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
Posthumous fame of Vincent van Gogh and asked Isaacson to stop writing about him. But there was no chance to turn the wheel back: January 1890 - in the first issue refounding the "Mercure de France" - Albert Aurier published his enthusiastic essay 'Les Isolés: Vincent van Gogh', on which Vincent's fame as an artist is based as well as Aurier's as a leading art critic. Another voice was that of Octave Mirbeau whose review article 'Vincent van Gogh' in "L'Echo de Paris" on 1 March 1891. Later that year Van Gogh's friend Émile Bernard contributed short pieces on Van Gogh for "La Plume" and "Les