Posthumous fame of Vincent van Gogh Hommes d’aujourd’hui." Julius Meier-Graefe wrote influentially of Van Gogh, his publications including: "Entwicklungsgeschichte der modernen Kunst" (Stuttgart, 1904 and later Munich 1927), "Über Vincent van Gogh", Sozialistische Monatshefte (February 1906), "Vincent van Gogh" (Munich 1912), and "Van Gogh der Zeichner" (Berlin, 1928, published by Otto Wacker). In the English-speaking world, the Bloomsbury art critics Roger Fry and Clive Bell were his first champions. Fry, in a 1924 essay, "Vincent van Gogh," reported that after Van Gogh's death, he "disappeared" and "scarcely any picture dealer in Bond Street gave him another thought" until the 1910 show titled "Post Impressionist Exhibition" in
Vincent van Gogh (Russell painting) than a gift, and allowed Russell to have some of his works. Russell chose an 1882 drawing titled "" (the basis of Van Gogh's 1890 painting "At Eternity's Gate"), and the 1886 still life "". According to Cathy Peake of "The Australian", Russell's choices show "how profoundly and instinctively he understood the art and ambitions of his friend." Van Gogh sent the portrait to his brother Theo, and years later reminded him in a letter to "take good care of my portrait by Russell, which means a lot to me." After Theo's death in December 1891, the painting ended up