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
Portraits of Vincent van Gogh show the artist's head from the left, i.e. the side with non-mutilated ear. Van Gogh made no self-portraits in Auvers-sur-Oise, during the final weeks of his life. In Nazi Germany, Vincent van Gogh paintings were among those labelled "degenerate art". Works were stolen and/or destroyed by German authorities including the self-portrait dedicated to Paul Gauguin, September 1888, depicted in the black and white picture. Almost at the same time as when his "Catalogue raisonné" was published, Jacob Baart de la Faille had to admit that he had included paintings emerging from dubious sources, and of dubious quality. Shortly after, in