Comparison Of Theo And Vincent Van Gogh And William And Gabriel Rossetti-p8400

Business Theo Van Gogh was the younger brother of Vincent Van Gogh, and William Rossetti was the younger brother of Gabriel Dante Rossetti. Both became successful in their own right. William Rossetti became a leading literary critic in his day while pursuing a career at the Inland Revenue and Theo Van Gogh was an art dealer. Both championed their brother’s work and that of other unknown artists. William’s family early on decided that Gabriel was meant to be a painter and so their second son William was sent out to work at the age of fifteen. He was sacrificed so that his brother might have opportunities. While working for the Inland Revenue he also developed a career in literary and art criticism. William attributed Gabriel with having encouraged his literary career. If William had not worked for the Inland Revenue presumably his output would have been greater. Even so his output was phenomenal even when he was working full time and even at times of family crisis: coping with his wife’s tuberculosis, his children had chickenpox, his mother in decline and his own deafness. What enabled him to take a secondary role? He had a tendency to hero worship and set about writing about his hero’s achievements and establishing their reputation with the public. He was also good at spotting talent and encouraging it eg Walt Whitman, the poet. He was called as an expert witness to give a view on Whistler’s painting in the court case between Ruskin and Whistler and later he would value works of art for the Inland Revenue for tax purposes. Theo, like William, also went out to work at the age of 15. He joined the same arts dealers as his brother Vincent. Whereas Vincent’s career at the art gallery would come to an abrupt end Theo’s career would progress. He started at the bottom and worked his way up. The family, including Theo were aggrieved that Vincent had dropped out and failed to take up another profession, especially as he was the one who had had received an education. However when Vincent decided to devote his life to art the brothers were able to rebuild their relationship based on a common interest. They were able to share their thoughts on art and Theo began to support Vincent by giving him one hundred francs a month which he continued to do for the rest of Vincent’s life. In fact it was his commitment to Vincent and indeed to the other members of his family which prevent him taking a risk and setting up on his own. As anyone who has started their own business knows it is a big step to give up a steady income. The letters between the Theo and Vincent were exhibited at the Royal Academy in 2010. One of Vincent’s last letters to Theo indicated that he was concerned about what they would live on in the future and about being too much of a burden to his family. Academics debate whether the possibility that Theo might leave his employers and a steady income may have been a factor in Vincent’s suicide. They question why Theo didn’t mention in a letter to his brother dated 22 July his decision not to leave the house of Goupil, the art dealers he worked for. It is also possible that Vincent realised his brother was very ill. Theo himself died six months after Vincent from syphilis (not at the time diagnosed as syphilis). After his death Theo’s wife Johanna carried on promoting Vincent’s work. She decorated a small boarding house with his canvases and organised some exhibitions. Her son continued after she died. Theo had collected the work of Corot, Daubigny, Gauguin, Manet, Millet, Monticellis, Pissaros and Toulouse Lautrec. He and Vincent had traded paintings with many artists. There are interesting parallels between the careers of the two men. Do parents have a special relationship with their first born and hence devote limited resources to them? Or is the first child simply first in line? About the Author: 相关的主题文章: