
Oil on canvas
60.0 x 49.0 cm.
Arles: late September, 1888
F 473, JH 1588
Otterlo: Kröller-Müller Museum
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This painting depicts Paul-Eugène Milliet, second lieutenant in the third regiment of the Zouaves. Milliet and Vincent van Gogh became friends in 1888 when both men were in Arles, France.
Paul-Eugène Milliet was the son of a military policeman and lived most of his life as a soldier. Milliet grew up in army barracks and his military career had been progressing well by the time he was temporarily stationed in Arles in 1888. Milliet's regiment had just returned from Tonkin (then French Indochina, now the region around the Gulf of China in Vietnam). During that campaign Milliet had contracted an illness and looked forward to convalescing in the south of France. In August Milliet made a brief journey to Paris and was entrusted with thirty six of Vincent's studies to give to the artist's brother, Theo. He stayed in Arles for the rest of the summer and into early autumn, finally leaving around 1 November for Algeria. In the years to follow Milliet had a distinguished career in the military, serving in Tunisia, Algeria, Morocco and during the First World War. He retired with the rank of lieutenant-colonel and had received the decoration of Commander of the Légion d'Honneur. In 1930 a writer, Pierre Weiller, was looking for a new apartment in Paris and went to meet with his prospective landlady. Upon arrival Weiller was met by the landlady's husband, none other than Paul-Eugène Milliet, by then retired from the military. Weiller quickly recognized Milliet and interviewed him about his acquaintance with Vincent van Gogh. He later wrote an article "We've Tracked Down Van Gogh's Zouave" based on that interview.1 Milliet died in Paris during the German occupation of World War II.
The Zouaves were a group of light infantry personnel in the French army. The Zouave soldiers were mainly from Algeria and, though European, their uniforms showed arabesque influences. In addition to his portrait of Milliet, Vincent van Gogh would depict another Zouave in five other works:
Interestingly, there was an American offshoot of the Zouaves that few know about today. During the American Civil War, regiments on both sides often chose special names and uniforms for themselves. On the Union side there were a number of regiments that modeled themselves after France's Zouaves. They wore short blue jackets, yellow shirts and red pantaloons and were often seen in battle around 1861. By 1863, however, the American Zouave regiments became more uncommon.
Paul-Eugène Milliet was atypical of many who chose a life long career in the military. Milliet had a keen interest in art and was enthusiastic about painting and drawing. It was only natural that he and Van Gogh would gravitate toward one another in Arles. Van Gogh wrote to Emile Bernard:
Vincent encouraged Milliet in his work and was impressed enough to write to Theo and ask him to send Cassagne's instructional book ABCD du dessin in order to assist with his tutelage of the young Zouave. Throughout the summer of 1888 Vincent van Gogh and Paul-Eugène Milliet spent much time together, exploring the countryside and discussing art. Van Gogh recalled one pleasant day:
Vincent enjoyed his time with Milliet, finding in him a friend that he could share ideas with. Still, the pair's relationship was somewhat turbulent--a frequent pattern accompanying Van Gogh's friendships. Early in his career, Vincent van Gogh enjoyed learning from his cousin by marriage, the painter Anton Mauve. Van Gogh very much valued their time painting together, but he was extremely sensitive to criticism and this had a detrimental effect on their relationship. Similarly, Van Gogh took great pleasure from his friendship with painter Anthon van Rappard, but they too would eventually have a falling out when Rappard criticized Van Gogh's first great painting The Potato Eaters. The relationship between Van Gogh and Milliet would follow a similar path. In the Weiller interview Milliet described his disapproval of Van Gogh's technique (somewhat irrationally, given that Van Gogh's works had become very successful by the time of the interview):
Still, Milliet maintained a pleasant friendship with Van Gogh right up until the time of his departure for Algeria. Milliet further commented: "He had faith, a faith in his talent, a somewhat blind faith. Pride. His constitution didn't seem to me very strong. But, on the whole, a good friend, not a bad guy . . . ."
The portrait above is a fairly straightforward study of the subject--very typical of similar portraits executed during Van Gogh's Arles period. It's likely that Van Gogh painted the work quickly because he lamented that Milliet "poses badly" (Letter 541a). Milliet is seen in his military uniform and wears a commemorative medal from his expedition to Tonkin. The background is a deep green of broad and forceful brushstrokes. The relatively plain background (plain, if compared with the more floral and ornate backgrounds found in, say, Portrait of the Postman Joseph Roulin from the same period). The only flourish is the star and crescent moon symbol seen in the upper right hand corner. This symbol was the coat of arms for Milliet's Zouave regiment and serves to further define the portrait's subject. In gratitude for sitting for him and for delivering completed works to Theo, Van Gogh rewarded Milliet with a study (see Letter 561), but the fate of that study is unknown.
Footnotes
1. Reprinted in Susan Stein's collection, pages 108-111 (see References below).
1. Jan Hulsker, Vincent and Theo Van Gogh: A Dual Biography (Fuller Technical Publications, 1990). |
Owner |
Location |
Johanna van Gogh-Bonger |
Amsterdam |
Cassirer Art Gallery |
Berlin |
Kröller-Müller Museum |
Otterlo |
Year |
City |
1908 |
Amsterdam |
1908 |
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1910 |
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1912 |
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1927 |
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1929 |
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1929 |
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1930 |
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1935-36 |
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1963 |
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