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Sunday, November 13th 2016

4:03 PM

JonBenét Ramsey case revisited 20 years later

 'The Case Of: JonBenét Ramsey'  Investigator shares old evidence and insight in another home invasion about nine month after JonBenet murder.

The important video below is of a home invasion that took place not far from the Ramsey home there in Bolder.  The father of the little girl is in shadow to protect his family's identity.  It was supposed to have happened nine months after JonBenet Murder.  In the original video he said the Bolder police wasn't interested and didn't think it was related to this murder. He did say they paid a visit to he daughters school anyway asking question.

 In 1996 when their daughter JonBenet was 6 years old,  I believe she would have been 13 so she wouldn't be the same age as JonBenet would have been.  Maybe she could still add some insight along with her mother of what exactly happened now that she is older?  Just maybe it could add some useful information to this case now. 
Absolutely,... Jim Clemente is the real deal and it does seem as though he has made quite a name for himself in this unsolved murder mysteries and Crime writing he does. They say that they are leaving everyone else to make up their own minds after seeing this recent video. These former investigators and new experts united to reexamine key evidence from the high-profile unsolved case.  When Sara said, " I just have to ask do you know who did it.   He (Jim Clemente answered "I feel like myself,.. and these six other experts, we have been professionals for decades in these fields,.. and we all went through the evidence. We all came to one theory. We're Going to let the audience decide for themselves.

It is rather surprising to me after everyone from the Ramsey family has been cleared and exonerated of having anything to do with this murder of their child, this team finally makes their appearance and brings out more evidence. It looks like they wants to make sure they leave no loose ends untied of this case,.... just like they are finally getting down to brass tacks and are going to finally solve this case.

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Sunday, September 18th 2016

11:51 AM

Van Gogh's Transcendent Vision of "The Starry Night".

Van Gogh's Transcendent Vision

'Starry Night' transported the artist beyond an asylum's walls to a landscape summoned by his imagination & by moving this post forwards from 11/9/08 making it's possibilities of being read some more.

Painted in a small cell in an asylum in Saint-Remy-de-Provence, Vincent Van Gogh's magisterial "Starry Night" (1889) is perhaps the most celebrated of the many paintings that chart his compressed and compelling career. The hospital of St. Paul-de-Mausole, at one time a medieval French monastery, offered the Dutch artist a refuge after the crushing disappointments of bleak months spent in nearby Arles. Van Gogh (1853-1890) had been abandoned in Arles by his fellow painter, Paul Gauguin. His ambition of founding a studio in the South of France had collapsed, and with it his dream of a utopian brotherhood of modern painters who shared his belief that art could offer an embodiment of hope amid the drudgeries of modern life.

The intensity of Van Gogh's messianic vision, and the restorative powers he sought, and found, in his painting, underlie the deeply expressive character of many of his late works, especially "Starry Night."

Van Gogh once described the hushed hours of the night as being "more alive and richly colored than the day," and he resolved early on to use vibrant color to capture the depth and stilled poetry of its darkness. A tradition of twilight and nocturnal scenes, well established in 17th-century Netherlandish art, had inspired such dark, earlier Dutch masterpieces as his "Potatoes Eaters," and it resonated as well in the brilliant, gas-lit cafes and moon-lit city streets Van Gogh painted in France. Likewise, the scale and format of many Baroque Northern landscapes -- in which expansive, panoramic skies dwarf the human subject and imbue nature with a profound spiritual significance -- provided a vision of landscape he carried with him to Provence. And in the image of a sweeping, illuminated night sky unleashed across a narrow band of shaded ground, a subject that reaches its plentitude at St.-Remy, Van Gogh created not only a composite memory of his artistic heritage but his own evocation of an "exalting and consoling nature," as he described it, that transcended it as well.

From the barred window of his makeshift studio, Van Gogh had no view of the landscape surrounding the asylum. Uncharacteristically, he summoned his imagination instead, painting an ecstatic vision of the village under a fulgent canopy of stars and a crescent moon. A deep blue backdrop of mountains rises to an undulating crest at right, gathering momentum from the repeated, curved strokes of the painter's brush that measure the tsunami-like swells. These mountains bear little relation to the stony range of the Alpilles that stretched behind St.-Remy, one that Van Gogh had captured in plein air in other views. Nestled at the mountains' base in the painting are tight coils of a paler greenish-blue, which depict an orchard illuminated by the night sky, and these give way to the cadenced geometry of the village. There, with short horizontal and diagonal touches of paint, he traces its solid, rustic forms and tiled roofs, securing them to the writhing landscape with heavy black outlines and tiny squares of yellow light that shine from its windows. Only the graceful, elongated spire of the church at center, more Dutch than Provençal in its profile, breaks with the rugged, foursquare order of the village to cross the distant horizon.

Nature, too, has a transcendent moment within this intense canvas. Van Gogh had often marveled at the "somber and funereal" beauty of the cypress trees that dotted the southern French landscape, and likened their soaring proportions to that of an Egyptian obelisk. And in his "Starry Night" the flame-like contours of a cypress ascend to meet the radiant night sky, mirroring, but in the far more powerful and dynamic forms of nature, the vertical lines of the diminutive church. The deep, bottle-green hue of the tree, achieved with added strokes of brown and midnight blue, and its placement in a foreground that drops precipitously from view give it enormous pictorial presence and meaning. The cypress, a traditional symbol of eternity, and here functioning as both symbol and prophetic form, bars our entrance at left to the landscape, thus drawing us upward to the flattened, frieze-like expanse of the heavens.

Little in his painting, however, prepares us for the fervor of Van Gogh's nocturnal vision as it is unfurled across his swirling, astral sky. With heavily impastoed, rhythmic strokes of citron yellow, a range of opaque blues and a roiling composition of haloed stars, spiraling nebulae and a moon encircled by light, the painter gives emphatic, tactile form to his steadfast belief in a pantheistic nature. A horizontal cascade of silvery-blue light stretches across the far-off mountaintops -- perhaps an image of the Milky Way, perhaps the dawning light of morning, perhaps the path of stars streaking beyond the limits of his canvas and our view -- and it too is painted with palpable conviction. Exultant in itself and in stark contrast to the scale and quietude of the village, Van Gogh's animated constellation finds reflection in the tiny flickers of incandescendent light that emanate from the village windows, humble human reflections of nature's incalculable magnificence but also proof of man's place, and reason for hope, within a cosmic continuum.

In an age of widespread religious doubt, when many painters framed their art in terms of secular truths grounded in a material, visual reality, Van Gogh's discovery of the eternal in nature, and his emphatic transcription of that vision into the tangible forms of his profoundly moving landscape, was in itself a beacon of hope for modern painters.

Ms. Lewis, who writes often about Impressionism, teaches art history at Trinity College.

 vanrijngo:  I would say myself that Vincent van Gogh not only created a composite of his memories in his oeuvre, but in this painting of the Starry Night described the hushed hours of the night as being more alive and with more time to think to himself and to imagine of his artistic goals and how they have been overlooked by his art dealers Theo.  Vincent was always thinking of his own evocation of an exalting and consoling nature as only he could show his viewers and describe to them with his brushes and pens in his works of art and in his letters. Vincent van Gogh was a artist that transcended his total works of art of his own oeuvre and all his missing and lost pieces of art.

The visionary artist that Vincent was, he wanted us all take a better look at these works of art that he was producing. This master piece of "The Starry Night"  to truly evaluate the values and come up with a truer meaning of what exactly this artist was conveying to his viewers in this wonderful metamorphic work of art, he would greatly appreciate even after it proved to coming true as to predicting Vincent's future.
It is still being said today by some just as it has always been said before, how this poor Dutch artist, supposedly a refugee, after many crushing blows and disappointments, ones throughout these bleak years of his life, the few months he had spent in Arles France painting with Gauguin and the year and a half of his artistic career after that was all in vain. Now it's a different story altogether. The MFA experts are now wanting to lower the years of his producing works of art to be between 1882 to 1890, of Vincent van Gogh's short life span of (1853-1890) as to being the extent of his artistic career.  
 There has been many allegations of why this falling out of these two artist's Vincent & Gauguin might have occurred. I'm sure a lot of you had heard the homophobia  thing and possibly even the very sick allegations about a relationship between the two brothers.  All is false my artistic friends.  This is a very sick world we are all living in, and I would haft to also say and mention,... it will not be long before this sickness of this world of ours comes to some sort of an abrupt end.
 They say Vincent's ambition of founding a studio in the South of France had collapsed, and with it his dreams of a utopian brotherhood of modern painters who share his belief that art could offer an embodiment of hope amid the drudgeries of modern life.  Well,... just think about it, what he was trying to do and stop from happening back then.  It is still being done today, only on a grander scale, on the internet, in China, all around this world as I speak, producing the great masterpieces of this world, now in mass productive ways,... for everybody who loves copied works of art to hang right in their own living rooms or any other wall they choose.
 No more of having to go to these expensive museums which are loaded down themselves with copies, and now considered by the MFA experts that most museums and private collections depending on who's and which museums, are around 50% of the art work themselves now being considered fakes.  Now I believe the MFA experts or somebody really has a problem, for until science finally comes into play and is used in the full authentication process, these MFA experts will not be able to tell which are the fakes and which one are not, for you see the MFA experts are the main reasons there are so many fakes floating around in these places to begin with.
You take some of these works of art by different masters and these developed descriptions of certain elements of these artist's works supposedly helping these MFA experts describe these works using their own descriptions.  Most times these descriptions of theirs cause complete loss of total meaning to most of their readers and onlookers of these works of art that they are describing.  Some experts actually find it difficult to understand their own colleagues and what other MFA experts are saying and trying to convey about these supposed fine works of art.
Why the hell don't they just say it like the original artist's meant to say and tell it, say in the artist's own words that is,....  say like Vincent speaking to us all in this painting of the Starry Ass Night, all the while this work of art was mostly coming from his own imagination so to speak,... of what was in his thoughts and of his subconscious mind, what he believed himself happened to be in his own future. 
We all know that Vincent did eventually put a piece of lead into his own body, because we all have been told this by the art experts and historians.  But,... has this fact been about the truths, of what actually had taken place and happened?  I'd personally say not! Yes,... we all are pretty much wondering how history can actually be distorted as much as it has,  and by no means, don't think in your own minds that it isn't a fact that it had actually happened.  In this artist's case there are many who believes that it had in fact happened, except the MFA experts, the exact ones who actually had distorted the truths.
OK,... now that I have probably pissed the majority of you off, let the ones left and still hanging around continue reading what I have to say while having themselves a good look at this painting of Vincent's,... "The Starry ass Night",.... one more time.  Just think in the metamorphism, if you can, of a body of Vincent laying just across the top of these rolling hills done in the white and yellow lines, showing him lying flat on his back.  If you can imagine of being in a hospital or possibly awake or half awake while maybe under the knife of a doctor, you just might understand a little of his meaning of this painting.  Is that you doctor?  Are you going to be able to get that bullet out of me and patched me up before I succumb to the bullet wound and possibly that grim reaper represented by the cypress trees taking me away?  Are your assistants holding these lights close enough for you to see what you are doing? The very top of the church steeple is pointing directly at its position and even spells out the word bullet for you,... just above these two little mounds of these hills just under my body.
I can only believe myself when one does decide to commit an act such as shooting oneself,... I would think it is usually very well thought out before hand, in ones own mind, if perhaps one is planning on just bringing attention for a bullet wound, or if actually trying to ends ones own life.  In Vincent's case I believe he was just trying to bring attention to himself and to be saved by the doctors, or he would not have painted this fact.  He had just made a few errors along the way that allowed him to die and that possibly prevented him from being saved by the doctors.  First off for his supposed bad aim and not knowing where his heart was located and also by making one of the doctors feel threatened himself along with his family,... before committing this act a little later that day. Vincent was also heard mumbling and threatening to shoot himself again if they happen to save him.  The doctors you might say were a little more responsible for his death than Vincent might have been, even with him being the shooter.
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Saturday, July 9th 2016

9:59 AM

Vincent lost etching of a Bridge & other Bridges.

Click upper link to go to more studies of Vincent's works of art & more bridges.

Cheers!  vanrijngo

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Thursday, June 16th 2016

1:30 PM

Rembrandt's "The Night Watch" painted in 1642, compared to a 1632 painting

Rembrandt's "The Night Watch" painted in 1642, compared to a 1632 painting, I'm assuming representing a painting of "The Ascension of Christ",.. some peoples considered Lord & Savior.
night-watch.jpg picture by vanrijngo
Thanks to his massive talent for composition, Rembrandt never seemed to have any problem with how to arrange group portraits, not even in his teenage days as a painter. His ultimate group portrait (and perhaps THE ultimate group portrait) is the Night Watch.
A group portrait is a problem of perspective (perspective enters when not all the people are at equal distance from the observer, the challenge is to get the proportions exactly right) and also of behavior: the artist must paint his subjects such that everyone seems to be doing something natural and logical. The Night watch is famous for it's orderly chaos: the people aren't lined up statically, but everyone seems to do as he likes, while each individual fits into the group portrait naturally.
AnonMysterySubjectWarsawNational-1.jpg picture by vanrijngo

Now,... with possibly of using your own imaginations, let's imagine that what was said above about "The Night Watch" pertains to this painting also,.. and say for instance the top portion of this painting at one time was cut down as for the room to hang it,... to where the ceiling was not high enough to accommodate as large of painting, just as "The Night Watch" was reduced in size.  What exactly would you think would be cut off?  Well,... I'll tell you my art loving minded friends,... the ones who happen to read my bloggs. I Believe it was the portion in which this gentleman to the right who is being held back,.. is looking at.  I'll give you all a clue,... by adding one of my own paintings out of my own collection below, to possibly help show you what could have been what the artist represented, or possibly what in similarities had been cut from this painting.
The kiss of betrayal by Judas warring his own red robe.
Judas trying to give back the thirty pieces of silver to one of the guard solders of Pilate' after kissing Jesus showing them which one who claimed he was the King of the Jews.

Request for reactions to large, high-quality but as yet unattributed Flemish painting in Warsaw: an appeal from Hanna Benesz

Wednesday 24 October 2007


night-watch1.jpg image by vanrijngo  AnonMysterySubjectWarsawNational-1.jpg image by vanrijngo  AnonMysterySubjectportraitofRHL-1.jpg image by vanrijngo

Now speaking in general of composition, I would say myself, that there is a lot of similarities, of both compositions, from this unattributed Flemish painting in Warsaw, as to Rembrandt's Night Watch.  Now if you care to compare the lay-out of the different subject matters,... the complete compositions as a whole, or the seemingly three grouped sections of both painting, while keeping in mind that they both represent something totally different. Rembrandt, I believe was trying to show his viewers, their inner self-conscious minds, the real main themes of these paintings, what it is in those two paintings, which are causing and bringing on all of the different emotions. 

night-watch.jpg image by vanrijngo

In not using the documented words of Rembrandt, which was spoken to his good friend Dr. van Loon,... when sitting him down in front of this Monstrous Painting of "The Night Watch",.... I'll try and get across too you all,... the main hidden just of these paintings.  Please keep in mind that there was a ten year span in time of these two painting of being painted, that we are comparing,... from 1632 to 1642 the year of his wife Saskia's death.  I'll add the same small picture from time to time, as to where you don't have to go back to it, and lose your spot of reading.

night-watch.jpg image by vanrijngo

Now,.. let us begin!  Imagine yourselves going out on the town, to your favorite night club dinner house, with your spouse or who ever, for an evening of fun and frolic,.... oops,... excuse me,... for I think I used a partial phrase of his.  Anyway while you're sitting there eating your dinner and enjoying your drink, and glancing out towards the dance floor,.. listening to the music and watching the band play, people are cutting a little jig to the music, looking like they're having the time of their life.  You just want to finish your dinner and get out there and join in on the fun with your own partner. 

night-watch.jpg image by vanrijngo

I know what you are all thinking,.... what the hell is this guy looking at,... and out of what?  Has he been drinking Absinthe again, like Vincent van Gogh did, lost his mind and hallucinating in the name of art?  Not really my friends, for I've the same perspective vision of both Rembrandt and Vincent van Gogh.  Now in getting back to this picture my friends, imagine in the foreground there is this tall beautiful brunette young lady, pulling up her dress in front while dancing with the Captain in black and who is doing his little dance jig around her. 

 night-watch.jpg image by vanrijngo
If you look between the two of them dancing, you just might see another Dutchman in a hat with a feather, flailing his arms and body around while dancing with his own hidden partner.  The obscure face of the little witch with the dead chick tied to her side, becomes the shoulder and and upper arm of this tall young thing that you are looking at as she is dancing.
 night-watch.jpg image by vanrijngo  
Behind the Captain in black is his lieutenant,... in his yellow hat, the actual taller of the two, who is having himself a little feel-up time with the honey who has her head laying on his shoulder as they are embracing as dancers on the dance floor. You look to the left of the tall Brunette dancing and kicking up her heels, there is a couple both warring red dancing cheek to cheek with the butt of the musket showing us the folds in the back of the brunettes beautiful golden gown that she is hiking up her front legs as she dances with the Captain in black.  
  This would be the music source, the band players with the guy up on stage with the other dancers, one who knows and can sing the words to the song that the base player, flute blower and drummer are playing over on the right hand side.
More coming later.
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Monday, May 23rd 2016

3:37 PM

My eyes have seen the secrets of Rembrandt's etching of the anagram in "Faust".

Rembrandt's "Faust"
This drawing in ink of mine actually sold for $350.00 on eBay to a fine art collector after being looked at only 18 times from the counter I had put on it and was pick off in the first couple of hours it was up.  I put it up for sale for $1.00 starting bid with N/R & buy it now for $350.00.  Does that tell you anything?  Oh,... of course!  I know what you are thinking,...this world of ours is full of nutty people. 

From the light of the window in the etching I made this drawing, with only pen on art paper while turning the etching sideways while looking into a mirror. This undeterred disc, appeared in the air magically of this etching while displaying a very clear message following correct readings of this etching and numerous others of his many etchings reveal similar things.   There are an unbelievable number of delicate lines in his etchings, adding up to many fragile and magical images.

 Whether or not it was intended or not, and most likely was the artist himself knowingly creating these hidden images which can come together in the spectators mind and the subconscious as truths as the artist himself was telling it.  In very rare cases, there is also a quality of visual reality which will show true result from careful study of the hidden line qualities to go along with the subject matter in revealing these not yet realized facts by myself.

This happens to be a reverse image out of the etching turned sideways just as I have done in my drawing.

The skull in "Dr. Faustus," at the extreme left, echoes the face of doom. This in one of Rembrandt's most confessing and un explained etchings ever done by this artist. This frightening etching was made all the more mysterious by the complete failure of all modem scholars to discover the meaning of the letters in the "magic disc." All Rembrandt's drawings, etchings and paintings of his sick wife, Saskia, refer to the etching of Dr. Faustus. Even the sickly-looking witch, which he painted into the "Night Watch," in 1642 (the year of Saskia's death), reflected these truths.

In the "Etching of Dr. Faustus in His Study" actually represents the good doctor, Rembrandt's closest friend and confidant, Dr. Van Loon, who on a particular day in the 1630's was having drinks with his good friends, Ephraim Bueno and Rembrandt. In his drunken stupor, he had answered a question, put to him by his good friend Rembrandt.

The question posed to Dr. Van Loon requires no explanation, once the answer is know: 1-Ragla, 2-Tetrma and 3-Ant Sadla. This concoction, added to milk and administered over a period of two or three years would take care of Rembrandt's problems! This elixir was to make marriage possible after Saskia's death! Unfortunately, Rembrandt gave no thought to the possibility of a Will being drawn up before her passing. To read "Magic Disc" you must turn it sideways, while holding it up to mirror, so that the mixture appears to run into the pail of milk.

I don't know how many of his etchings and works of art lead us to this same subject.

  Saskia having a toast with the grim reaper while the artist groom in the feathered hat of these two newly weds is in a mind wandering daze. 



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Tuesday, April 26th 2016

1:16 PM

"The Cat Came Back" True Story

Has anyone got a good story of the cat came back?


This story and blog entree was moved forwards from

Monday, October 10th 2005

11:43 PM

The cat came back!

We all have heard about and seen the heart wrenching tear jerking stories in the movies of animal love of their owners, of when they become separated and miraculously find their way home some time later.  Well three years ago my wife decided that one of our three cats had to go,... the one my son Tom had at his apartment and could not keep,.. so we inherited him.  His name was and I still believe is Vatu.  This cat really loved me and I think it made my wife jealous a bit, so one afternoon a appliance customer who had come into our shop said to my wife, what a lovely cat, I think I would like to own one like that.
This is what my wife was waiting for I believe, and told her she could take him with her, for she was looking to find him a good home.  When I next seen my wife and asked where Vatu was,... she told me she had given him to a customer that loved him and said she would give him a new and a loving home.  You can imagine how I felt? But being whom I am, I said,.. that is great,... that he'd gotten a good home to go to,.. since I new she was thinking of getting rid of one of our cats,.... and knew which one. 
It was about four weeks when we received a phone call from this lady.  She said she loved Vato,... but he wouldn't eat right and was loosing weight and she was afraid he was going to die and asked if we could pick him up if we wanted him back.  My wife being a good hearted soul that she is, sent our service man to her address to pick him up from her.
When I got back home and saw Vatu, he was all over me. He would not give me a moment of peace for a couple of days.  In a week he had regained his normal weight and everything went back to normal. 
I do believe our next confrontation about these cats were when one or two of them were peeing in different places throughout our house stinking it up a bit.  After trying to stay on top of it and failing, we talked it over and decided we were going to take them all to pet heaven to find new homes and we were not going to have anymore cats.  This all happened about a year and a half ago or more. 
Well,... after deodorizing our whole house and being cat free for about six months,... it was nice to breath fresh clean air again, but we both were lonesome for our companions.  Like I said, for about six months.  We then had a stray momma cat come to our side door, pregnant and looking thin,.. so we decided to take her in until she had her baby's. 
  She was a good mother and took real good care of her babies and when they were old enough to be given away, my wife put an add in the news paper and we gave them all away including the mother,..all but one.  While doing this, we deciding to keep our favorite, which was a light yellowish tan fluffy soft hair kitten, short hair lightly striped tan male.  We got him all his shots and had him neutered with the understanding he was to be our only cat.  We both decided on the name Vinni after a lot of influence by me. Of course I was thinking of Vincent van Gogh and his Sunflowers!
Now it is a little over a year since Vinni was born, and yesterday my wife Nancy told me their was a cat hanging around outside that reminded her of Vatu, and wanted him to go away.  I didn't pay her any mind to what she had said, because I thought that I knew different.  Late last night I was working on my computer and kept on hearing this faint meow outside and I knew that Vinni was in.  So,... I went outside to investigate.  When I seen the cat I thought to myself, this cannot be Vatu, for I thought him to be much bigger.  He looked at me with those big green eyes and went Meow,... just like Vatu! 
I still did not believe this cat to be Vato, but I went inside and brought him out a handful of cat food and put it in a dish on one of our lawn chairs. Up he went and ate a couple of mouthfuls and came off of that chair soon as I was headed to the side door.  I literally had to push him off of the steps and hurriedly got through the storm door closing it quickly while still almost shutting it on this cat head.  I then went back to my computer to only hear a barrage of cat meows.  Before going to bed, I peak through the curtains to see if he was still there.  There he was looking up at me, and started his meowing all over again.  I then went to bed and figured he would be gone in the morning.
When I got up this morning, the first thing that I did even before getting myself a cup of coffee I went to see if he were still at our side door.  He wasn't their so I went to the kitchen to fix my coffee and I heard his meow at our shop store door where he was always at when he was left out overnight.  I went to the door and opened it and in he came at a run while leaping onto the first row of appliances running all the way to the end of the row and leaping onto our store counter just the way that he had in the past.  I knew then immediately this cat was Vatu!
Well, ... as I would have expected, my wife does not believe,... and says that this cat is not our other cat Vatu, even though he did not react unfriendly to our dog Lovie as a stranger, while his presence did not disturb our dog Lovie in any way,.. just like they both knew each other from before.  Vatu did not explore our upstairs at all yesterday, he just slept on and off while visiting me at my computer while crowding around my digital camera which was sitting in his favorite chair he used to sleep in while sitting next to my desk.  I then moved my camera so he could have the comfort of the full cushion that is tack in the middle of the old oak chair.  Vinni's growls at him, when he would get close did not bother him at all while knowing exactly where the sand box was and where he could find his cat food without showing him.
One of the places where he would sleep was on our shop counter next to the phone and where customers would stand and my wife would wait on them from the other side next to our cash register, the exact place and where he had enjoyed being before while greeting all of our customers.  When I went to bed after working on my computer, about 2:30 AM, he was sleeping on the chair next to my desk.  After turning out the lights and going upstairs to the bathroom and then to bed he was still downstairs in his chair.  After I going to bed and as I always leave my hand laying off the edge of the bed, I said to my wife who was already sleeping;  Vatu will be up later to join us and will put his cold nose on my hand after getting into bed with us and still will be with us when you get up in the morning.  I don't believe she heard me,.. and as I was just falling asleep I was woke up by Vatu's cold nose touching my hand hanging off of the bed and I said goodnight Vatu, I love you.
And the story goes on;  Now,.. for all of you non-believers,... along with my wife;  Maybe this is not Vatu's old body,... but I would say myself,... it happens to be Vatu's soul from before, in one of his previous lives. Most have heard that old saying that cats have nine lives,...well, I'm assuming myself that this is just one more of Vatu's lives, where his own soul has lead him back into one of his own past life's, like someone else that I am familiar with my friends.  Now, is this story is becoming more understood by some, while most all others continue to believe,... just maybe the experts have been right all the time.  They asked themselves,..why do I waist my time reading and trying to understand what this person vanrijngo is telling us?
Just maybe it is time for most of my readers to go get their own prescriptions filled along with most art experts in their own field of expertise to ease the pains of their own regressions.
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Wednesday, April 20th 2016

2:10 AM

Edward Hopper class painting 1953-4 Moving forwards from 12/6/2004 & now from 08/04/2009


Keep in mind that this painting was done by suggestions from a third grade class at Whitney School, Boise, Idaho by the assumed artist as a demonstration painting according to (myself) vanrijngo.





No.... Edward Hopper did not sign this painting and I'm glad that he didn't, for if he had of, it would of pissed me off to no end! I wouldn't be its owner. Then it could have and more than likely would have gone to some other collector, but would of still been concider a fake signature, by you know who would of determined that.  Had of, would of, could have, should of, should have, could of, would have, what ever, what a bunch of bulshit.  Who are these MFA experts?   Well,....I don't need their expertise, because I watched Edward Hopper paint this painting with my own eyes in 1953-4!

Isn't it remarkably amazing that the Edward Hopper Foundation and Whitney Museum of Fine Art didn't want to commit themselves and refused to admit Mr. Hopper did this painting himself when I offered it to them with a similar story but like a child was telling it? I received no answer back from them.  I guess that it was my own fault for acting so un-intelligent and a little corky-dorky.   Another strange occurrence is when after discovering all this and remembering, I read in a Edward Hopper children book where he had vacationed in Mexico, only not in the year I mentioned.  Next Question;  Don't you think a computer might be able to see and tell us who had done this class room demonstration painting?  Well,.. I personally don't need the computer on this one.



   Description: This Painting was Painted by Edward Hopper for Mrs. Booth's Third Grade class in 1953-4 third-grade at Whitney School in Boise, Idaho as a demonstration painting.

  One day in 1953-4 at the begining or towards the end, I cannot remember which part of the school year, my teacher Mrs. Booth came into class and while standing in front of the class began to speak to us all.  Class, today we are all going to write a letter to this wonderful American artist which I like personally along with his works of art.  We are going to see if we can't get him to come to our class room and give us a demonstration on how to make a painting.  After we all made our suggestion on what we were to say to him, the letter was formed.  We all signed our own names to the final draft. Then she put it into an addressed envelope and she walk the whole class to an old OD green mail box two blocks away on a corner close to the school and we all put our little hands on the envelope before she drop it in.

  When the return answer came, she brought the un-opened letter in front of the class to open for the first time to read to her class.  Needless to say what it might have said, but we all knew he was coming to our class to do what we ask him to do.  I myself remember the day well when he drove up and park his car pulling a small trailer house right outside of our class windows on Owyhee street.  I remember yelling out "He is here", since that was my favorite thing (ie daydreaming) of staring out the windows waiting for the bell to ring so I could run and do my own thing.

After he had come in with all his painting equipment and after Mrs. Booth's introduction of Mr. Hopper and his wife, Mrs Hopper took a seat and Edward begain his presentation.  I'm sure you are all jealous that something like this didn't happen to you when you were younger,  but don't dismay, for two that happened to be in my class that I had got in touch with could not remember this happening.  Both these parties looked at me like they thought I was out there in some kind of la la land, so I decided not to pursue it any further.  Isn't it amazing how other people that you have known in your younger life time, how their memories are so much different from your own.   Anyway, this is definitely not a fabricated story.

As I remember the presentation as Edward Hopper had given it, and to be truthfully honest in my earlier writings about this happening, the writings were supposed to be as a child writing it.  eight years later I will try and do a better job of writing, and thank you for taking time to read this little bit of non-fiction history of Edward Hopper and what a great person he was known to be around children.  After setting up for his presentation it begins as such:

Good morning to you class and to your fine teacher here, Mrs. Booth.  I would like to thank all of you for your nice letter that you all  had sent me asking us here to do this presentation on how to make a painting.  My wife and I did have to take a different route in getting here on our way to Mexico for our vacation, and we got to see some beautiful country on our way that we had never seen before and might never had seen if it were not for your wonderful letter. 

Then as Mr. Hopper is putting a square looking board that he had brought in with him which was painted solid black and placing it upon his painting easel his begins by saying; This is going to be a night painting class.   What do you think of that?  There, it is all done.  Just kidding class (with a little chuckle from him).  Today we are all going to make a painting of a large three story house at night, mainly by suggestions of the ones I call on when you raise your hands to help with ideas to add to this painting we'll do together in building our own house.  Instead of painting this house as a carpenter would build a house from the bottom up, we are going to start ours from the top down.  For now I will start by putting the lines for the top of the house or better yet  the top of the roof line in the night sky.  over here I will start by adding in some of the sky.

Oh-Oh class, what would you think that I might have done wrong here?  As he calls on one of my classmates they say;  Mr. Hopper, you said it was going to be a night painting and you have started to paint the sky white.   Very good, I can see you all are being very observant and paying attention of what I'm painting, but I feel I should tell you,... you  don't always need a black sky at night or you wouldn't be able to see anything.  So we will just leave the sky white on this side and dark on the other side and add a black moon for our light source as some one suggested putting in a moon.  As more suggestions from the class are made and as the building begins to take shape he asked my secrete love, Kay Mc Clean, what would you suggest now my beautiful young lady?  Blushingly she began by asking, what if someone were to get up and turn a light on to go to the bathroom?   That is a great suggestion my young lady,...We can do that right here in this window.

As more question and suggestion went on the more it started looking like a house to me and the more I wanted to get my two cents worth in helping build this house, so when he finally called on me I blurted out, put some nails in it!  The whole class started laughing as I caught that look from Mrs Booth,... then Mr. Hopper interrupted;  Now class,... that was a great suggestion,... for I can add them right here in the top of these porch beams that was suggested by Linda, and now as we finish them we don't have to go all the way to the floor of the porch with the pillars because it is to dark down there to see them, and besides, like what was suggested by Tommy earlier, we can add a fence in now at the bottom.  Now as we are getting further from the light on this side you don't have to add all of the board of the fence.   Why?  Yes,.. because it is darker on this side.

Now that we have come to the end of this very wonderful experience of making a house painting in the night, I want to thank all of you for paying attention and for your suggestions in helping me paint this class room demonstration painting for you and your teacher, Mrs. Booth.  Now before leaving I would like to thank your teacher and thank you all again for the wonderful letter which brought us together.  As he is getting ready to leave after packing up all of his painting equipment he most likely says; You all have a nice life and my wife and I will now continue on to Mexico after visiting some Family of our in Payette, Idaho.     Edward Hopper  Goodbye now!  

The way I remember this event, a true happening in my life.  Whether or not the painting was given to Mrs. Booth or to family in Payette, Idaho I do not know for sure, but Payette is where I found it at a St. Vincent second hand outlet hanging up high on the wall .  I had to have the clerk get a ladder to get it down to see the price they had on it.  It was priced at $2.00, so I bought it not knowing then why it fascinated me so much only remembering later I had actually watched this painting being painted by the artist in question when I was in the third grade.

vanrijngo---Bob Miller













Kaye McClean's suggestion, "what if someone got up to go to the bathroom?"  The reason I remember her name is because I wore her beaded  pin in the fifth grade which meant we were going steady and I was secretly in love with her all through grade school, junior high and the first year of high school until I quit school to go into the Army.  She was not my soulmate, for I met my wife in Southern California in 1968 and we were married in 69'.




10 year old Bobby Miller's (my own) suggestion of putting nails in it. They are at the top of each pillar holding up the front porch.

another look at Bobby's (my own)  suggestion.

O'l Eddy has kind of a ora about him.


Hopper was a huge silent hulk, Jo a tiny, social, chattering person often furious at her husband who rejected and ignored her. She was an educated woman who had worked for a living and finagled a pension. For a while she had been friends with left-wingers, actors and feminists, though after marriage she adopted Hopper's conservatism. She too had spent time in France and could quote Verlaine. She wrote tellingly of her disappointment in the marriage bed:

...appalled at prize hog proportions that the whole thing was entirely for him, his benefit. ...he set forth to build up as neat a little job of inferiority complex for which I in my ignorance was eligible. I, so subnormal--not enjoying attacks from the rear!

The couple, married for 43 years, exhibited a weird combination of tenderness, fury, rivalry, disdain, cuffing and biting, competition, resentment, rejection, dependency and the strength of similar interests, including mutual passions for art and the theatre. Their periods of collaboration occurred as Jo posed for almost all the female subjects in Hopper's paintings, even Girlie Show when she was nearly sixty.

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Wednesday, April 13th 2016

11:20 PM

My Rembrandt paintings with a few of the storys of where they had come from.


Bob Miller

Myself in a Rembrandt costume holding a paint pallet and my other hand laying on top of a monster walking stick from my collection of canes

I would like for everyone of you to know where and when I first saw this very last landscape painting of Rembrandt's. I was in a class at Whitney Grade School in Boise , Idaho. I was 9 years old in 1954 when in the third grade  I remember as if it were yesterday when our teacher Mrs. Booth walked our complete third-grade class three blocks from our school to where she lived in a very large house very well kept up.  This painting is what she called a Flemish Masterpiece that her and her husband had bought on one of there trips to Amsterdam. I could go further into her description of the painting and how I had became it's owner much later down the road but I believe I'll save that for another time.

Rembrandt's Last landscape painting

Yes,... it was this painting I saw on that third grade walk about over to our teacher house about four blocks away from Whitney school and hanging over her fireplace.  Mrs. Booth had explained to her class where it had come from, it's age while calling it a 17th century unknown artist and Flemish painting.  I remember her saying the landscape painting bought and brought back from the Netherlands by her Husband and her on one of the vacation to Amsterdam.   

Years later when getting into liking and buying antiques paintings and collectables I seen this painting in an antique store in Idaho City as it was being offered for sale from an estate for a price amount of $600.00.  As I looked at this painting I felt as if I had seen it somewhere before, but I could not remember where & when I had seen it before.  I asked the lady running the store if I could make a lower offer of 450.00 for it and left her my phone number if it was accepted by the estate manager. A week later she called me and said the estate excepted my offer so I drove back and paid for it and picked it up.

After getting it home and studying the work I had remembered where I had seen it before. I remembered how it had been described to the whole class as I looked at it when seeing it at my third grade teacher Mrs. Booth house. This all happened back in 1954 when I was 9 in the third grade. Now at this time it was in 1983 and I was 39.  This was around the same time when I was beginning my studying of the old masters because of another painting I had bought in 1980 that I believed was and still believe today is a Rembrandt self-portrait of himself standing in a window looking out.

More descriptions and picture coming later.



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Wednesday, March 30th 2016

2:23 PM

Oil Paintings in my collection & art works of Vincent van Gogh.

Nice Halloween costume wouldn't you agree?

 I won a three day two night trip to Las Vegas, Nevada with this outfit on in a Halloween costume contest once.

Enhanced Impressionistic Picture of Myself dressed as Rembrandt.

Can any of you see the light on in Vincent's room upstairs in this boarding house?

Vincent's 1st room at a boarding house where he lived.  In the fall of 1880, van Gogh decided to move to Brussels and become an artist. Though he had no formal art training as is said by art experts, his younger brother Theo, who worked as an art dealer, offered to support Vincent financially. Vincent began taking lessons on his own, studying books like Travaux des champs by Jean-François Millet and Cours de dessin by Charles Bargue.

Oh yeah. This is one of Vincent's first rooms he rented in this boarding house where he stayed at in Brussels. This was after his preaching to the Miners failed pretty miserably. The rooming house was torn down to make room for a railroad overpass later on down the road. Yep I I heard this in a video on Vincent. The art expert couldn't say what it had actually looked like since he had never seen a picture of it other than kinda showing us where it was at where the train over pass was now at. You can see his lights are on in his room and he is more than likely in there painting and drawing his ass off at this very moment. I bought this work of art from Hawaii, and from an eBay seller selling the Litho print of the building along with the watercolor painting. In the litho print of the building it shows us it was a gallery of some sort some time after the original work of art being painted.  

Does any one really care what was the real reason for Vincent's cousin Mauve's fall out with Vincent.  I think I seen it one time in a Vincent video where they had a young girl supposedly Vincent's Girlfriends Daughter going out in the water that really discussed the high a mighty cousin of his.  Well the truth is that Mauve came up behind Vincent at the dunes when he was painting and this was the painting on his easel as the daughter was out in the water without close on. Mauve just could not forgive his cousin Vincent for painting such a picture. 

Now here is a nice little store front building in this painting where Vincent had his first art gallery business on the Catholic church owners property. Lovely little dutch painting I bought here in the USA from a Gay Dutchman who dealt in antiques who brought it over with him from Amsterdam to sell at a Larson Antique Show out of San Fransisco put on here in Boise, Idaho. Below is a pyro-work of fire-place poker art. I bought this piece from the same dealer from Amsterdam. It is a wood burning on a old oak solid wood panel which looks to be from the 17th century.

This original work of art is supposed to be of a Utrillo oil painting. I personally would guess this subject matter to be of another artist I know of. Let's say someone's mistress named Hendrickje. This would be when she was younger and with her older brother along with both their younger baby brother.  It looks like they were playing a game or throwing dice. 

Sorry for the slippage! I slipped in another artist's work of art.

Yep,.. here above are those same out buildings where Vincent himself is confronting this church decant bastard, "Tom Browne", the asshole, and about his denying his own flesh & blood. Vincent came along with the young girl and her baby to confront him. You can believe it or not,... this was the Fucker who said it was Vincent's baby, and this is what started that old saying,... "John Brown,..! I'll knock ya' down,... not up!" 

This is the Church Decant Tom Browne who knock up this little Dutch model of Vincent's, and was painted by the one and only.  She was from the Catholic Church and daughter of a family Vincent was friends with and used for models of his "Potato Eaters".

The other picture is of his landlord of this out building he used as an art gallery on the churches property. Tom Browne spread the rumor that Vincent was the father of his models baby and the landlord said he had to get rid of Vincent due to the members of the church and their out cries. They wanted this artist out of there and off the churches property.  You can see Vincent making his case with the owner of the property saying in this painting that all of his own eggs were in one basket.

This I believe is an oil painted portrait of his Dutch landlord of his first art gallery business.  It has been fictitiously signed either by Vincent or possibly someone else.  I want to get this straight with all the readers of my blog.  Vincent & his art dealer brother Theo had made a deal and a Business agreement one afternoon at the old mill over a couple glasses of milk.  Theo had agreed to support his brother Vincent until he started to sell his work of art in the gallery he was working at of his uncle Cent & partner. In his bothers Vincent's so called learning period, he was to send Theo his very best works of art and he could sell & trade any of the rest,... but was not to sign them with his own name to keep the brothers agreement in-force.  This agreement of their' was sealed with a handshake. 

Here is a painting of this young Dutch girl who got herself into a little trouble by letting herself be taken advantage of when it came to making love. Yep,... this was the little sweetheart the members of the Catholic church were calling Vincent's little dulcenea.

Here above is the same girl, her father & mother, aunt & uncle at the dinner table. She is standing there in front of them, all the while the father is making accusations while the mother is saying how sweet it would be to hold their little grandchild.  Meanwhile the aunt & uncle are trying to remain neutral as these very trying times present themselve.

This was the nurse who was kind enough to get Vincent some art supplies. so he could continue making art while being in the hospital recovering after cutting off his ear.

Again it is sign, but not Vincent's name. It is signed in the blood that was from where his ear had been.

Here is a drawing of the nurse done in graphite.

This portrait is on the backside of a study of the potato eaters. Now if you look really close you will see how much ear Vincent had cut off in this first bandage change by Doctor Rey.  Vincent had painted this portrait of himself on the backside of a drawing of the Potato Eaters. The drawing was one he took with him back to the hospital after they letting him go back to the yellow house for the first time after he had cut off his ear on the day before Christmas.

Now here is a masterpiece drawn by Vincent van Gogh and signed Vincent and dated 1888.  This had to be one of the ones that was talked about in his letter to Theo about three or four drawing which were going to be offered to someone they both knew for at least 50 francs apiece.    

Like was said,.. these were read pen drawing & watercolors done as the old masters style like Hercules Seigers or Rembrandt would have done. Vincent knew how to do copy many old master from the time he himself had worked for his uncle Cent before being sacked after six or seven years of Vincent service to them.

This right here is one of the best examples of Vincent's signature areas and his signing technique he used when not signing his real name. This particular one was signed because it was one that Theo agreed that he should sell to a friend of theirs, one of six drawings for 50 francs each.

This is definitely Vincent's play with paint as he painted the flame of Gauguin's match as it was lighting his pipe.

Gauguin's match as it was lighting his pipe.

You can see the same posture of the two left hands of Gauguin's in this picture and in the painting by Vincent.

Right up to the top left you can see the change in the paint at the top left along with the edge of the canvas nailed to that board just behind the artist Gauguin who is taking a smoke break from painting on that canvas he is painting.  You can see he has his Shirt sleeve rolled up to keep from getting paint on his shirt.   .

First picture is Will Vincent's sister. Second is Kee he cousin. the third picture is a drawing of mine Vincent done for his cousin Kee after her husband had died  and left her with a eight ten year old boy. This was drawn by Vincent when the two, her and her son was staying with her aunt and uncle, Vincent's parents while Vincent was living there also.

Kee and her parents along Vincent's sister Will. In the Upper right hand corner you should be able to imagine the word Kee or tilt you head the other way and see a portrait of Vincent winking at you with that gloved hand being his.

You can tell in the comparison How Vincent was exact on what he seen and made no variations to improve a persons features,... he just drew what his eyes seen.

Only variation that he did was his hidden imagery such as Kee's name and then while seeing an image of himself and enhancing it while adding a gloved hand for a little excitement. These essences will cause one with good imaginations feel the feeling the artist was feeling but still will not see with out a little knowledge from someone who knows and can see.

This drawing turned at this angle will allow just maybe a few to actually see what it is that I'm saying about Vincent's hidden art work.

Colored pencil portrait of Vincent van Gogh I was able to buy on eBay back at the turn of the century.  I myself know it's by Vincent's hand movement and has all the characteristics and  idiosyncrasies used in him creating his works of art.   

Oil painting on canvas Board of Vincent's vase of yellow roses. This painting sold at the Photographer studio where Vincent worked in Paris.

Oil on board of Vincent's Christ & Peter in the Storm of the Sea of Galilee, very similar to the drawing below

A Vincent van Gogh drawing of Fishing boat  & two out walking on the water while a group of people are on the shore with a storm brewing in the distance.

The main side of the watercolor of Vincent's "Long Walk Home" from Amsterdam to Nunans.  This was after holding his hand in the flame of the lantern at his uncles house.

Let's just call this one "High Hopes" or remnants of No! Never never girl when asking for her hand in marriage and receiving her  refusal from his uncle!   

Both sides of Vincent's Watercolor and the back-side not finished.

Vincent's oil painting on canvas of all the fruits of pleasures in a painted frame using the same paint that he used on the canvas.

Vincent's self-portrait as if he were Rembrandt in a previous Life.  As Vincent said many times that he very well knew this artist Rembrandt.

This close-up of the portrait shows us his laying on of the heavy paint of the emposto along with his brushstroke he so often used.

A metaphor of Vincent painting handing ones ears if they needed a ear to hear.

Now there is a straight on look by this artist!  Why do you think Vincent had most all his portraits looking to the right or just a flat right side viewed self-portrait?


Here above this picture is a close up look at the ear that he had cut off and had given to the prostitute and the tool in which Vincent had cut it off with. Since this painting was painted by Vincent, that alone should tell the van Gogh art experts at the Foundation how much he had really cut off.  Now after viewing this complete ear examination one needs no imagination when looking at these bottom self-portraits below the one showing us a portrait with both his ears.

These two bottom portrait are as close to being straight on looks as they can be according to the comparison position of the facial features from the one on top.  I get so irritated every time one of those Foundation art experts say in their videos it was just an ear lobe that was cut off by Vincent.

This portrait here I'd say was Vincent's last self-portraits he painted of himself at the age of thirty seven, how he looked when seeing his bother Theo in Paris for the last visit there.  This would have been after his final visit with his brother Theo and Jo his wife and their baby, Little Vincent Willum van Gogh they named after his uncle Vincent, the painter.

You can see for yourself in this picture of Vincent how in this straight on look of his shows us how much bigger his right ear appeared to be. Now in both of these portraits supposedly painted 1 & 12 years before he cut off his ear seems rather miss represented woudn't you think?



Now in this earlier 1885 portrait with him looking in the direction that he is looking you can clearly see both of his ears.

Vincent's oil on canvas of Willemina Jacoba van Gogh normally called Wil.

The back-side of canvas showing us a charcoal sketch for an unfinished work Vincent was going to paint, possibly of the same sitter, his sister Wil.  

Comparison photos to the paintings

Vincent's oil on canvas of "Amsterdam's Fish Market".

Vincent van Gogh's Portrait of Adeline Ravoux (Auvers, June 1890 and given to her for her sitting for him.



Vincent's reverse oil on glass of a Death-head Moth which could be hung any old way you wanted to hang it.

Hangers on all four ends of frame of the reverse painting of the moth.

The flying crow is in the moth and was one of Vincent's signs of death.

This is most likely cut from the same cardboard used for backing for the Moths painting as for this drawing below.

Charcoal drawing of the hills representing the two brothers and the two flowers also.

Vincent did say there is actual color that can be seen in black & white.

This I enhanced myself to show you where to look for the color if you can't see it yourselves.

What a Color Genius he was.

Vincent van Gogh's Portrait of Adeline Ravoux (Auvers, June 1890 comparing to a picture of her. Vincent gave portrait to her for sitting for him.

Portraits of Adeline Ravoux (Auvers, June 1890 from book on Vincent.

Picture of Anna, Vincent's sister.

Oil on artist panel of Anna, Vincent sister painted by Vincent in 1862 when she was only 7 & Vincent was Nine.

This drawing of a horse in a barn yard is dated Sept 62 so the portrait on the other side should be around the same time period.

Such a talented artist at such a young age to prepare himself for his destiny.

Again Anna

Oil paint on cloth like tea towels of Johanna Gezina "Jo" van Gogh-Bonger.  This painting is signed G.L. Seivers and named Solitude.  Thank God it was signed just on the matting and not on the art work itself.

I don't see so much solitude, fore I see the young mother Johanna holding her baby child little Vincent W. van Gogh in a motherly way. 

Here we have another drawing of Jo  drawn by Vincent van Gogh

Here is the back of Jo van Gogh holding little baby Vincent,...

This being the cut out of Jo's Wedding dress below of her and Theo's W/C wedding picture by Vincent van Gogh.


God damn you! You MFA experts do not know what a woman's body should look like!  She should have hips and a buttocks large enough to hold a child! I do know most of you can't see her in her flowered hat with her arm over her little one rapped in his blanket while kissing him on his forehead.  Come on,... squint your eye lids down to veige out the essentials to be able to see this work of art he created.      

Vincent saying,... just look at this proud graduating art student with his head laying back with his robe thrown over his shoulder and the one eye drawn as the belly button looking straight at us. Vincent is looking at us right over his pointing elbow while his hand would be upon his hip.  Such an imagination one has to have to see Vincent's true works of art.

So loving of Vincent to paint such a wedding portrait of his brother Theo & Jo.

Yes in this time period 1887-8 Theo had a lot on his mind according to his brother Vincent who was working at the time on the side in a Photography studio.

You can almost see it in this drawing of Theo and including his forehead,... supposedly drawn by Meyer de Haan according to the V.v.G's Foundation experts.

You can see how every little thing is falling into its place I'm sure,... Just as Vincent would have like it to have done when he was a live.  Only thing is, not one would listen to him when he spoke. They would turn their deaf ear toward him and walk away.

Now you take this woman here, a little older an wiser, she would listen to him and she began to understand where he was coming from.  She was the only woman that actually loved Vincent & and almost gave her life up for it.

The art experts say he gave her his W/C but failed to mention he did a oil portrait of her and gave it to her at no charge.


Now here is a site for sore eyes!  Found this on eBay in 1998 from the Art Man. This happening was way before the Vincent van Gogh Foundation's x-ray discovery of the unknown woman that's under the painting of their own painting of Agostina Sagatory of the Tamborine in Paris.  

What a silent F#$&()(@ story this whole thing turned out to be!  The MFA experts at the Vincent van Gogh Foundation refuse to talk about this discovery of their x-ray. Much earlier in 1998, the Bitch working for eBay pics that I out-bid on the painting I bought sent me an email right after I had bought it.  She told me it was a spitting image of herself and she could send me her husband & her wedding Picture to prove it.  She said she didn't bid high enough at the end and ran out of time to bid higher and she told me to let her have it as the final bidder.  I immediately emailed her back telling her I wanted that painting and if I ever decided to sell it that I would give her first option to buy it. A half an hour later The Art Man and I were both thrown off eBay, I as his supposed Shill.  I then emailed Meg Ryan of eBay and told her that I'd like to introduce myself to her as her new partner before my attorney gets in touch with her.  Needless to say I was the fastest person ever to be reinstated on eBay. I can't remember for sure, but I'd guess in less than eight hours and the art man took about 4 days. He never did know what had happened.  I might have been better off going for the partnership. LMFAO!     

Yep,... this is that same bitch that worked for eBay pics,... only in another life.

Yep,... there we are under the Mulberry trees with our boat tied up out in the water.

The back of the Mulberry Trees.

Back on the front side signed A Gogh Agostina right in front of everyone's eyes to see,... that is.... if you have eyes that can see?

Lovely little signature just a little down and to the right of the two of them sitting arm in arm under the Mulberry tree. You can see their boat tied out in the waters edge.

Here we have Vincent leaving his brother's art establishment of his work place with his supplies in his hands.  Down and across the street is Agostina and her cop friend just behind her as she is opening her restaraunt looking back at Vincent coming up the street. This is when I believe Vincent decided it was time to get out of dodge while the getting was good. He didn't like the fact that he had to leave a lot of his art work behind.

This would be Vincent's final painting he made after shooting himself while waiting for his Brother Theo to arrive from Paris.  He used the last of his thinned down oil paints to paint this on paper which the paper was already glued down on cardboard. It was actually painted by Vincent in the metaphor to help all the up and coming artist down the road, that is if it were to survive being destroyed. 












I'll be back later to add info. under this works of art.

F#( K You!  Was that Vincent's insulting way in this last painting he was talking about to his brother Theo and concerned with in his last letter to him? Is this what Vincent meant to be saying and showing ones who would possibly see this metaphor he had painted, and what was meant to be seen in the future by futuristic art eyes?

Yep,... I would have to say very much so,... for Vincent wouldn't have painted this very last painting after he had shot himself and was waiting for the arrival of his brother Theo. Theo his art handler who had deserted him in his desperate time of need.  Theo his brother didn't die of syphilis, for six months after the death of Vincent, Theo succumbed for his guilt for deserting his artist brother Vincent.

The End

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