Vincent van Gogh - Crab on Its Back 1889

Crab on Its Back 1889
Crab on Its Back
Oil on canvas 38.0 x 46.5 cm. Arles: January, 1889
Amsterdam: Van Gogh Museum

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The Letters of Vincent van Gogh

Paul Gauguin to Vincent van Gogh. Pont-Aven, on or about Sunday, 22 July 1888.
My dear Vincent
I’ve just read your interesting letter and I entirely agree with you on the slight importance that accuracy contributes to art.
Art is an abstraction; unfortunately we’re becoming increasingly misunderstood. I would very much like it if we were to achieve our aims, that is, my coming to Provence. I’ve always had an itch to interpret bullfights in my own way, as I understand them. I’m beginning to recover the full use of my faculties: my illness had weakened me, and in my most recent studies I have, I think, gone beyond what I’ve been doing up to now. Of course, the collection of boors around here think I’m completely mad and I’m happy about that, because it proves to me that I’m not. I’ve just finished a Breton wrestling that I’m sure you’ll like.
Two kids, one pair of blue trunks and one pair of vermilion. One at top right, coming up out of the water.
A green lawn – pure Veronese shading off into chrome yellow with no execution, like Japanese prints.
At the top a cascade of foaming water, white pink, and a rainbow on the edge near the frame.
At the bottom a white patch, a black hat and blue smock.

Talking of Russell, Granchi told me he’d seen him 2 months ago in Paris, and that Russell had great admiration for me and that he was to go to Belle-Île. I don’t quite understand why a rich man doesn’t buy what he admires. Anyway, let’s hope.
So who is this Thomas you speak of, is it Thomas de Bojano? Unless it’s the dealer who used to be near place Vendôme.
My friend Laval is back from Martinique; he brought some very curious watercolours. I’ll have you look at some that you’ll like, they’re art. I’m talking as if we were already together. I have to tell you that once I’ve taken a decision I’m always in haste to carry it out.
If it weren’t for this damned money, my bags would soon be packed. I don’t know why, but for the past ten days or so I have lots of painted follies in my head which I plan to execute in the south: I think it has to do with my state of health, which is blooming again. It’s as if I have a need to struggle, to hack away with crushing blows — after all the research I’ve done here I think I can easily forge ahead.
Until we’re together, an affectionate handshake.
Paul Gauguin