The Van Gogh Museum showcases a rejected early masterpiece

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The Van Gogh Museum showcases a rejected early masterpiece
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With “The Potato Eaters” Van Gogh was reaching for a new authenticity, an appreciation of misshapen beauty that refused to romanticise its subjects

they know Vincent van Gogh until they see “The Potato Eaters” . Painted in the Netherlands in 1885, it is as far in tone as could be imagined from the blazing sunflowers of his later work in the south of France. Five members of a farming household huddle round the table, sharing a meal of potatoes and coffee. The mood is cramped, the colours mostly muted greens and browns. Outside the circle of lamplight the dark presses in.

It started with a deadline. Van Gogh’s brother Theo, an art dealer in Paris, wrote in February 1885 to ask whether he had anything for that year’s salon. Vincent was living in Brabant, in the southern Netherlands, drawing the local farmers. He had nothing suitable, but threw himself into the project. Van Gogh greatly admired Jean-François Millet’s depictions of rural life and was influenced by Jozef Israels, a Dutch painter of working-class scenes.

The Dutch have a genius for this sort of thing: celebrating the ordinary, often with a nose-thumbing defiance. You can look back from Van Gogh to the Old Masters, with their minute attention to cheese, pets and drinking games at the expense of gods and saints. This is what Pieter Bruegel displays in his “Landscape with the Fall of Icarus”: the farmer going about his ploughing, unperturbed by the tragedy.

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