In February of 1888, he moved to Arles in the South of France and wanted to establish an art school. He invited Paul Gauguin to join him. His mental problems intensified.

In December of 1888, he cut a off a portion of his ear, and committed himself to a mental asylum in Saint Remy. In the same month, he ended his friendship with Gauguin.

After nearly a year and a half at Saint Remy, he left in May of 1890. That same month after consultations with his brother Theo, he moved to suburban Paris. Under the recommendation of his friend Camille Pissarro, Van Gogh submitted to the care of Dr. Paul Gachet in Auvers-sur-Oise. But less than three months later, Van Gogh was dead resulting from a self-inflicted gunshot wound on July 29, 1890.

While living through these three tortured years, Vincent Van Gogh painted his Self Portrait with a Straw Hat (1887), Starry Night Over the Rhone (Sept. 1888), The Café Terrace on the Place du Forum, Arles, at Night (Sept. 1888), Vincent's Bedroom in Arles (Oct. 1888), Irises (May 1889), Starry Night (June 1889), Almond Blossom (Feb 1890) and much more.

Below are the Van Gogh paintings currently on display at the Musee d'Orsay.
Information for each painting is drawn from the museum's accompanying placards and the Musee d'Orsay's website.

Imperial Fritillaries in a Copper Vase, 1887 Fritillaries are bulbs like tulips which bloom in spring. The Imperial fritillary was common in French and Dutch gardens at the

close of the 19th century. Van Gogh painted this still life in Paris while in close contact with Paul Signac. Van Gogh used Neo-impressionist principles in the background, contrasting blue and orange. But overall, neo-impressionist influences are limited, used only to define a solid surface.

The Restaurant de la Sirene at Asnieres, 1887 In 1888, Van Gogh lived with his brother Theo on the north side of Paris. Unlike other artists of greater means who went to the countryside in the summer, Vincent remained in the city. In Asnieres, on the banks of the Seine not far from Paris, he painted bridges and this restaurant. Like Renoir, Vincent tried to capture the convivial pleasures enjoyed inside the restaurant while painting its exterior. Here Van Gogh used multiple colors in his parallel hatching, a technique he increasingly used to great effect.

Bedroom in Arles, 1889 is the third version of this painting. The first was from October 1888 and is in the collection of the

Van Gogh Museum in Amsterdam. The second, done in September 1889, is in the Art Institute of Chicago, and the third resides in the Musee d'Orsay. The paintings are not identical. Portraits pictured in the painting are changed and the intensity of color changes. The third painting is smaller, among a group of smaller paintings Van Gogh made for his mother and sister Wil.

Portrait of Madame Ginoux, 1888 Madame Ginoux owned the Cafe de la Gare in Arles where she often served Vincent Van Gogh and Paul Gauguin. Van Gogh painted this portrait when he lodged at her house when he first arrived in Arles. She remained a close friend with Vincent throughout his stay, because she too suffered from "nervous attacks."

Encampment of Gypsies near Arles 1888 Vincent van Gogh down played the narrative aspect of this painting, focusing instead on the application of his thick layers of pigment to the canvas. This had become central to

Van Gogh's paintings, giving his work expressive significance. But, for a poor painter, the process required more paint, requiring Vincent to repeatedly ask his brother Theo for extra money to buy art supplies.

Vincent Van Gogh, Self Portrait, 1889 Van Gogh painted 43 self portraits over ten years. This is not just an artistic exercise; Vincent was questioning himself to the point of an identity crisis. He wrote to his sister: "I am looking for a deeper likeness than that obtained by a photographer." And later to his brother: "People say, and I am willing to believe it, that it is hard to know yourself. But it is not easy to paint yourself, either. The portraits painted by Rembrandt are more than a view of nature, they are more like a revelation." The painting's focus is Vincent's face, hard, emaciated, with green rimmed eyes seemingly intransigent and anxious. His still and fixed posture contrasts with the undulating hairs of his orange beard and the hallucinatory arabesques of the background.

Starry Night Over the Rhone 1888 Van Gogh was intrigued with the night sky as soon as he arrived in Arles. He

wrote his brother Theo saying, "I need a starry night with cypresses or maybe above a field of ripe wheat."

In a letter to fellow artist Emile Bernard Vincent said, "But when shall I ever paint the Starry Sky, this painting that keeps haunting me."

In September 1888, he wrote his sister, "Often it seems to me night is even more richly colored than day."

After a few months at the mental institution, he created a second version of Starry Night, this time exhibiting evidence of his troubled psyche with trees shaped like flame throwers and stars in swirled motion. This later version is the collection of the Museum of Modern Art, New York.

The Siesta, 1889-1890 While still a patient at Saint-Remy, Vincent painted a scene from four drawings by the Barbizon painter Jean-Francois Millet (1814-1875). Vincent often copied the works of Millet whom he considered more modern than Edouard Manet. Justifying the painting to his brother Theo, Vincent wrote, "I am using another language, that of colors, to translate the impressions of light and dark into black and white." This restful scene done by Millet of rural France from the 1860's is transformed by Van Gogh's unique artistic intensity, and his chromatic construction based on contrasting complimentary colors, blue-violet and yellow-orange.

Eugene Boch / The Poet 1888 Van Gogh met Eugene Boch (1855-1941), a Belgian painter in Arles in June of 1888. Around 8 July, Vincent mentioned Boch in a letter to his brother Théo: "I very much like the looks of this young man with his distinctive face, like a razor blade, and his green eyes". In late August, Vincent painted Boch's portrait. Vincent wrote of the experience, "Well, thanks to him (Boch) I have at last the first sketch of this painting that I have dreamt of for so long – The Poet. He sat for me. His fine head with his green eyes stands out in my portrait against a starry sky of deep ultramarine; he wears a short, yellow jacket, a collar of unbleached linen and a colorful tie." Although Vincent considered the painting to be only a sketch, he hung it for a a time on the wall of his bedroom, and it is visible in his first painting of his bedroom, now at the Van Gogh Museum in Amsterdam.

Mademoiselle Gachet in her Garden in Auvers-sur-Aise, 1890 When Vincent returned to Paris after his release from the asylum at Saint Remy,

Theo and artist Camille Pissaro wrote a letter of introduction for Vincent to present to Dr. Paul Gachet, a homeopathic physician who lived in Auvers. The Gachet house was set into a hillside above the Oise Valley, its garden frequented by stray cats, chickens and a featherless rooster. This painting shows Marguerite Gachet in a country girl pose. A few days later, he painted her in a pink dress while playing the piano. Marguerite was 21 at the time, and when Dr. Gachet heard of her posing, the doctor was apprehensive and he asked Vincent to end pursuing any relationship.

Portrait of Dr. Paul Gachet 1890 Van Gogh was deeply entwined with Dr. Gachet the last two months of his life. A homeopathic doctor interested in chiromancy (palm reading), he had a passion for the arts. He was an accomplished engraver, and had associations with Manet, Monet, Renoir, Pissarro and Cezanne. It was Theo and Camille Pissarro who recommended Gachet to Vincent, thinking the doctor's company and care would help Vincent make the transition from his stay at Saint-Remy back into normal life. In this portrait, Dr. Gachet appears melancholic. He may have been overwhelmed caring for and listening to Vincent. His dark blue jacket contrasts with the bright red table. The pale unexpressive face is propped up by his right hand. On the table is a clipping of foxglove, the plant used to make the heart drug digitalis.

Doctor Paul Gachet's Garden, 1890 This version without Marguerite of the Dr. Gachet's garden is darker, intensely colored with shorter and straighter strokes while the one with Marguerite is lighter colored, softer, with gentle curved strokes.

The Church at Auvers 1890 Upon release from the psychiatric hospital in Saint-Remy, Vincent settled in Auvers-sur-Oise, a village outside of Paris, near Dr. Gachet, recommended by his brother, Theo. Vincent arrived in Auvers-sur-Oise on May 21, and he died a little over two months later on July 29. In those two months, Vincent produced about 70 paintings, about one per day, not to mention a large number of drawings. Van Gogh approached this painting of the 13th century church in Auvers in a very different manner from the impressionists who tried to capture the play of light in a moment. Van Gogh paints the church as if it

were as alive as the woman walking on the path below its stained glass windows. He seems to release the church from its firm 400-plus-year-old foundation, allowing it to move and flow like torrents of lava.

Japanese Vase with Roses and Anemones 1890 This work was painted soon after Vincent's arrival in Auvers. In his writings, Vincent suggested that this painting was done in Dr. Gachet's house with flowers cut from his garden and using one of his vases. Initially, Vincent was happy with his move north and stimulated by his friendship with Dr. Gachet. Vincent had done a number of floral still lifes while still in Saint-Remy, and continued the practice when he moved north.

Thatched Cottages at Cordeville 1890 Although these cottages existed and Van Gogh painted them plein air, this painting does not seek to capture the peacefulness of the scene. Rather, Van Gogh transforms the scene, projecting his own psychic torment onto the canvas, with the thatched roofs

undulating and distant trees spiraling up into a swirling sky. With peaks and troughs of waves of impasto, Vincent creates waves moving through the picture like a disturbed surface of a reflective pond. Van Gogh did not have the slightest hint that the waves of paint he was creating would splash upon the eyes of millions of Van Gogh admirers a century later.

Two Young Girls 1890 Painted in early June 1890, Vincent portrays these two young girls against a wavy background of curvy green rows of a field, with blue houses or farm buildings behind, complicated with the blues of their clothing. The painting doesn't seem to be about the girls or the moving environs in which they live, but rather that the two girls are a part of the scene, taking an impatient moment stolen from their play to briefly pose for a kind red bearded artist.

Today, Van Gogh is a cultural icon. His name ranks among the the most well-known painters of all time. His dashing stokes, waves and swirls are recognizable and loved by the wide population, not just a few connoisseurs inside the art world.

But Vincent Van Gogh never knew his name would live beyond his poor, tortured and brief life. He never knew his paintings would be known the world over.

A 2010 episode of Dr. Who examines this reality, while offering a fanciful remedy, as Dr. Who visits the Musee d'Orsay in modern times.

Graton is home to something special, an old apple warehouse filled with working artist's studios.

Each year, the building hosts an open studios event, along with local food, wine and music. Locals anticipate the opportunity to visit artists in their creative space.

Below are photos from each studio, links to each artist's webpage and excerpts of their artist statements.

Linda's Artist Statement (LindaSorensenPaintings.com) ... "I was born an artist, but at a time when women were not wanted in the New York City art world. Although I was a serious artist, to support myself I headed to law school at Berkeley in 1973 for one of the first classes to admit women in significant numbers; and I have been a San Francisco business litigation attorney for over 40 years, now semi-retired. For me, it makes a good combination of pursuits.

"I was an abstract expressionist in Berkeley starting in the 60’s, but now my art is closer to representational, inspired by “living in a painting” in Sonoma County. My approach is personal, expressive. I discovered kindred spirits in the Post-Impressionist “symbolist”/“synthetist” painters (Paul Gauguin, Henry Moret, Odilon Redon, etc.) of Brittany, who emphasized strong colors, emphatic line, and altered and mixed perspectives. There are differences such as my depth of scene instead of flat pattern.

"Galleries that carry my paintings are the Art Trails Gallery at Corrick’s in Santa Rosa, Bodega Landmark in inland Bodega, and the “Red Shoes” studio gallery at the 6th Street Playhouse in Santa Rosa."

Susan's Artist Statement (SusanProehl.com) ... "I begin my paintings or collage work by painting out the white of the canvas … with the color orange. Orange is a favorite color and has a way of shining through the various layers. I then create marks or lines using oil pastel, pencil or chalk to give direction. This background grounds me.

"I work intuitively responding to the color, texture and space of the canvas. I experiment with layers of acrylic paint and glazes. Exposing and re-exposing these layers, using various tools and methods to apply and scrape the paint onto the canvas, leads me onto a journey, a story ….

"When working on a collage I incorporate found objects, ephemera and various types of paper into the piece. Often times it seems as though the brush is leading me … that the painting already exists and wants to me follow the course …to listen. My paintings are colorful abstracts. The work is my statement. The interpretation is yours!"

From Monty Monty's Website (MontyMontyArt.com) "I assemble to create a theme. Discrete items of interest and vintage collectibles are sculpted into a whole and unified form. I take antiques, curios, cast-off objects, and sometimes family heirlooms and breathe new life into them, rendering new ways to look at old things. My approach is to create a natural look to the assembled work by using creative methods. I do not weld. I take great care in the restoration of each component and attempt to create a vintage quality within the work. I enjoy sharing stories about each new piece I create and include an itemized list of components with information that accompanies the work."

From Elizabeth's website (HouseDrawingToOrder.com) Drawing is the honesty of the art. There is no possibility of cheating. It is either good or bad." Salvador Dali ... "I've been drawing as long as I can remember ... In recent years, my work has been shown at Sebastopol Center for the Arts, Berkeley Botanical Gardens, Filoli, Transition Art, West County Design Ctr., Pelican Art, Helen Crocker Russell Library at San Francisco Botanical Garden, Local Color Gallery, Bodega Bay, Graton Gallery, Finley Center, and more. I also participate in Open Studio programs- Art at the Source, Art Trails (sabbatical for 2016) , and the Atelier One . My studio in Graton is always open by appointment."

From Cindy's website (CindyClearyArt.com) ... "My art is an intimate act of remembrance, that embodies the silence of our innate knowing. Making art from the interconnectedness of life, consciousness and the natural world, I explore the emotional landscapes of memory, place and time in both two and three-dimensional forms.

"I work with soil, earth and plant pigments, sea water and other organic materials. The stories held by these elements guide my exploration of the ephemeral, the transitory, the natural circle of birth, death and regeneration, and the transformative power of disintegration and loss."

From Charles' website (CharlesBecker.com) ... "Light and how it effects things is a prominent element in Becker's work. Motivated by the desire to make a personal connection with the viewer through his paintings, he uses light and color to infuse each object with as much feeling and nuance as he can (which is where Becker's work goes beyond photo realism, which he finds static and uninteresting). In that sense, rather than paint a simple apple, he paints a portrait of that apple with colors that make it seem more than real; rather than paint a simple plum, he gives it a little more curve and cleavage so it has a sensual energy all its own.

"He starts with careful sketches--most of which end up under the painting itself. While he usually has a finished concept in mind, he allows plenty of room for the painting to evolve. As he works, he adds balancing points -- touches that make it more comfortable, warm, or tense, or elements of interest that push and pull at the edge of realism to capture someone's eye from across the room and draw them closer where the painting, rather than falling apart, reveals new, sometimes surprising, dimensions."

From Funeria's website (Funeria.com) ... "FUNERIA is a unique international arts agency that has been leading the emerging genre for original, contemporary, thoughtfully conceived and superbly crafted funerary urns and vessels for people and our beloved animals since 2001.

"Each original artist-made and artist-designed personal memorial artwork we offer, through retail channels worldwide, stands on its beauty alone and is as unique as the individual it will serve. Each embodies the creative spirit that produced it, and holds the promise of reminding us of a life we've loved. All are intended to contain the shell-like particles and dust of cremated individuals, at least for a time. Whether kept at home, buried, placed in a glass-fronted columbarium niche or private mausoleum, or used to scatter their contents in a place of special significance, artist-made and artist-designed urns, vessels and personal memorial objects honor the life of their recipient and they honor the gifts of the artist."

From Erickson Fine Art Gallery's website (Erickson Fine Art Gallery) ... "Robin Eschner grew up in a family that explored the natural world. Her father is a geologist whose enthusiasm for the local terrain is legendary. At an early age, Eschner understood the connection to and responsibility for plants, animals and the landscape. She was educated at the University of California at Davis, Graduating with a combination B.S. degree in Botany and Fine Art. As a painter, she has spent nearly 25 years exploring those relationships in nature. Eschner has exhibited at significant galleries throughout the US and in l990 she began a collabortion with Barry Lopez on a book titled "Apologia", a non-fiction environmental and ecological statement, combining his writing and her art."

In that extraordinary moment of urgency and need, Art Trails was a pretty small concern. But the artists discussed and debated what to do. A controversial decision was made to not cancel Art Trails, but to postpone it one week. This decision, painful at the time, proved to provide a much needed respite from the trauma of the fires. After the fires, people came out to Art Trails open studios, and with the backdrop of artists and their art, people talked about their experiences and listened as others told their stories.

A year later, Art Trails artists are again ready. The preparations have been made. But no one forgets the trauma of last year.

The artist community responded well, donating art to those who lost homes, assisting artists who lost their studios, and continuing to see the value of art and artistic expression in rebuilding broken lives and spirits. Art is life, and part of our healing and paths toward recovery can be encouraged and fortified with art.

All the paintings on display there are available for sale, and each painting is just a sample of each artist's work. More is to be found at their Open Studio. At this exhibition, you can decide on which artists appeal your individual tastes, and then you can use the Art Trails guide to map out the studios you wish to visit. Of course, as you drive around the county, you will discover the Art Trails blue signs, and make serendipitous discoveries of artists you would not have otherwise encountered.

Its an adventure, two wonderful weekends offering a unique opportunity to see art and meet the artists who created that art in their creative space. Enjoy!

Linda Sorensen's paintings are also currently showing at:

Bodega Landmark Gallery Collection,
located inland in the town of Bodega, west end of town a half block from the Casino, and just across from the (vacant) General Store and the Bodega Volunteer Fire Department.

Corrick's "Art Trails Gallery,
located in downtown Santa Rosa on 4th Street, just steps from Santa Rosa's reopened Town Square.

6th Street Playhouse, The Studio Gallery
6th Street Playhouse, The Studio Gallery,
52 W. 6th Street, Santa Rosa.

Bentonville, AR
Crystal Bridges
Museum of American Art

... IN GRATON, CA ...
Linda Sorensen's studio and Bodega Bay Heritage Gallery's showroom is now is located in Atelier One, Graton. You may view all paintings in Linda Sorensen's or Bodega Bay Heritage Gallery's online offerings. Call or email for an appointment.

... IN YOUR HOME ... Call or email for a an appointment. For a fee, we'll bring the art to you (up to 200 miles from Bodega Bay). Sales above $5,000, the travel fee is refunded.

... ON LINE ... Call or email about pieces which interest you. We offer FedEx shipping (included in price) in the U.S for major purchases.