artist to draw the wheelbarrow in full in his version, where it was cut off on the left-hand side in the original. Walter Feilchenfeldt. Vincent van Gogh: The Years in France. Complete Paintings 1886–1890. London, 2013, p. 32 n. 42, pp. 200, 292, 300, 312, 316, 320–22, 324, 343, 347, ill. (color) [1st German ed., 2009], as "The First Steps after Millet," dated October 25, 1889. Jane Van Nimmen. "Henry van de Velde Year in Germany and Belgium: Part One." Nineteenth-Century Art Worldwide 12 (Autumn 2013) [http://www.19thc-artworldwide.org/autumn13/van-nimmen-on-henry-van-de-velde-year-in-germany-and-belgium-part-one], notes Osthaus’s purchase of the picture and its display at the Museum Folkwang, Hagen (whose Art Nouveau interior was designed by Van de Velde) until financial straits forced Osthaus to let Paul Cassirer sell it at auction in 1917. Peter Schjeldahl. "A Visit with Vincent." The New Yorker. August 12, 2014, unpaginated [online only: http://www.newyorker.com/culture/cultural-comment/visit-vincent]. Edwin Mullins. Van Gogh: The Asylum Year. London, 2015, pp. 141–42, ill. (color). Simon Kelly in Van Gogh: Into the Undergrowth. Exh. cat., Cincinnati Art Museum. Cincinnati, 2016, p. 28, notes that Van Gogh considered his late color copies after Millet's prints like The Met's picture to be private studies. Monique Hageman and Nora Koldehoff in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, p. 312, ill. back cover (color). Stefan Koldehoff in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, pp. 108, 132, no. 17, ill. p. 133 (color), states that Thannhauser purchased it for 30,000 marks at the 1917 sale; includes it among five works by the artist from the Alfred Walter Heymel collection offered for sale by Thannhauser gallery in July 1910. Nora Koldehoff in The Thannhauser Gallery: Marketing Van Gogh. Ed. Stefan Koldehoff and Chris Stolwijk. Brussels, 2017, p. 306. Alexander Eiling in Making Van Gogh: A German Love Story. Ed. Alexander Eiling and Felix Krämer. Exh. cat., Städel Museum. Frankfurt, 2019, pp. 126, 129. Felix Krämer in Making Van Gogh: A German Love Story. Ed. Alexander Eiling and Felix Krämer. Exh. cat., Städel Museum. Frankfurt, 2019, pp. 37–38, 40. Elena Schroll in Making Van Gogh: A German Love Story. Ed. Alexander Eiling and Felix Krämer. Exh. cat., Städel Museum. Frankfurt, 2019, pp. 71–72. Alexander Eiling and Elena Schroll in Making Van Gogh: A German Love Story. Ed. Alexander Eiling and Felix Krämer. Exh. cat., Städel Museum. Frankfurt, 2019, p. 206, no. 60, colorpl. 60. Alina Happ and Philipp von Wehrden in Making Van Gogh: A German Love Story. Ed. Alexander Eiling and Felix Krämer. Exh. cat., Städel Museum. Frankfurt, 2019, p. 333. Nienke Bakker in Jean-François Millet: Sowing the Seeds of Modern Art. Ed. Simon Kelly and Maite van Dijk. Exh. cat., Van Gogh Museum, Amsterdam. Bussum, The Netherlands, 2019, pp. 128, 192 n. 41.
.: Manufacturing regions: UK, EU
.: Printing method: Giclée, Solvent inkjet
.: Lifelong color guarantee
.: 100% cotton fabric
.: Wooden frame
.: High image quality and detail
.: For indoor use
.: Pre-installed hanging hardware
.: Ensures proper locking to walls
Each custom stretched canvas begins with a 12-color Giclée print, produced from a choice of substrates. We then make a custom wooden frame. The canvas is then hand-finished by our experienced framing team, who ensure each corner fold is perfectly smooth and tight.
Designed for indoor use, custom stretched canvas prints are made from treated cotton - providing the smoothest of matte surfaces for exceptional design vividity. A combination of <b>quality and durability</b>, these hangings come with a <b>lifelong color guarantee; there's significant confidence in their withstanding the test of time</b>. On the backside, pre-installed hanging hardware <b>ensures proper locking to walls</b>.
Colors may vary slightly during the printing process.
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