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
Death of Vincent van Gogh was discharged from the asylum (the last painting he produced at the asylum was "At Eternity's Gate", an image of desolation and despair), and after spending a few days with Theo and Jo in Paris, Vincent went to live in Auvers-sur-Oise, a commune north of Paris popular with artists. Shortly before leaving Saint-Rémy, Van Gogh told how he was suffering from his stay in the hospital: "The surroundings here are beginning to weigh me down more than I can say... I need some air, I feel overwhelmed by boredom and grief." On arriving at Auvers, van Gogh's health was still