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Wheat Field with Cypresses, 1889, Vincent van Gogh.
Historical artwork by the masters. Style at home. Home decor at its best. Cypresses gained ground in Van Gogh’s work by late June 1889 when he resolved to devote one of his first series in Saint-Rémy to the towering trees. Distinctive for their rich impasto, his exuberant on-the-spot studies include the Met’s close-up vertical view of cypresses (49.30) and this majestic horizontal composition, which he illustrated in reed-pen drawings sent to his brother on July 2. Van Gogh regarded the present work as one of his “best” summer landscapes and was prompted that September to make two studio renditions: one on the same scale (National Gallery, London) and the other a smaller replica, intended as a gift for his mother and sister (private collection). Title: Wheat Field with Cypresses Artist: Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise) Date: 1889 Medium: Oil on canvas Van Gogh made four versions of this composition in Saint-Rémy. The present work, his initial study from nature, was painted in late June or the first days of July 1889. He made a drawing after it, which he sent to his brother on July 2 (F1538; Van Gogh Museum, Amsterdam), and painted two studio renditions in September: one on the same scale (F615; National Gallery, London) and a smaller version (F743; private collection). He sent The Met and National Gallery pictures to his brother Theo on September 28, 1889, and the smaller version, intended for his mother and sister, on December 6, 1889. The Met’s picture remained in the artist’s estate until 1900, when it was sold by his sister-in-law to the French artist Émile Schuffenecker. The following letters in the Van Gogh correspondence, written between September 19 and December 7, 1889, do not mention The Met's picture, only the small version (or “reduction”) of the composition (F743): Van Gogh Letters 2009, letter nos. 803, 811, 812, and 824 (Van Gogh Letters 1958, letter nos. 606, 612, W15, and 618). There exists a Eugène Druet photograph of The Met's picture (pl. 75, no. 42478, ca. 1900–1910, collection Le fonds Druet-Vizzavona, Médiathèque de l’architecture et du patrimoine, Fort de Saint-Cyr, Montigny-le-Bretonneux, France) probably taken during the Van Gogh exhibition at Druet in Paris in 1909. References on the original Vincent van Gogh. Letter to his brother Theo. [June 25, 1889] [Van Gogh Museum, Amsterdam, inv. no. b644 V/1962, http://vangoghletters.org/vg/letters/let783/letter.html; pub. in Van Gogh Letters 1958, letter no. 596; Van Gogh Letters 2009, letter no. 783], mentions "12 no.30 canvases on the stocks," including this work. Vincent van Gogh. Letter to his brother Theo. [July 2, 1889] [Van Gogh Museum, Amsterdam, inv. no. b645 V/1962, http://vangoghletters.org/vg/letters/let784/letter.html; pub. in Van Gogh Letters 1958, letter no. 597; Van Gogh Letters 2009, letter no. 784], mentions that he is enclosing "ten or so drawings today, all after canvases on the go," including one after this work (F1538; Van Gogh Museum, Amsterdam); and describes "a canvas of cypresses with a few ears of wheat, poppies, a blue sky, which is like a multicolored Scottish plaid. This one, which is impasted like the Monticellis . . . ." (formerly associated with the present picture, and now with F620; Kröller-Müller Museum, Otterlo). Vincent van Gogh. Letter to his brother Theo. [September 5 and 6, 1889] [Van Gogh Museum, Amsterdam, inv. nos. b652 a-d V/1962, http://vangoghletters.org/vg/letters/let800/letter.html; pub. in Van Gogh Letters 1958, letter no. 604; Van Gogh Letters 2009, letter no. 800], states "At the end of the month you can rely on 12 no.30 canvases I dare say, but there will be almost the same ones twice, the study and the final painting," including the present picture among the studies and the National Gallery version among the final paintings. Vincent van Gogh. Letter to his brother Theo. [September 28, 1889] [Van Gogh Museum, Amsterdam, inv. no. b656 V/1962, http://vangoghletters.org/vg/letters/let806/letter.html; pub. in Van Gogh Letters 1958, letter no. 608; Van Gogh Letters 2009, letter no. 806], writes that he is sending Theo a package of canvases including two called "Wheatfield and cypresses" (this picture and F615, National Gallery, London); calls this painting one of his "best canvases"; mentions his reduced version of "Wheatfield with Cypresses". Andries Bonger. Catalogue of Vincent van Gogh's estate (known as the Bonger list). late 1890, no. 232, as "Peupliers dans champs de blé /30/". Johanna van Gogh-Bonger. Schilderijen van Leclercq [List of paintings with the dealer Julien Leclercq, Paris]. shortly after November 26, 1900, no. 232 [Van Gogh Museum, Amsterdam, inv. b1533 V/1962], as "landschap met cypres" (beschadigd) ["landscape with cypress" (damaged)], priced at 1200 francs. Laertes. "Chronique: Quinzaine artistique." La Dépêche 32 (April 9, 1901), p. 1. Ambroise Vollard, ed. Lettres de Vincent van Gogh à Émile Bernard. Paris, 1911, pl. 91, lists it incorrectly as "Le cyprès et l'arbre en fleurs," in the Bernheim-Jeune collection. J.-B. de La Faille. L'Oeuvre de Vincent van Gogh: Catalogue Raisonné. Paris, 1928, vol. 1, p. 204, no. 717; vol. 2, pl. 169, as "Le champ de blé jaune," in the collection of F. von Mendelssohn-Bartholdy, Grunewald. J.-B. de La Faille. Les Faux Van Gogh. Paris, 1930, p. 10, fig. 40, notes that a careful consideration of the background imagery and authentic facture of The Met's picture, F615 (National Gallery, London), and F1538 (Van Gogh Museum, Amsterdam) demonstrates that F729, by contrast, is not from the hand of the master. W. Scherjon. Catalogue des tableaux par Vincent van Gogh décrits dans ses lettres. Périodes: St. Rémy et Auvers sur Oise. Utrecht, 1932, p. 53, no. 48, 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. 243, St. Rémy no. 48, ill., as "Cornfield and Cypresses". Michel Florisoone. Van Gogh. Paris, 1937, ill. pp. 50–51, as "Le champ de blé jaune," 1889, in the collection of F. von Mendelsshon-Bartholdy [sic]. J.-B. de La Faille. Vincent van Gogh. London, [1939], pp. 437, 560, 575, 589, ill., as "The Field of Yellow Corn," in the collection of Franz von Mendelssohn-Bartholdy, Grunewald; dates it October 1889. Werner Weisbach. Vincent van Gogh: Kunst und Schicksal. Vol. 2, Basel, [1951], p. 178. Jean Leymarie. Van Gogh. [Paris], 1951, p. 125, calls it more somber and impastoed than the London version (F615). Van Gogh: Dipinti e disegni. Exh. cat., Palazzo Reale. Milan, 1952, p. 53, no. 107, ill., as "Campo di grano con cipresso," painted in October 1889. John Rewald. Post-Impressionism: From Van Gogh to Gauguin. 1st ed. New York, 1956, ill. p. 324 [3rd, rev. ed., 1978, ill. p. 303], as "Yellow Corn—Cypresses at Saint Rémy," in the collection of Emil Bührle, Zürich; dates it October 1889 [dates it June–July 1889 in the 3rd ed., 1978]. François Daulte. "Le Chef-d'oeuvre d'une vie: La Collection Buhrle." Connaissance des Arts 52 (June 1956), ill. p. 34, dates it October 1889 and notes that a letter from Vincent to Theo van Gogh shows that he wanted to represent the contrast between the somber cypresses and the yellow wheat field (quoting the letter without dating it or providing a citation). Marco Valsecchi. Van Gogh. Milan, 1957, colorpl. 23, as "The Yellow Cornfield, Saint Rémy," in a private collection; dates it October 1889. 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. 596–97, 604, 608. Französische Malerei von Manet bis Matisse aus der Sammlung Emil G. Bührle / Zürich. Exh. cat., Nationalgalerie. Berlin, 1958, pp. 44–45, no. 47, ill., as painted in October 1889. De Géricault à Matisse: Chefs-d'oeuvre français des collections suisses. Exh. cat., Petit Palais. Paris, 1959, unpaginated, no. 68, as painted in October 1889. Alan Bowness. Vincent van Gogh: Paintings and Drawings from the Collection of the Vincent van Gogh Foundation, Amsterdam. Exh. cat., Hayward Gallery. [London], [1968], p. 105, calls it the first of the four versions of this composition, probably painted in one day before the motif, followed by the drawing (F1538; Van Gogh Museum, Amsterdam), then the "definitive" painting (F615; National Gallery, London), and last, the smaller replica (F743; private collection). J.-B. de La Faille. The Works of Vincent van Gogh: His Paintings and Drawings. Amsterdam, 1970, pp. 247, 277, 283, 531, 639, no. 717, ill., as "Wheatfield with Cypress, at the Haute Galline, near Eygalières"; in a private collection, Switzerland; dates it June–July 1889. 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, pp. 218, 220, no. 669, ill., as "Campo di Grano (con cipressi e altri alberi)"; dates it June–July 1889. Hope Benedict Werness. "Essays on van Gogh's Symbolism." PhD diss., University of California, Santa Barbara, 1972, p. 219 n. 17, p. 220 n. 27, discusses the possible symbolism of cypresses and wheat fields in relation to this picture, among others. Jan Hulsker. The Complete Van Gogh: Paintings, Drawings, Sketches. [1st ed., Amsterdam, 1977]. New York, 1980, pp. 400, 406, no. 1756, ill., believes the London picture (F615) was painted first, dating it, The Met's picture, and the Amsterdam drawing (F1538) to late June 1889, and the smaller painting (F743) to September 1889. Ronald Pickvance The Metropolitan Museum of Art. Van Gogh in Saint-Rémy and Auvers. New York, 1986, pp. 34, 110, 133, 298, ill. p. 299, calls this the "first painting of the motif . . . completed in late June"; notes that the large drawing (F1538) was made after it and sent to Theo on July 2nd and mentioned in that letter; notes that the London picture, also a size thirty canvas, is a copy of The Met's picture made in early September and that both were sent to Theo on September 28 and that he sent a reduction (F743) closely tied to The Met's version on December 7; calls Van Gogh's discovery of the cypresses the "cardinal event of June 1889," noting that the series of cypress canvases was fully launched at the end of June, with the two upright canvases (The Met, 49.30; F620) and this horizontally contrasting "Wheat Field with Cypresses"; observes that they are his "most heavily impastoed paintings," referring to their "near-bas-relief articulation of textures". John Leighton in "Vincent van Gogh's 'A Cornfield, with Cypresses'." National Gallery Technical Bulletin 11 (1987), pp. 42–45, fig. 1, as "A Cornfield, with Cypresses", in a private collection, Switzerland; identifies this picture as the one mentioned in Van Gogh's letter of July 2, 1889, and calls it the first version of the subject, painted in early July; notes that it has the same dense impasto as two paintings of cypresses (The Met, 49.30, and Kröller-Müller Museum, Otterlo) completed just prior to it; calls the London picture a studio repetition of The Met's picture with rapidly achieved impasto, compared to the "heavily wrought surface" of The Met's version; notes the modifications and simplifications to the composition between the two versions as Van Gogh "sought to translate a heavily worked study after nature into a more concise and powerful pictorial statement"; states that both were sent to Theo on September 28, 1889 [Ashok Roy, in the same article, pp. 50–58, identifies pigments and describes paint application of the National Gallery painting; presents analytical evidence of minor modifications to the compositional design that support the view that it was not the first of the two paintings, but rather that it evolved in the studio as the later version of the theme]. Walter Feilchenfeldt. Vincent van Gogh & Paul Cassirer, Berlin: The Reception of Van Gogh in Germany from 1901 to 1914. Zwolle, The Netherlands, 1988, pp. 36, 115, 148, 155–56, ill., as "Wheatfield with cypress, at the Haute Galline, near Eyglières"; discusses its early provenance and exhibition history around 1910. Walter Feilchenfeldt. "Van Gogh Fakes: The Wacker Affair, with an Illustrated Catalogue of the Forgeries." Simiolus 19, no. 4 (1989), p. 310, ill., cites a forged Van Gogh (F729) painted after a detail of this work while it was in the Mendelssohn collection, Berlin. Evert van Uitert et al. Vincent van Gogh: Paintings. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Milan, 1990, p. 205, fig. 87c, note that in The Met’s picture, dating from July, Van Gogh eventually achieved the effect of conciseness he felt was missing from his June "Wheat Field with Cypress" (F719) and that the dark cypresses are now the main theme; note that the “spontaneous effect of this study from nature” lacked “a grander effect of a stylized whole,” and Van Gogh corrected this failing in his drawing based on the painting and in September, when he completed the mature tableau now in London, calling it a “tightly-knit synthesis of the landscape of Provence”; note that the smaller copy made for his mother and sister indicates that he considered it one of his best works. Charles S. Moffett in The Passionate Eye: Impressionist and Other Master Paintings from the Collection of Emil G. Bührle, Zürich. Exh. cat., National Gallery of Art, Washington. Zürich, 1990, p. 241, no. 62, ill. (color, overall and detail), discusses the significance of wheat fields and cypresses to the artist in relation to the picture, quoting his letters. Roland Dorn in Vincent van Gogh and the Modern Movement: 1890–1914. Exh. cat., Museum Folkwang, Essen. Freren, Germany, 1990, p. 172. Ronald Pickvance in Vincent van Gogh: Drawings. Exh. cat., Rijksmuseum Kröller-Müller, Otterlo. Milan, 1990, p. 286. Margrit Hahnloser-Ingold in The Passionate Eye: Impressionist and Other Master Paintings from the Collection of Emil G. Bührle, Zürich. Exh. cat., National Gallery of Art, Washington. Zürich, 1990, p. 22, ill. p. 28 (installation photo), reproduces a photograph showing this picture in Bührle's home in Zürich. Jonathan Phillips. "Learning from Van Gogh." American Artist 54 (October 1990), pp. 73–74, ill. p. 38 (color). Jan Hulsker. Vincent and Theo van Gogh: A Dual Biography. Ed. James M. Miller. trans. and rev. ed. [1st ed.,1985]. Ann Arbor, Mich., 1990, p. 360, states that this picture and F615 (National Gallery, London) are variations on F719 (Narodni Gallery, Prague); argues that it is difficult to determine whether The Met's picture preceded F615. Stanley David Gedzelman. "The Meteorological Odyssey of Vincent van Gogh." Leonardo 23, no. 1 (1990), p. 110, notes that it depicts wave clouds transported by a south or southwest wind and that, based on meteorological records, it was probably produced during "partly clear interludes around the two rather extended periods of overcast skies at Saint-Rémy from 10–14 June and 18–20 June". Nicole Dubreuil-Blondin. "L'entrepreneur et les impressionnistes." RACAR 17, no. 2 (1990), p. 182, dates it 1888. Richard Kendall. "Patronage and the Modern Movement: The E.G. Bührle Collection." Apollo 133 (February 1991), pp. 122–23, fig. 1. J.-B. de La Faille. Vincent van Gogh, The Complete Works on Paper: Catalogue Raisonné. Ed. Alan Wofsy. Vol. 1, Revised, supplemented ed. [1st ed., Paris, 1928]. San Francisco, 1992, p. 402, states that although the drawing (F1538; Van Gogh Museum, Amsterdam) seems to be done after this painting, it can also be linked to F615 and F743 and dated to June or early July 1889. Jan Hulsker. Vincent van Gogh: A Guide to His Work and Letters. Amsterdam, 1993, pp. 41, 55, 61, 76, identifies this work as being mentioned in Van Gogh's September 28 letter to Theo, but not in his July 2 letter [see Van Gogh, July 2, 1889], and notes that it was among those pictures dispatched to Theo. Gary Tinterow in "Recent Acquisitions, A Selection: 1992–1993." Metropolitan Museum of Art Bulletin 51 (Fall 1993), pp. [2-3], 50–51, ill. p. 51 (color) and on front cover (color detail), calls it "unquestionably the first" version, contrasting its immediacy to the greater refinement and control of the later versions. Michael Kimmelman. "Annenberg Donates a Van Gogh to the Met." New York Times (May 25, 1993), p. C13, ill. p. A1, states that it is "probably" the first in the series of this subject and notes that it had been exhibited in the United States only once before joining The Met's collection. Gary Tinterow et al. The New Nineteenth-Century European Paintings and Sculpture Galleries. New York, 1993, p. 84, ill. (color). John House. "Exhibition Reviews, New York: The New Nineteenth-Century European Galleries at the Metropolitan Museum." Burlington Magazine 135 (December 1993), p. 856, calls it "seemingly the first and primary version of the subject" and "a painting of electric intensity and bravura, which makes even the version in the National Gallery, London, seem a little tempered and pedestrian". Ann Hoenigswald. "Reworking Finished Paintings, Gauguin and Van Gogh: A Comparison." Van Gogh: The Songlines of Legend. Ed. Felicity St. John Moore. Melbourne, [1994], p. 43, calls it "Cornfield, with Cypresses"; implies that it is the first version, stating that repetitions and copies or reductions were made after it; uses this picture to illustrate Van Gogh's working process, arguing that he worked out his compositions primarily through painting rather than drawing. Thomas Noll. "Der große Sämann": Zur Sinnbildlichkeit in der Kunst von Vincent van Gogh. Worms, 1994, p. 140. "America's Top 100 Collectors." Art and Antiques Ed. Patrick Pacheco. (March 1994), p. 48, mentions it as a recent purchase and gift to The Met by Walter H. Annenberg. "Principales acquisitions des musées en 1993." Gazette des beaux-arts 123 (March 1994), pp. 94–95, fig. 289, calls it the first version. Matthias Arnold. Vincent van Gogh: Werk und Wirkung. Munich, 1995, pp. 484, 549, calls it probably the first version done directly from nature; states that it is plausible that the London picture, with its certain stylistic changes from The Met's work, has a later date of fall 1889. Elizabeth Nicoline Heenk. "Vincent van Gogh's Drawings: An Analysis of Their Production and Uses." PhD diss., Courtauld Institute of Art, London, 1995, p. 186, states that the drawing F1538 (Van Gogh Museum, Amsterdam) was made after this painting. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 497, ill. Jan Hulsker. The New Complete Van Gogh: Paintings, Drawings, Sketches. rev. ed. Amsterdam, 1996, pp. 400, 496, no. 1756, ill. p. 406, notes that according to letters 596 and 597, the studies of cypresses Van Gogh was working on in the last days of June must have included the canvas always referred to in later letters as Wheat Field with Cypresses; calls The Met's picture “the almost identical replica” after the London canvas (1755) and dates both to June, noting that there is also a smaller version that he made for his mother and sister in September (1790). Ira Berkow. "Jewels in the Desert." Art News 97 (May 1998), p. 148. Judith H. Dobrzynski. "Tracing a van Gogh Treasured by the Met." New York Times (February 11, 1998), p. E3, ill. p. E1 (color), traces the wartime provenance of the painting. Ronald Pickvance. Van Gogh. Exh. cat., Fondation Pierre Gianadda. Martigny, 2000, pp. 35, 39, 90, 95, cites Van Gogh's mention of this work in his letter of July 2, 1889 and the London picture as a September duplicate of one of his summer pictures. Chris Stolwijk and Han Veenenbos. The Account Book of Theo van Gogh and Jo van Gogh-Bonger. Amsterdam, 2002, pp. 144, 187, ill., identify it as one of eight works sold by Van Gogh-Bonger through Julien Leclercq, Paris, to Émile Schuffenecker, on December 28, 1900, for which she recorded partial payment of 1,914 guilders (4,000 francs) on January 10, 1901; note that the total amount of the sale was 9,400 francs, but that it is unclear whether Schuffenecker ever paid the remainder. 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, p. 86, ill. p. 39 (color), calls it "Wheat Field with Cypresses at the Haute Galline near Eygalières, étude"; confuses a reference to Pickvance's (1990) identification of a drawing based on the painting. Pierre Cabanne. Van Gogh. Paris, 2002, pp. 170–71, ill (color), erroneously as still in a private collection, Zürich. Gary Tinterow. "Recent Acquisitions, A Selection: 2002–2003." Metropolitan Museum of Art Bulletin 61 (Fall 2003), p. 35. Teio Meedendorp in The Paintings of Vincent van Gogh in the Collection of the Kröller-Müller Museum. Ed. Toos van Kooten and Mieke Rijnders. Otterlo, 2003, pp. 416, 418–19 nn. 3, 4, 10, 17–19, notes ownership of the painting by Emile Schuffenecker and recounts its exhibition history with Bernheim-Jeune in early 1901; traces the picture's ownership by the fourth Prince of Wagram (here identified as Philippe Alexandre Berthier), stating that he lent it to Druet's exhibition in 1909 and that Cassirer acquired the picture in 1910 "from Wagram's collection, probably during the exhibition in his own gallery, through Galerie Barbazanges" . Marije Vellekoop in Vincent van Gogh: The Drawings. Exh. cat., Van Gogh Museum, Amsterdam. New York, 2005, pp. 312, 314, 316, 318–19, no. 111, ill. (color), calls it the model for the drawing "Wheat Field with Cypresses" (late June–July 2, 1889, Van Gogh Museum, Amsterdam) and reviews the literature on the chronology of the paintings in relationship to the drawing. Martin Bailey in Van Gogh and Britain: Pioneer Collectors. Exh. cat., Compton Verney, Warwickshire. Edinburgh, 2006, p. 82, calls it the first version and states that the London picture was probably executed in the artist's studio in September. Walter Feilchenfeldt. By Appointment Only: Cézanne, Van Gogh and Some Secrets of Art Dealing. English ed. London, 2006, p. 70, ill. p. 102 (color), as "Wheat Field with Cypress"; discusses its exhibition at Cassirer's (see Berlin 1910); identifies it as the model for Otto Wacker's forged Van Gogh (F729), suggesting that Wacker had access to it in the von Mendelssohn collection, Berlin. Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, p. 24, fig. 15 [Catalan ed., Barcelona, 2006, p. 20, fig. 15]. 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 Cassirer sold this painting to Marie Clara and Franz von Mendelssohn, Berlin, in November or December 1910. Marije Vellekoop, and Roelie Zwikker, with the assistance of Monique Hageman. Vincent van Gogh, Drawings. Vol. 4, Arles, Saint-Rémy & Auvers-sur-Oise, 1888–90. Zwolle, The Netherlands, 2007, part 1, pp. 237, 241, fig. 366d (color), identify the drawing (F1538, Van Gogh Museum, Amsterdam) as one of ten extant sheets that Van Gogh sent to Theo on July 2, observing that the paper was unique to this group of works and agreeing with Bowness (1968) and Pickvance (1986 and 1990) that The Met's painting was the model; note that Van Gogh gave each element its own characteristic lines that are closely related to the type of brushwork in the painting and that the inks (applied over pencil underdrawing) have faded. Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 14 (installation view, color), 148, notes that he later repeated the composition in two variants and quotes the artist stating that it and the two paintings of cypresses (The Met 49.30 and Kröller-Müller Museum, Otterlo) were to form part of a series to be "the contrast and yet equivalent" of the Arles sunflower pictures. Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 170–71, 259, no. 159, ill. (color and black and white). Marije Vellekoop in Van Gogh: Heartfelt Lines. Ed. Klaus Albrecht Schröder et al. Exh. cat., Albertina, Vienna. Cologne, 2008, pp. 60–62, 67 n. 1, p. 449, ill. (color). Denise Willemstein in Van Gogh: Heartfelt Lines. Ed. Klaus Albrecht Schröder et al. Exh. cat., Albertina, Vienna. Cologne, 2008, pp. 374, 454, ill. (color), dates it to early June 1889; notes that the stylization found in it and the drawing after it came out of Van Gogh's dialogue with Gauguin. Jill Elyse Grossvogel. Claude-Emile Schuffenecker: Catalogue Raisonné, Supplement. Chicago, 2008, p. 45. Karen Wilkin. "Homage at the Metropolitan." New Criterion 27 (December 2008), p. 5. Seraina Werthemann and Nina Zimmer in Vincent van Gogh—Between Earth and Heaven: The Landscapes. Exh. cat., Kunstmuseum Basel. Ostfildern, 2009, pp. 110, 241, fig. 95 (color), note that he only painted this subject once he was allowed to go beyond the asylum grounds. Susan Alyson Stein in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. ix, 206–11, no. 39, ill. (color), identifies it with the work described by Vincent in his letter to Theo of July 2, 1889, dating the drawing (F1538) soon after, and the two oil variants (F615, F743) to the following September; notes that the latter two "respect his initial conception, albeit without rivaling the exuberant immediacy captured [in The Met's picture]," which she calls "painted with unhesitating gusto," adding that x-radiographs show no changes during the course of execution; describes the technique, contrasting it to that of the two later versions; states that Van Gogh "never [again] exploited impasto with the same unbridled richness that so palpably links the 'Cypresses' in vertical format (The Met, 49.30; Kröller-Müller Museum, Otterlo) and this majestic, horizontal view". Joseph J. Rishel in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, p. 218. Vincent van Gogh. Vincent van Gogh—The Letters. Ed. Leo Jansen, Hans Luijten, and Nienke Bakker. London, 2009, vol. 5, pp. 41, 44, fig. 8 (color), under letter no. 783, pp. 49, 51, fig. 22 (color), under letter no. 784, pp. 82, 84, fig. 11 (color), under letter no. 800, p. 106, fig. 2 (color), under letter no. 806. Veronica Grodzinski. "The Art Dealer and Collector as Visionary: Discovering Vincent van Gogh in Wilhelmine Germany 1900–1914." Journal of the History of Collections 21 (2009), p. 225. Catherine Restrepo. "Bouquet of Flowers in a Vase: Van Gogh's 'Unexpected' Painting." Providence College Art Journal 2012, no. 1 (2012), p. 29, fig. 4 (color). Walter Feilchenfeldt. Vincent van Gogh: The Years in France. Complete Paintings 1886–1890. London, 2013, p. 27, 211, 293, 312–15, 319, 322, 343, 346, ill. (color) [1st German ed., 2009], calls it "The Cypress in the Cornfield" and "Wheatfield with Cypress"; provides a schematic outline of the early provenance and exhibition history of the painting, with a few discrepancies: states that it was sold to Amédée Schuffenecker, although notes that it was lent to Paris 1901 by E. Schuffenecker; lists only Robert von Mendelssohn, rather than the von Mendelssohn family, as heirs to the picture; states that Bührle acquired it in 1953, not 1951. Peter Schjeldahl. "A Visit with Vincent." The New Yorker. August 12, 2014, unpaginated, ill. (color) [online only: http://www.newyorker.com/culture/cultural-comment/visit-vincent]. Bogomila Welsh-Ovcharov. "The Fifth Generation of the Mendelssohn Family as Art Collectors." 250 Jahre Familie Mendelssohn: Beiträge des Kongresses Berlin, 20. bis 22. Juni 2012. Ed. Sebastian Panwitz and Roland Dieter Schmidt-Hensel. Hanover, 2014, pp. 307–9, fig. 14 (photograph of the painting hanging in Franz von Mendelssohn's home), notes that Paul Rave, director of the Nationalgalerie during the Nazi regime, reported in a letter to the police chief of February 27, 1940, that he had seen the painting in Mendelssohn's widow's home; publishes family photograph of it on view in the Mendelssohn living room. Griselda Pollock in Van Gogh. London, 2015, p. 46, colorpl. 110. Edwin Mullins. Van Gogh: The Asylum Year. London, 2015, ill. p. 88 (color), illustrates The Met's picture but refers only to the London picture, conflating it both with the first version and with the smaller repetition; erroneously states the subject was viewed from his bedroom window. Stefan Koldehoff. Ich und van Gogh: Bilder, Sammler und ihre abenteuerlichen Geschichten. Berlin, 2015, pp. 141, 185, discusses the Annenbergs' partial purchase of the painting, with The Met, from Emil Bührle, as well as its earlier history in the Mendelssohn family collection. Sjraar van Heugten in Van Gogh and Nature. Exh. cat., Clark Art Institute. Williamstown, Mass., 2015, pp. 186, 229–30 n. 61, calls it the "first variant" of the subject; states that the order of its repetitions was the drawing (F1538, Van Gogh Museum, Amsterdam), followed by the London picture (F615), followed by the small replica (F743, private collection) later that year; discusses the artist's attraction to the subjects of wheat fields and cypresses. Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, p. 448, no. 400, ill. pp. 404, 448 (color). James Ottar Grundvig. Breaking Van Gogh: Saint-Rémy, Forgery, and the $95 Million Fake at the Met. New York, 2016, pp. ix–261, outlines a theory purporting that The Met's picture is a forgery. Martin Bailey. Starry Night: Van Gogh at the Asylum. London, 2018, pp. 108, 200 n . 28, p. 202 nn. 5, 11 (under ch. 9), fig. 71 and ill. p. 106 (color, overall and detail), states that Octave Mirbeau bought The Met's picture around 1901, confusing it with the London version. Stefan Koldehoff in Making Van Gogh: A German Love Story. Ed. Alexander Eiling and Felix Krämer. Exh. cat., Städel Museum. Frankfurt, 2019, p. 221, notes that it hung in the Mendelssohn townhouse on Herthastrasse above a Biedermeier living room suite. 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 quality and durability, these hangings come with a lifelong color guarantee; there's significant confidence in their withstanding the test of time. On the backside, pre-installed hanging hardware ensures proper locking to walls.
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