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) in the possession of his widow, Johanna van Gogh-Bonger, and then their son, William Vincent van Gogh. The portrait is now on permanent loan to Amsterdam's Van Gogh Museum. Russell's portrait is unique among those of Van Gogh in that it is the only one by his contemporaries in which he makes direct eye contact with the viewer. Noting Van Gogh's sharp gaze, art critic Laura Cumming said Russell's portrait provides an "intimate and intense" encounter with the artist. In his 1939 autobiography, Hartrick called the portrait "an admirable likeness, more so than any of those by [Van Gogh] or