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The Yellow House, or "Het gele huis" in Dutch, is an iconic painting created by Vincent van Gogh. Painted in 1888, it depicts the right wing of 2 Place Lamartine in Arles, France, which served as van Gogh's residence for a period of time.

Van Gogh rented four rooms in the house on May 1, 1888, with the intention of using two large rooms on the ground floor as his workshop and kitchen. On the first floor, he occupied two smaller rooms that faced Place Lamartine. The window on the first floor, closest to the corner, and with both shutters open, belonged to van Gogh's guest room where his fellow artist Paul Gauguin lived for nine weeks starting from late October 1888. The following window, with partially closed shutters, belonged to van Gogh's own bedroom. The two smaller rooms at the back of the house were rented by van Gogh at a later time.

In the painting, van Gogh also indicated a nearby pink building, located on 28 Place Lamartine, which served as the restaurant where he frequently had his meals. This building was owned by Widow Venissac, who was not only van Gogh's landlady but also owned several of the other depicted buildings. To the right of the Yellow House, the Avenue Montmajour can be seen, leading to two railway bridges. Additionally, a ditch running along Avenue Montmajour is depicted, which served as the gas pipe that allowed van Gogh to install gas lighting in his workshop later on.

Although the actual Yellow House suffered heavy damage during World War II and was eventually destroyed, the location depicted in van Gogh's painting remains recognizable. The Yellow House holds immense historical and artistic significance, as it represents a pivotal period in van Gogh's life when he lived and worked alongside Gauguin, and it showcases his unique artistic style and use of vibrant colors.

One of Vincent van Gogh's notable works, "Starry Night over the Rh么ne," holds a special place in art history. Before creating his renowned painting "Starry Night" in Saint-R茅my, van Gogh painted "Starry Night Over the Rh么ne" during his time in Arles. Van Gogh had a fondness for painting at night, and the clear skies of Provence provided him with the opportunity to indulge in this passion. However, the challenge for him was capturing the vivid colors he loved amidst the darkness. To overcome this, he reportedly devised clever solutions.

There are different accounts of how van Gogh managed to paint at night. Some suggest that he modified his straw hat, lining its brim with candles to provide additional light while he worked. However, attempting this technique ourselves would not be recommended. Another account mentions van Gogh writing to his brother about using a "gas jet," although the specifics of this method are unclear. Regardless of the exact means he employed, van Gogh was able to create his masterpieces under the enchanting starlight.

Today, visitors have the opportunity to stand in the very spot where Vincent van Gogh painted "Starry Night over the Rh么ne." The location is marked by one of the many metal easels set up by the city to offer guidance and context to visitors. These explanatory easels provide insight into the artist's process and help art enthusiasts appreciate the connection between the painting and its real-life setting.

By visiting the spot where van Gogh stood and taking in the view of the Rh么ne River under the starry sky, viewers can experience a unique connection to the artist and his work. Standing in that place, one can imagine the artist's passion for capturing the beauty of the night, the play of light on the water, and the ethereal glow of the stars above. "Starry Night over the Rh么ne" serves as a testament to van Gogh's artistic vision and his ability to bring forth the magic of the nighttime through his brushstrokes.

Caf茅 Le Soir, holds a special place in art history, particularly due to its association with Vincent van Gogh. The caf茅, currently named "Van Gogh," is situated in the Place du Forum, which has a rich historical significance dating back to the Middle Ages.

The Place du Forum has a dark past, having been the site of capital executions during medieval times. However, it gained artistic renown through van Gogh's iconic 1888 painting, "Terrasse du caf茅 le soir (Caf茅 Terrace at Night)." The painting depicts the nocturnal terrace of the caf茅, which closely resembles Caf茅 Le Soir as it appears today. Interestingly, the caf茅 underwent renovations in the 1990s, during which it was repainted yellow to accentuate its resemblance to van Gogh's artwork. This choice aimed to recreate the same ambiance depicted in the painting, as it is likely that the caf茅 had a yellow appearance at night due to the lighting conditions of the time.

For those who appreciate art and history, Caf茅 Le Soir in Arles offers a unique opportunity to step into van Gogh's world. By immersing oneself in the same setting that inspired the artist, visitors can gain a deeper understanding of his work and the vibrant cultural heritage of the city.

The Fondation Vincent van Gogh is a non-profit organization dedicated to the life and artistic legacy of Vincent van Gogh. The foundation's primary objective is to foster and promote cultural and artistic activities related to van Gogh's work during his time in Arles. It seeks to fulfill van Gogh's vision of establishing an international center for artistic creation and exchange in the city.

The foundation is led by its artistic director, Bice Curiger, who is also the editor-in-chief of Parkett magazine. Its origins date back to 1983 when Yolande Clergue, a curator married to the photographer Lucien Clergue, founded the Association for the Creation of the Fondation Van Gogh. Initially, the association aimed to establish a collection of contemporary artworks paying tribute to van Gogh, featuring contributions from renowned artists such as Francis Bacon. Bacon, inspired by the initiative, created a painting specifically for the foundation. Over ninety artists participated in this homage to Vincent van Gogh.

In 2008, the original aspirations of Yolande Clergue were revitalized by Luc Hoffmann, who provided renewed impetus to preserve van Gogh's memory in Arles and support contemporary art. This led to the establishment of a permanent framework for activities centered around van Gogh's legacy. In 2010, the Fondation Vincent van Gogh Arles was officially formed, finding its home in the historic H么tel L茅autaud de Donines.

The foundation serves as a cultural hub, hosting exhibitions, events, and artistic initiatives that explore the connection between van Gogh and Arles. It aims to celebrate the artist's time in the city and the profound influence it had on his art. By organizing exhibitions and cultural programs, the foundation promotes dialogue and exchange among artists, scholars, and art enthusiasts. It seeks to keep van Gogh's spirit alive in Arles, inspiring contemporary artists and fostering a vibrant artistic community.

Espace Van Gogh holds historical significance as the former main hospital of the city. Dating back to the sixteenth century, the building served as Arles' primary medical institution until the twentieth century. However, its fame is largely associated with the time Vincent van Gogh spent here after the infamous incident of cutting off his left earlobe in December 1888.

The courtyard of Espace Van Gogh has been meticulously landscaped to resemble van Gogh's renowned painting, "Le Jardin de l'H么tel de Dieu." This artistic recreation adds to the allure of the site, providing visitors with a visual connection to van Gogh's artistic interpretation.

On 23 December 1888, Vincent van Gogh was admitted to the hospital in Arles following the episode of self-mutilation. Recognizing the need for specialized psychiatric care, Dr. Rey advocated for Vincent's transfer to an asylum in Marseille or Aix-en-Provence. The hospital in Arles primarily treated his physical injuries and was ill-equipped to address his mental health issues. However, in a surprising turn of events, Vincent's condition improved significantly in early January 1889, and he was allowed to return home for short periods of time. Feeling better, he resumed his passion for painting, creating artworks such as a portrait of Dr. Rey, which he presented as a memento to the doctor.

Unfortunately, Vincent suffered another bout of mental instability within a month, firmly believing he had been poisoned. He was readmitted to the hospital on 7 February and placed in isolation once again. Vincent remained in the hospital until early May, experiencing periods of lucidity that allowed him to paint outdoors. These artistic endeavors resulted in numerous landscapes and notable works such as "Ward in the Hospital" and "The Courtyard of the Hospital." On occasion, Vincent was granted permission to venture into town, particularly when his friend Paul Signac came to visit.

Today, the complex has been repurposed and houses the town library, exhibition spaces, souvenir shops, and a caf茅. It offers a multifaceted experience where visitors can explore the rich history of the building while immersing themselves in various cultural activities.Espace Van Gogh stands as a testament to the turbulent period Vincent van Gogh endured in Arles. It offers visitors a glimpse into the artist's challenging mental state, his resilience, and his continued dedication to his craft even during his most challenging moments.

The Alyscamps, located just outside the old town of Arles, is a significant Roman necropolis and one of the most renowned burial grounds of the ancient world. Its name, Aliscamps, derived from the Proven莽al Occitan word, and the Latin Elisii Campi, translates to "Elysian Fields" or, in French, Champs-脡lys茅es. This necropolis held great fame during the Middle Ages and found mention in literary works such as Ariosto's Orlando Furioso and Dante's Inferno.

During Roman times, cities typically prohibited burials within their walls. As a result, roads leading outside the city often featured tombs and mausoleums. The Alyscamps served as Arles' primary burial ground for approximately 1,500 years. Situated along the final stretch of the Aurelian Way, leading to the city gates, it became the resting place for affluent citizens. The memorials within the Alyscamps ranged from simple sarcophagi to elaborate monuments, reflecting the social status of the deceased. This historical significance led to the classification of the Alyscamps as a UNESCO World Heritage Site in 1981, as part of the Arles, Roman, and Romanesque Monuments group.

Vincent van Gogh, the famous Dutch painter, depicted the Alyscamps in four of his paintings during October 1888. This period coincided with Paul Gauguin's stay at the Yellow House in Arles. One of the paintings, titled "Les Alyscamps" or "Leaf Fall," adorned Gauguin's room. In a letter to his brother Theo, Vincent described one of the paintings:

"I think that you'd like the leaf-fall that I've done. It's lilac poplar trunks cut by the frame where the leaves begin. These tree-trunks, like pillars, line an avenue where old Roman tombs colored lilac-blue are lined up to right and left. Now the ground is covered as if by a carpet with a thick layer of orange and yellow leaves 鈥� fallen. Some are still falling, like snowflakes. And in the avenue dark figurines of lovers. The top of the painting is a very green meadow and no sky, or almost none."

Van Gogh's paintings capture the essence of the Alyscamps, depicting the rows of poplar trees with their trunks reaching skyward, framed by falling leaves. The lilac-blue Roman tombs line the avenue, while the ground is blanketed in a vibrant carpet of orange and yellow leaves. The presence of dark figurines of lovers evokes a sense of romance and mystery. The top of the painting portrays a lush green meadow, creating a vivid contrast with the absence of the sky.