Jo van Gogh-Bonger with Vincent van Gogh as a baby, 1890
A single mother
This photograph was taken when Jo’s son, who was also called Vincent, was just a few months old.
Meet Jo
The woman who made Vincent famous
In the years that after Theo's passing, Vincent van Gogh’s work became world-famous. And that was largely thanks to Jo. Why was she so committed to Vincent's art?
Heiress to hundreds of paintings
Jo and Theo had been together for less than two years when he died in 1891. She suddenly had to provide for herself and her son, who was still a young baby. And what was she to do with the hundreds of Vincent’s paintings that Theo had left to her?
A single mother
Fulfilling Theo’s wish
Theo always sought to raise public awareness of his brother’s work. Jo wanted to fulfil this wish, in memory of her husband.
She moved from Paris to the Dutch town of Bussum, where she opened a guest house. Bussum was home to many writers and artists, whom Jo became acquainted with. They were able to help her find her way in the art world.
Guest house
The Koningslaan in Bussum, Historische Kring Archive, Bussum
Guest house
The guest house that Jo opened in Bussum (called Villa Helma) can be seen on the front right of the photograph. The guest house was a source of income for Jo.
Make Vincent's work known
Jo was smart. She organised sales exhibitions to boost the visibility of Vincent’s work. This helped pique the interest of potential buyers. She made many strategic sales of the artworks: to collections accessible to the public, and all around the world. This meant that as many people as possible could see Vincent’s work.
Exhibition in Amsterdam
Catalogue of the Van Gogh exhibition in the Kunstzaal Panorama Amsterdam, December 1892. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Exhibition in Amsterdam
Jo organized a large exhibition in Amsterdam in collaboration with the artist Richard Roland, in 1892, two years after Vincent's death. The exhibition was covered widely in newspapers and magazines. But not everyone appreciated Vincent’s work. Many people thought it was too modern.
Largest ever Van Gogh exhibition
In 1905, Jo pulled off her most significant feat to date: the largest ever retrospective of Vincent’s work, held at the Stedelijk Museum in Amsterdam. More than 480 artworks were on display. Following this exhibition, the prices of Vincent’s work rose rapidly.
Jo’s organisational skills
Poster of the Van Gogh exhibition, Stedelijk Museum Amsterdam 1905. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Jo’s organisational skills
The preparations for the exhibition are testament to Jo’s excellent organisational skills. She arranged everything, from deciding which works to exhibit to paying the attendants and helpers.
Reception
Reception
The exhibition featured a cross-section of Vincent’s work. Some people thought the work was still too modern, with the bright colours and expressive brushstrokes. But there was also a lot of praise. The Bedroom was one of the works on display in the exhibition.
Van Gogh’s letters
In the meantime, Jo had started another major project: publishing Vincent’s letters to his brother Theo. Selecting and editing the letters not only brought her closer to the artist, but also to her deceased husband, as the brothers were close and wrote to each other frequently.
Thanks to the publication of the letters in 1914, appreciation of Vincent rose.
Writing about Van Gogh
Jo van Gogh-Bonger in the living room of the house on the Koninginneweg 77, Amsterdam, 1914-1915. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Writing about Van Gogh
Jo categorised and edited the letters, and wrote a biographical introduction about Vincent van Gogh. For years, this text would remain the source for other texts about the artist.
Letters in English
Johan Cohen Gosschalk, 'Portrait of Johanna Cohen-Gosschalk Bonger, reading', c. 1906. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Letters in English
Jo had studied English and worked steadily on an English translation of the letters. When she died in 1925, Jo had translated about two-thirds of the letters. The English edition of the letters was published four years later.
Sacrifice for Vincent’s glory
Between 1891 and 1925, Jo sold nearly 200 of Vincent’s artworks. But there was one work that she and her son had difficulty parting with. They still owned two of the five sunflowers paintings, and loved the works dearly. Jo eventually sold one of the paintings to the National Gallery in London in 1924.
‘It is a sacrifice for the sake of Vincent’s glory’, wrote Jo to the director of the museum.
Selling Sunflowers
Van Gogh, 'Zonnebloemen', 1888. The National Gallery, Londen
Selling Sunflowers
The sale meant that Van Gogh’s work was now properly represented in an important British collection. Jo’s son wrote:
‘my mother yielded for the sake of having Vincent van Gogh well represented in the most important museum of England’.
World-famous
Thanks to ‘sacrifices’ such as this, Jo was able to fulfil her wish, and that of her late husband Theo. When she died in 1925, Vincent’s work was world-famous and exhibited at museums all around the world.
At the same time, Jo always knew exactly which works she did not want to sell. This core collection was to stay in the family.
Art in the dining room
Interior of house on the Koninginneweg 77 in Amsterdam, where Jo van Gogh-Bonger lived, between 1922 and 1925. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Art in the dining room
On this photograph of Jo’s dining room in her house in Amsterdam, you can see several paintings by Van Gogh. Her favourite works decorated the walls of her house throughout her life.
The harvest
The Langlois Bridge
Continuing the dream
After Jo passed away, her son Vincent transferred the artworks that were still in the family to a foundation. He was also one of the founders of the Van Gogh Museum.
This way Vincent continued working to realise his parent's dream. To this day you can admire the core collection of the Van Gogh family in the Van Gogh Museum.
I am delighted that after years of indifference from the public towards Vincent and his work, to feel that the battle has been won.
Jo van Gogh-Bonger
