Pesquisando por: "VINCENT VAN GOGH" - Fotoarena - Agência de fotojornalismo

ny270825153111 An out-of-order elevator at the Van Gogh Museum in Amsterdam on Aug. 25, 2025. The museum home to the largest collection of works by one of the world?s most loved artists, is embroiled in a bitter feud over financing with the Dutch Ministry of Culture that could lead to its closure if left unresolved much longer. (Jussi Puikkonen/The New York Times/Fotoarena)

ny270825153112 The Van Gogh Museum in Amsterdam on Aug. 25, 2025. The museum home to the largest collection of works by one of the world?s most loved artists, is embroiled in a bitter feud over financing with the Dutch Ministry of Culture that could lead to its closure if left unresolved much longer. (Jussi Puikkonen/The New York Times/Fotoarena)

ny200525152316 Various flowers displayed in a palette for the ?Van Gogh?s Flowers? exhibit at the New York Botanical Garden, in New York, May 19, 2025. The garden plans its major exhibitions several years in advance, with its horticultural, exhibitions and programming, and other teams collaborating on their themes. (Vincent Tullo/The New York Times/Fotoarena)

ny200525152211 An indoor display for the ?Van Gogh?s Flowers? exhibit at the New York Botanical Garden, in New York, May 19, 2025. The garden plans its major exhibitions several years in advance, with its horticultural, exhibitions and programming, and other teams collaborating on their themes. (Vincent Tullo/The New York Times/Fotoarena)

ny200525152212 A display for the ?Van Gogh?s Flowers? exhibit at the New York Botanical Garden, in New York, May 19, 2025. The 18,000 plants in the show include over 300 species and cultivars, or plants cultivated by breeders. (Vincent Tullo/The New York Times/Fotoarena)

ny200525152213 Gold Summer sunflowers being grown for the ?Van Gogh?s Flowers? exhibit at the New York Botanical Garden, in New York, May 19, 2025. The sunflowers for the exhibit are being grown from seed in greenhouses to be transplanted outside to the conservatory lawn. (Vincent Tullo/The New York Times/Fotoarena)

ny200525152315 Gold Summer sunflowers being grown for the ÒVan GoghÕs FlowersÓ exhibit at the New York Botanical Garden, in the Bronx, May 19, 2025. The 18,000 plants include over 300 species and cultivars, or plants cultivated by breeders. (Vincent Tullo/The New York Times/Fotoarena)

ny210325124611 HEADLINE: Is This a Van Gogh or a Faux? Expert Views Invite LawsuitsCAPTION: ÒAuvers, 1890,Ó part of Stuart Pivar's collection, in New York, March 11, 2025. ÒAuvers, 1890,Ó bought at auction for a few thousand dollars, would be worth millions if it were declared the work of Vincent van Gogh. The museum founded by the artistÕs nephew determined it was not authentic. CREDIT: (Peter Fisher/The New York Times/Fotoarena)

ny180325192724 ÒAuvers, 1890,Ó part of Stuart Pivar's collection, in New York, March 11, 2025. ÒAuvers, 1890,Ó bought at auction for a few thousand dollars, would be worth millions if it were declared the work of Vincent van Gogh. The museum founded by the artistÕs nephew determined it was not authentic. (Peter Fisher/The New York Times/Fotoarena)

ny160325192925 ?Auvers, 1890,? part of Stuart Pivar's collection, in New York, March 11, 2025. ?Auvers, 1890,? bought at auction for a few thousand dollars, would be worth millions if it were declared the work of Vincent van Gogh. The museum founded by the artist?s nephew determined it was not authentic. (Peter Fisher/The New York Times/Fotoarena)

ny180325192710 Markings on the back of ÒAuvers, 1890,Ó part of Stuart Pivar's collection, in New York, March 11, 2025. ÒAuvers, 1890,Ó bought at auction for a few thousand dollars, would be worth millions if it were declared the work of Vincent van Gogh. The museum, founded by the artistÕs nephew, determined it was not authentic. (Peter Fisher/The New York Times/Fotoarena)

ny160325192911 Markings on the back of ?Auvers, 1890,? part of Stuart Pivar's collection, in New York, March 11, 2025. ?Auvers, 1890,? bought at auction for a few thousand dollars, would be worth millions if it were declared the work of Vincent van Gogh. The museum, founded by the artist?s nephew, determined it was not authentic. (Peter Fisher/The New York Times/Fotoarena)

ny180325192711 The sign ÒVincentÓ on the back of the canvas of the ÒAuvers, 1890,Ó part of Stuart Pivar's collection, in New York, March 11, 2025. ÒAuvers, 1890,Ó bought at auction for a few thousand dollars, would be worth millions if it were declared the work of Vincent van Gogh. The museum, founded by the artistÕs nephew, determined it was not authentic. (Peter Fisher/The New York Times/Fotoarena)

ny160325192912 The sign ?Vincent? on the back of the canvas of the ?Auvers, 1890,? part of Stuart Pivar's collection, in New York, March 11, 2025. ?Auvers, 1890,? bought at auction for a few thousand dollars, would be worth millions if it were declared the work of Vincent van Gogh. The museum, founded by the artist?s nephew, determined it was not authentic. (Peter Fisher/The New York Times/Fotoarena)

ny070325183713 Anselm KieferÕs ÒUnder the Lime Tree on the Heather,Ó left, and Vincent van GoghÕs ÒWheatfield With PartridgeÓ at the Van Gogh Museum in Amsterdam on March 5, 2025. As a sprawling new exhibit opens in two museums in Amsterdam, the German artist fears that history is repeating itself. (Ilvy Njiokiktjien/The New York Times/Fotoarena)

ny200125222223 Visitors enter the ÒVan Gogh: Poets and LoversÓ exhibition near an empty hallway at the National Gallery in London, Jan. 18, 2025. The National Gallery in London stayed open all night for die-hard fans of the Dutch painter. (Jeremie Souteyrat/The New York Times/Fotoarena)

ny200125222222 A late-night visitor, wearing accessories nodding to the most famous paintings by Vincent van Gogh, at the ÒVan Gogh: Poets and LoversÓ exhibition at the National Gallery in London, Jan. 18, 2025. The National Gallery in London stayed open all night for die-hard fans of the Dutch painter. (Jeremie Souteyrat/The New York Times/Fotoarena)

ny200125222220 A late-night visitor, dressed in the yellows favored by Vincent van Gogh, at the ÒVan Gogh: Poets and LoversÓ exhibition at the National Gallery in London, Jan. 18, 2025. The National Gallery in London stayed open all night for die-hard fans of the Dutch painter. (Jeremie Souteyrat/The New York Times/Fotoarena)

ny240125100012 HEADLINE: ?Starry Night,? Till DawnCAPTION: A late-night visitor, dressed in the yellows favored by Vincent van Gogh, at the ?Van Gogh: Poets and Lovers? exhibition at the National Gallery in London, Jan. 18, 2025. The National Gallery in London stayed open all night for die-hard fans of the Dutch painter. CREDIT: (Jeremie Souteyrat/The New York Times/Fotoarena)

ny210125174711 A late-night visitor, dressed in the yellows favored by Vincent van Gogh, at the ?Van Gogh: Poets and Lovers? exhibition at the National Gallery in London, Jan. 18, 2025. The National Gallery in London stayed open all night for die-hard fans of the Dutch painter. (Jeremie Souteyrat/The New York Times/Fotoarena)

ny200125222213 Keith Olohan nods off in the early morning after a late-night viewing of the ÒVan Gogh: Poets and LoversÓ exhibition at the National Gallery in London, Jan. 18, 2025. The National Gallery in London stayed open all night for die-hard fans of the Dutch painter. (Jeremie Souteyrat/The New York Times/Fotoarena)

ny200125222217 Visitors at a late-night viewing of the ÒVan Gogh: Poets and LoversÓ exhibition at the National Gallery in London, Jan. 18, 2025. The National Gallery in London stayed open all night for die-hard fans of the Dutch painter. (Jeremie Souteyrat/The New York Times/Fotoarena)

ny200125222212 Visitors at a night viewing of the ÒVan Gogh: Poets and LoversÓ exhibition at the National Gallery in London, Jan. 18, 2025. The National Gallery in London stayed open all night for die-hard fans of the Dutch painter. (Jeremie Souteyrat/The New York Times/Fotoarena)

ny171224152313 Sotheby?s in New York?s Upper East Side on Nov. 22, 2024. Cast off by the Nazis, but heralded by curators, the artist?s painting of his doctor, made just before Vincent van Gogh?s suicide, has not been seen in 34 years. (Amir Hamja/The New York Times/Fotoarena)

ny171224152312 The gardens of the Villa Favorita in Lugano, Switzerland stretch down to the waters of Lake Lugano, and the upper reaches of the mansion peek out above the treetops, on Nov. 1, 2024. Cast off by the Nazis, but heralded by curators, the artist?s painting of his doctor, made just before Vincent van Gogh?s suicide, has not been seen in 34 years. (Maurizio Fiorino/The New York Times/Fotoarena)

ny241024193712 **EMBARGO: No electronic distribution, Web posting or street sales before SATURDAY 5:01 A.M. ET OCT. 26, 2024. No exceptions for any reasons. EMBARGO set by source.** Vincent van GoghÕs ÒHead of a Skeleton With a Burning CigaretteÓ (1886) on display in ÒGothic Modern: From Darkness to LightÓ at the Ateneum Art Museum in Helsinki, Oct. 2, 2024. A major exhibition touring Europe argues that modern artists who turned to the dark side were inspired by Gothic art from the Middle Ages. (Juho Kuva/The New York Times/Fotoarena)

ny281223155306 ÒHello Vincent,Ó at the Mus?e dÕOrsay in Paris, which allows you to converse with an AI Van Gogh, Dec. 5, 2023. A fake Drake/Weeknd mash-up is not a threat to our speciesÕs culture, itÕs a warning: We canÕt let our imaginations shrink to machine size. (Elliott Verdier/The New York Times/Fotoarena)

ny121223160906 A replica of Vincent Van Gogh, through AI, chats with visitors in ?Bonjour Vincent? at the Musée d?Orsay, in Paris on Dec. 5, 2023. In ?Bonjour Vincent? at the Musée d?Orsay, Vincent van Gogh chats with visitors, courtesy of artificial intelligence. AI developers have learned to gently steer the conversation on sensitive topics like suicide to messages of hope.(Elliott Verdier/The New York Times/Fotoarena)

ny291223144306 Visitors interact with ÒHello Vincent,Ó at the Mus?e dÕOrsay in Paris, which allows conversations with an AI Van Gogh, Dec. 5, 2023. A fake Drake/Weeknd mash-up is not a threat to our speciesÕs culture, itÕs a warning: We canÕt let our imaginations shrink to machine size. (Elliott Verdier/The New York Times/Fotoarena)

ny151223154907 Visitors using the artificial intennligance installation in the ÒBonjour VincentÓ exhibition at the Mus?e dÕOrsay in Paris on Dec. 5, 2023. In ÒBonjour Vincent,Ó Vincent van Gogh chats with visitors, courtesy of artificial intelligence. AI developers have learned to gently steer the conversation on sensitive topics like suicide to messages of hope.(Elliott Verdier/The New York Times/Fotoarena)

ny121223161107 Visitors using the AI installation in ?Bonjour Vincent? exhibition at the Musée d?Orsay, in Paris on Dec. 5, 2023. In ?Bonjour Vincent? at the Musée d?Orsay, Vincent van Gogh chats with visitors, courtesy of artificial intelligence. AI developers have learned to gently steer the conversation on sensitive topics like suicide to messages of hope.(Elliott Verdier/The New York Times/Fotoarena)

ny121223161407 A replica of Vincent Van Gogh, through AI, chats with visitors in ?Bonjour Vincent? at the Musée d?Orsay, in Paris on Dec. 5, 2023. In ?Bonjour Vincent? at the Musée d?Orsay, Vincent van Gogh chats with visitors, courtesy of artificial intelligence. AI developers have learned to gently steer the conversation on sensitive topics like suicide to messages of hope.(Elliott Verdier/The New York Times/Fotoarena)

ny121223160707 Vistors experieince a virtual reality experience, ?Van Gogh?s Palette? at the Musée d?Orsay, in Paris on Dec. 5, 2023. In ?Bonjour Vincent? at the Musée d?Orsay, Vincent van Gogh chats with visitors, courtesy of artificial intelligence. AI developers have learned to gently steer the conversation on sensitive topics like suicide to messages of hope.(Elliott Verdier/The New York Times/Fotoarena)

ny031023163707 The Musée d?Orsay, a converted train station that is one of the finest museums of 19th-century works, on the banks of the Seine in Paris, Sept. 25, 2023. The museum is staging the first-ever exhibition ? co-produced with the Van Gogh Museum in Amsterdam ? dedicated to Vincent Van Gogh?s final months in Auvers. (Dmitry Kostyukov/The New York Times/Fotoarena)

ny031023164007 Christophe Leribault, president of the Musée d?Orsay and its sister institution, the Musée de l?Orangerie, in Paris, Sept. 25, 2023. The museum is staging the first-ever exhibition ? co-produced with the Van Gogh Museum in Amsterdam ? dedicated to Vincent Van Gogh?s final months in Auvers. (Dmitry Kostyukov/The New York Times/Fotoarena)

ny110523160406 Vincent van GoghÕs ÒWheat Field With CypressesÓ at the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny110523142207 Vincent van Gogh?s ?Wheat Field With Cypresses? at the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny110523185205 Vincent van Gogh?s ?Wheat Field With Cypresses,? left, and ?Cypresses,? seen in the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny110523155507 Vincent van GoghÕs ÒWheat Field With Cypresses,Ó left, and ÒCypresses,Ó seen in the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny110523141707 Vincent van Gogh?s ?Wheat Field With Cypresses,? left, and ?Cypresses,? seen in the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny110523155707 Silvia A. Centeno, left, a research scientist, and Charlotte Hale, a conservator, using a microscope to examine van GoghÕs ÒCypressesÓ at the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. With the help of X-ray fluorescence mapping, they discovered the surprising presence of sand and pebbles lodged in the pigment. (George Etheredge/The New York Times/Fotoarena)

ny110523142006 Silvia A. Centeno, left, a research scientist, and Charlotte Hale, a conservator, using a microscope to examine van Gogh?s ?Cypresses? at the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. With the help of X-ray fluorescence mapping, they discovered the surprising presence of sand and pebbles lodged in the pigment. (George Etheredge/The New York Times/Fotoarena)

ny110523160106 Detail from Vincent van GoghÕs ÒCypressesÓ shows a pebble embedded in the pigment in the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny110523142506 Detail from Vincent van Gogh?s ?Cypresses? shows a pebble embedded in the pigment in the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny110523155806 Charlotte Hale, a Met conservator, uses a pointer to identify a pebble trapped in the paint of ÒCypressesÓ seen in the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny110523142307 Charlotte Hale, a Met conservator, uses a pointer to identify a pebble trapped in the paint of ?Cypresses? seen in the conservation center at the Metropolitan Museum of Art in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny110523155907 A screen at the conservation center at the Metropolitan Museum of Art shows how X-ray fluorescence analysis is used to study the composition of pigments, in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny110523141807 A screen at the conservation center at the Metropolitan Museum of Art shows how X-ray fluorescence analysis is used to study the composition of pigments, in New York on April 27, 2023. A revelatory show at the Metropolitan Museum of Art reunites 24 paintings of cypresses and unchains them from their somber associations. (George Etheredge/The New York Times/Fotoarena)

ny280621163704 ?A Dutch Courtyard? by Pieter de Hooch, a contemporary of Vermeer?s, is scanned at the National Gallery of Art in Washington on June 18, 2021. High-tech scanning techniques used by geologists, planetary scientists, drug companies and the military are revealing secrets of how artists created their masterpieces. (T.J. Kirkpatrick/The New York Times/Fotoarena)

ny280621163905 John Delaney prepares a hyperspectral visible wavelength camera to scan ?A Dutch Courtyard,? by Pieter de Hooch, at the National Gallery of Art in Washington on June 18, 2021. High-tech scanning techniques used by geologists, planetary scientists, drug companies and the military are revealing secrets of how artists created their masterpieces. (T.J. Kirkpatrick/The New York Times/Fotoarena)

ny280621163405 A museum guest photographs Johannes Vermeer?s ?Woman Holding a Balance? in the National Gallery of Art in Washington on June 18, 2021. High-tech scanning techniques used by geologists, planetary scientists, drug companies and the military are revealing secrets of how artists created their masterpieces. (T.J. Kirkpatrick/The New York Times/Fotoarena)

ny040621181706 Kevin Keraghan at his shop, Warehouse 839, where a watercolor that may be the work of Edmund Walpole Brooke was bought for $45, in Saco, Maine, June 2, 2021. Brooke occupies a tiny but durable place in art history as having shared something close to friendship with Vincent Van Gogh in the weeks before the celebrated Dutch painterÕs suicide. (Cody O'Loughlin/The New York Times/Fotoarena)

ny040621182606 John and Katherine Mathews with a watercolor that may be the work of Edmund Walpole Brooke Ñ bought by Katherine for $45 at a shop in Saco, Maine in April Ñ at their home in Scarborough, Maine, June 2, 2021. Brooke occupies a tiny but durable place in art history as having shared something close to friendship with Vincent Van Gogh in the weeks before the celebrated Dutch painterÕs suicide. (Cody O'Loughlin/The New York Times/Fotoarena)

ny040621180805 A watercolor that may be the work of Edmund Walpole Brooke Ñ bought for $45 at a shop in Saco, Maine in April Ñ at the home of Katherine and John Mathews in Scarborough, Maine, June 2, 2021. Brooke occupies a tiny but durable place in art history as having shared something close to friendship with Vincent Van Gogh in the weeks before the celebrated Dutch painterÕs suicide. (Cody O'Loughlin/The New York Times/Fotoarena)

ny040621175905 The signature, E.W. Brooke, on a watercolor that may be the work of Edmund Walpole Brooke, at the home of Katherine and John Mathews in Scarborough, Maine, June 2, 2021. Brooke occupies a tiny but durable place in art history as having shared something close to friendship with Vincent Van Gogh in the weeks before the celebrated Dutch painterÕs suicide. (Cody O'Loughlin/The New York Times/Fotoarena)

ny010421180304 Visitors study Alice Neel?s ?Nancy and Olivia,? 1967, left, and Vincent van Gogh?s ?Madame Roulin and Her Baby,? 1888, in the exhibition ?People Come First? at the Metropolitan Museum of Art in New York, March 29, 2021. A large retrospective feels at home in the Metropolitan Museum of Art?s grandest galleries and should silence any doubt about the artist?s originality or her importance. (Sasha Arutyunova/The New York Times/Fotoarena)

ny150425121813 FILE ? The graves of Vincent and Theodore Van Gogh in Auvers-sur-Oise, France, where Vincent spent his final days, on July 26, 2020. An ongoing legal battle ? between the town and the owners of land where the tree roots that inspired Van Gogh?s final painting are located ? has cast a pall over Auvers, population 7,000, where art tourism is a big business that heats up in the spring. (Elliott Verdier/The New York Times/Fotoarena)

ny150425121812 FILE ? Birds fly across fields in Auvers-sur-Oise, France, where Vincent Van Gogh spent his final days, on July 26, 2020. An ongoing legal battle ? between the town and the owners of land where the tree roots that inspired Van Gogh?s final painting are located ? has cast a pall over Auvers, population 7,000, where art tourism is a big business that heats up in the spring. (Elliott Verdier/The New York Times/Fotoarena)

ny150425121811 FILE ? A gated courtyard in Auvers-sur-Oise, France, where Vincent Van Gogh spent his final days, on July 26, 2020. An ongoing legal battle ? between the town and the owners of land where the tree roots that inspired Van Gogh?s final painting are located ? has cast a pall over Auvers, population 7,000, where art tourism is a big business that heats up in the spring. (Elliott Verdier/The New York Times/Fotoarena)

ny280720155804 The cemetery where Vincent van Gogh and his brother, Theo, are buried in Auvers-sur-Oise, France, July 26, 2020. A researcher says he has uncovered the precise location where the artist painted ?Tree Roots,? thought to be the last piece he worked on the day he suffered a fatal gunshot wound. (Elliott Verdier/The New York Times/Fotoarena)

ny180425135311 HEADLINE: Inspiration for the Last van GoghCAPTION: FILE Ñ Roots on a hillside in Auvers-sur-Oise, France, which experts say were the inspiration for a painting Vincent Van Gogh made on the day he died, on July 26, 2020. An ongoing legal battle between the town and the property owners over Van GoghÕs tree roots has cast a pall over what is usually a celebratory season in Auvers, population 7,000, where art tourism is a big business that heats up in the spring. CREDIT: (Elliott Verdier/The New York Times/Fotoarena)

ny101019230404 Vincent van Gogh "The Starry Night", 1889 and Henri Rousseau's "The Sleeping Gypsy", 1897, exhibited at the Museum of Modern Art, in New York, Oct. 7, 2019. In the foreground are gnarly ceramic bowls by George Ohr of Biloxi, Miss. (Jeenah Moon/The New York Times/Fotoarena)

ny101019230504 Vincent van Gogh "The Starry Night", 1889 and Henri Rousseau's "The Sleeping Gypsy", 1897, exhibited at the Museum of Modern Art, in New York, Oct. 7, 2019. MOMA is reopening on Oct. 21 after a $450-million, 47,000-square-foot expansion, and a collection rehang featuring a more diverse array of art. (Jeenah Moon/The New York Times/Fotoarena)

ny031019163704 Vincent van Gogh?s ?The Olive Trees? (1889) in the conservation lab at the Museum of Modern Art in New York, Sept. 12, 2019. The museum has undergone an extensive expansion and renovation that it hopes will lead the 90-year-old institution into the future. (Jeenah Moon/The New York Times/Fotoarena)

ny110719202004 Mary Heilmann, center, and Annie Plumb attend the reception for a screening of "At Eternity's Gate," directed by Julian Schnabel, at Guild Hall in New York, July 3, 2019. The 2018 film was about Vincent Van Gogh, portrayed by Willem Dafoe. (Rebecca Smeyne/The New York Times/Fotoarena)

ny110719201704 Lady Liliana Cavendish, left, and Victoria Wyman attend the reception for a screening of "At Eternity's Gate," directed by Julian Schnabel, at Guild Hall in New York, July 3, 2019. The 2018 film was about Vincent Van Gogh, portrayed by Willem Dafoe. (Rebecca Smeyne/The New York Times/Fotoarena)

ny110719201804 A screening of "At Eternity's Gate," directed by Julian Schnabel, at Guild Hall in New York, July 3, 2019. The 2018 film was about Vincent Van Gogh, portrayed by Willem Dafoe. (Rebecca Smeyne/The New York Times/Fotoarena)

ny110719202304 Julian Schnabel and his wife, Louise Kugelberg, attend a screening of "At Eternity's Gate," directed by Schnabel, at Guild Hall in New York, July 3, 2019. The 2018 film was about Vincent Van Gogh, portrayed by Willem Dafoe. (Rebecca Smeyne/The New York Times/Fotoarena)

ny100719181704 FILE -- "Starry Night" (1889) by Vincent van Gogh at the Museum of Modern Art in New York on May 29, 2019. The moon in art has changed from symbol to something real, but that hasn?t changed our will to see it. (Jeenah Moon/The New York Times/Fotoarena)

ny310718134310 Mediterranean sea bass filet poached in lemon thyme at Le Patio in Fontvieille, France, in July 2018. Fontvieille is a short distance from Arles, the southern French town where Vincent Van Gogh enjoyed some of his most prolific years. Though Arles has seen its share of economic hardships, it still boasts a vibrant and fun cultural scene. (Jada Yuan/The New York Times/Fotoarena)

ny070321220005 FILE -- Visitors swarm in front of Vincent van Gogh?s ?The Starry Night? at the Museum of Modern Art in New York, Sept. 15, 2017. Touring shows that transform the walls and floors of a space into a kind of van Gogh dream world are popping up in cities across the United States. (Joshua Bright/The New York Times/Fotoarena)

ny180325192721 FILE Ñ Axel Ruger, left, director of the Van Gogh Museum, and Louis van Tilborgh, a senior researcher, with "Sunset at Montmajour" by Vincent Van Gogh in Amsterdam, Sept. 9, 2013. The Van Gogh Museum announced in 2013 that ÒSunset at MontmajourÓ was a Ònewly discovered landscape,Ó 21 years after initially rejecting the painting. (Herman Wouters/The New York Times/Fotoarena)

ny160325192922 FILE ? Axel Ruger, left, director of the Van Gogh Museum, and Louis van Tilborgh, a senior researcher, with "Sunset at Montmajour" by Vincent Van Gogh in Amsterdam, Sept. 9, 2013. The Van Gogh Museum announced in 2013 that ?Sunset at Montmajour? was a ?newly discovered landscape,? 21 years after initially rejecting the painting. (Herman Wouters/The New York Times/Fotoarena)