Van Gogh worked alone for long periods and for much of his career as an artist, but it was not a self-imposed isolation.
Although he disliked cliques and official bodies such as the Academy, he was always on the lookout for kindred spirits.
Not long afterwards he rented the Yellow House with the aim of turning part of it into a studio for himself and another artist, preferably .
The purpose of his letters to the latter from this period was to persuade him to buy a painting by Gauguin to enable him to pay for his trip to the south.
That was the situation when he was living with Theo in Paris where he was surrounded by artists he could talk to, and he wrote less and more briefly to Theo during the two months that he and worked together in Arles.
However, both in his personal contacts and exchanges of letters Van Gogh rarely succeeded in making the relationships flourish.
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The nucleus of this part of the correspondence is formed by the letters he exchanged with the Dutch artist , whom he had got to know at the academy in Antwerp, that the latter should come to Paris, and offered to share living quarters and a studio with him.
In Paris Van Gogh made friends with the young avant-garde artists , whom he involved in the exhibition he organized in the Grand Bouillon-Restaurant du Chalet at the end of 1887.
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He had a real need for an exchange of ideas, for discussing artistic problems and measuring his work against that of other artists, preferably in person but otherwise by mail.