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
Wheat Fields (Van Gogh series) about the 12th or 13 June, was intended by Van Gogh to be a complimentary work to the "Harvest" painting. Ladders appear in both paintings which help to create a pastoral feeling. In May 1889, Van Gogh voluntarily entered the asylum of St. Paul near Saint-Rémy in Provence. There Van Gogh had access to an adjacent cell he used as his studio. He was initially confined to the immediate asylum grounds and painted (without the bars) the world he saw from his room, such as ivy covered trees, lilacs, and irises of the garden. Through the open bars Van Gogh