****************************************************************************************************************** Can you send me something one of these days? I hope so. You know I gave Tersteeg the 10 guilders back.3 I repeat, I wish you’d become a painter, you could do it if you wanted to, and 1r:4 you’d lose nothing by it, only become something better, it seems to me, than if you remain an art dealer, even if you were the very best of art dealers. Still, to make the most of your potential, you’d have to throw yourself into it with all your might. I haven’t sent you any more sketches recently – I’m waiting now until you come here yourself – it’s better that way. Am busy with figures, and also with a couple of landscapes of a nursery here in Schenkweg.4 Since when, I’d like to know, is one allowed to force or try to force an artist to change either his working method or his ideas? I find it very rude to try such a thing, especially if it’s someone like Tersteeg, who has the presumption to think he has ‘manners’. Theo, if you can send me something, do, and every day earlier that you can send it is one day less of unpleasantness for me. Oh well, it’s back to work in any case. Adieu, write soon. Ever yours, Vincent

To Theo. The Hague, Friday, 24 March 1882

Regarding the money owed to Tersteeg, when I first came here, he and Mauve were so friendly and said I didn’t have to worry at all – but in less than a month they’d turned around and were talking completely differently. Perhaps thinking that I’d collapse.
At first that grieved me – and then later it left me rather cold and I thought, I won’t let it upset me any more.
Breitner’s in hospital, I visit him quite often to bring him books or drawing materials.6 C.M. paid me, and a new order, but difficult enough, 6 detailed, specific, townscapes.7 I’ll see that I make them in any case, because if I understand correctly I’ll get for these 6 as much as for the first 12. And then perhaps sketches of Amsterdam.
Blommers was here to talk about a viewing of the woodcuts.8 Sat here looking at them for 3 hours, and was angry because Pulchri’s board had complained about ‘those things one sees now and then in the Zuid-Hollandsch Koffiehuis’.9 If that’s all they know about wood engraving they’re indeed competent to condemn! Still, Pulchri’s board had complained. Blommers wanted to go ahead with it anyway, and told me to have them ready for next Saturday. It’s very strange to hear some painters here discussing what they call ‘illustrators’, Gavarni, for instance, or Herkomer!! This NOT keeping abreast of things is part of what some of them call their ‘general education’. Good luck to them!
Now, with a handshake
Ever yours,
Accept my thanks for a wonderful box of Ingres paper and for the studies.10
One fine day when people start to say that I can in fact draw but not paint, perhaps I’ll appear with a painting just when they least expect it, but as long as it looks as though I mustdo it and may not do anything else, then I certainly won’t do it.

To Theo. The Hague, on or about Sunday, 2 April 1882

Sunday evening.
Schenkweg 138
My dear friend Rappard,
Thanks to you know what,1 I’ve just been packing my drawings for Amsterdam. There are now 7 in all. The larger of the 2 courtyards2 is now completely flat as a result of being mounted on Bristol, and the lines have become much more rapid. Then there’s the nursery:3 to that I’ve done what you said, namely looked more closely at the side with the ditch and the water in the foreground, and only now does that show up well and expresses, I think, ‘spring’ and a gentle stillness. As for the one of the carpenter’s shed from the window of my studio,4 I’ve added a new black by working on it in pen, and now ‘the sun shines’ because the lights stand out more strongly. Today I made an early start because I wanted to do another one the same, and went to the dunes to draw a fish-drying barn, also seen from a height5 like the carpenter’s shed, and now it’s 1 at night but it’s all done thank God, and I can look my fearsome landlord in the eye. And so, it’ll get even better.6
I’m so glad to have seen you again, and what you tell me about your work interests me enormously, I assure you. I do so hope that we’ll be able to go on some more walks here in the neighbourhood when the opportunity arises. Because you would certainly find plenty of material in the fish-drying barns in Scheveningen &c., for example. They’re splendidly Ruisdael-like (I mean like that painting, The bleaching grounds at Overveen).7 But perhaps you know The Hague and Scheveningen better than I do. However, if you don’t know ‘Geest’, ‘Slijkeinde’ &c., namely the Whitechapel of The Hague with all its alleys and courtyards,8 I commend myself to take you there next time you’re in The Hague.

To Anthon van Rappard. The Hague, Sunday, 28 May 1882

  ******************************************************************************************************************   Drawing, Pencil, pen, black chalk, heightened with white The Hague: April, 1882 The Metropolitan Museum of Art New York, New York, United States of America, North America F: 930, JH: 138