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The aspect of the subject to which he returned repeatedly He also felt the motif would do well in the marketplace. In relation to the Olive grove, there is no doubt that Van Gogh was enthusiastic about the formal challenges the orchards presented him with, and the way they characterised the countryside surrounding the town. Religious questions began once again to absorb Van Gogh during the period he spent in St-Rémy, and, as will be seen, these questions suffused his theories concerning the production of art. However, he could also serve to symbolise the artist and to allude obliquely, through association with the biblical sowing parable, to the relationship between the artist's task and that of Christ. On the literal level, he represented a worker in the field. The figure of the sower with his head enframed by the sun, for example, could function in a number of ways.
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Just as Jesus had chosen the parable as a means of communicating truths, Van Gogh used indirect or metaphoric means when addressing his personal and professional identification with Christ. However, references to Christ, and especially to Van Gogh himself as Christ or Christ-like, were seldom explicit.
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This christocentrism continued to be a determining factor in his conception of his own role in life, and informed his image of himself as an artist and of the artist in general. He was also profoundly influenced by his readings of the Bible, of Thomas à Kempis and of Ernest Renan. It was informed over the years by a multitude of sources, the most important being the two branches of Protestantism Van Gogh encountered within his own family - the Groningen and Modern Schools of Calvinism. This identification with Christ as a personal guide and model began early in life and was complex in nature. upset him considerably when it concerned his own person, no doubt in part because he had unwittingly contributed to it through his identification with Christ and his christological understanding of the role of the artist. Such mythologising, in which he himself participated - he writes, for example, of ‘Father Millet,’ ‘Puvis the Seer,’ etc. He was beginning to gain critical recognition and to see his own nascent image as an artist developing and assuming an heroic, almost Christ-like form.
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Van Gogh was then living in the asylum St-Paul-de-Mausole outside St-Rémy, feeling mentally and physically vulnerable, and conscious of the financial burden he was on his brother Theo. Ga naar voetnoot 1 He had already depicted olive trees several times in the spring and at least twice the previous year, but it was during the autumn of 1889 that this subject began to occupy him in earnest.
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1), one of a series of five paintings he executed that fall. In late November 1889 Vincent van Gogh painted The olive grove (fig. A modern Gethsemane: Vincent van Gogh's Olive grove