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) unusually strong aesthetic element. According to Ann Gallaby and Robyn Sloggett, "This kind of illumination, combined with the deliberate effect of rapid brushwork as in an "ébauche", suggests that the portrait is to be seen as a study in creative intensity – on the part of artist as well as sitter." While "Vincent van Gogh" is still noted for its "Rembrandtesque light", specialists have pointed out that the paint has darkened over time. Scottish artist Archibald Standish Hartrick, who first met Van Gogh at Russell's studio, remarked that the painting was not so dark originally, and remembered it depicting the