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) Dutchman in a striped blue suit. Indeed, close analysis of the painting reveals a few faint blue stripes at its lower right edge. Further analysis also shows that Russell inscribed the painting in a similar fashion to other portraits dating from his early Paris years. The inscription, located above Van Gogh's head and written in French in red, reads in part 'Pictor' ("Artist") and 'Amitie' ("Friendship"). Van Gogh was delighted with the painting, and held it in such high regard that Russell gave it to him as a mark of their friendship. Characteristically, Van Gogh insisted on an exchange rather