My dear Vincent
Thanks for your letter and for your projected proposals, they gave me a lot to think about, and I admit that I consider life together possible, very possible, but with many precautions. Your state of ill-health, which isn’t yet completely cured, requires calm and a lot of careful handling. You say yourself that memories disturb you when you go to Arles. Do you not fear that I may also be a similar cause? In any event, it wouldn’t seem prudent to me to start out in a town where you’d find yourself isolated and consequently lack immediate care should you relapse –  1r:2 so I’m looking for the most propitious place. We’ve chatted about this with De Haan (a completely serious man), and I consider that Antwerp would completely fit the bill.
Because life is as cheap as in some provincial hole.
Next, because there are museums which aren’t to be sneered at for painters. Then one can work for sale there.
Why shouldn’t we found a studio in my name; with a few connections, with our names a little known through the Vingtistes1 it would be possible, and however little one does one is still making a profitable step. In my opinion, Impressionism won’t really  1v:3 find its place in France until it’s back from abroad. It’s there where one reasons about it best and gives it the warmest welcome, so it’s there that one must work. You will be two Dutchmen, that’s to say from the country, although Antwerp is Belgian.
There’s been an exhibition of mine in Copenhagen recently with works that were previously refused, as I told you.2 Well it was very successful. It’s an indication that the 1st work I did was bearing fruit after germinating slowly.
In the same way in Antwerp, by bestirring ourselves, 3 talented fellows, firm in their beliefs, we’ll take a step forward. And a little later, if it works out a bit, why not make  1v:4 a small branch of your brother’s in terms of selling. Your brother could lend you a few canvases by other artists, and with this drop of water hollow out the rock.3
There you have it, my dear Vincent, broadly speaking my opinion on your project. Answer me with your frank opinion about it. In any event, all of this is very cloudy, since I’m pursuing my Tonkin project vigorously.4
At the moment we have spring tide storms that are keeping us in the studio, and it’s very sad.
Best wishes.

Ever yours,

Regards from De Haan.


Br. 1990: 845 | CL: GAC 39
From: Paul Gauguin
To: Vincent van Gogh
Date: Le Pouldu, Wednesday, 22 or Thursday, 23 January 1890

a. Read: ‘Haan’.
1. In 1889 Gauguin had shown twelve works at the exhibition of Les Vingt. In 1890 Van Gogh exhibited six paintings.
2. Gauguin is referring to the exhibition of French and Scandinavian Impressionists, held by the Kunstforeningen (The Society of the Friends of Art) in Copenhagen from 31 October to 11 November 1889. Several of Gauguin’s early works were on display, as well as paintings by Manet, Degas, Cézanne, Pissarro, Sisley and Guillaumin from Gauguin’s collection, which he had left with his wife in Copenhagen. See Gauguin lettres 1983, p. 301.
The works that had been ‘refused’ is a reference to a small exhibition of Gauguin’s work held at the beginning of May 1885 at the Kunstforeningen. According to Gauguin, the exhibition was closed after five days by order of the Academy, and the press was forbidden to write about it. Exactly what happened is, however, unclear. See Correspondance Gauguin 1984, pp. 105, 413-414 (n. 173).
3. This is derived from a Latin saying handed down in many variants, of which the best known is ‘Gutta cavat lapidem, non vi, sed sepe cadendo’. See Walther 1963-1967, vol. 2, pp. 263-264, nos. 10505-10509.
4. Regarding Gauguin’s plan to go to Tonkin, see letter 840, n. 3.