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
Early works of Vincent van Gogh Studies (Van Gogh series). On a blustery day, Van Gogh set up his easel and painted "plein-air" (in the open air) at a beach resort, Scheveningen, near The Hague to paint "View of the Sea at Scheveningen" (F4). While Impressionists are often given credit for painting outdoors, they were not the first to do so. Most, however, made sketches on the spot and worked on the painting in a studio. In this case, Van Gogh struggled with the strong wind which sent grains of sand into his thickly applied paint. Although most of the sand was scraped off, there are