In 1924, London's Weekly Dispatch expressed bewilderment at the disappearance of Van Gogh's 'Postman of Arles' from the Tate Gallery, a work that faced criticism upon its exhibition. The portrayal of Joseph Roulin, Van Gogh's friend, was incorrectly rumored to be a fake, leading to speculation about its fate. Eventually, the painting surfaced at New York's Museum of Modern Art in 1989. As part of a series of portraits, it highlighted the bond between the artist and his subject rather than a singular masterpiece, with several versions existing.
The removal of Van Gogh's 'Postman of Arles' from the Tate Gallery in 1924 led to speculation about its fate and authenticity, causing confusion and intrigue.
Critics questioned the quality and authenticity of 'Postman of Arles' when displayed at the Tate Gallery, with some even doubting its status as a genuine Van Gogh.
Joseph Roulin, the subject of the portrait, was not just a model but Van Gogh's best friend, integral to their shared time in Arles and reflecting a deep bond.
Ultimately, Portrait of Joseph Roulin was confirmed to be part of a series Van Gogh created, dispelling rumors of a singular 'original' in New York.
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