Digital Editions
Newsletters
Subscribe
Digital Editions
Newsletters
Art market
Museums & heritage
Exhibitions
Books
Podcasts
Columns
Technology
Adventures with Van Gogh
Art market
Museums & heritage
Exhibitions
Books
Podcasts
Columns
Technology
Adventures with Van Gogh
Adventures with Van Gogh
blog

How Van Gogh helped set up a brass band in his village

Dutch trombonist discovers documentary evidence revealing that Vincent supported a musical group which still plays today

Martin Bailey
2 July 2021
Share
Harmony of Progress band (1889), with Van Gogh’s Self-portrait (March-June 1887) © Brass Band Nuenen archive and Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Harmony of Progress band (1889), with Van Gogh’s Self-portrait (March-June 1887) © Brass Band Nuenen archive and Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

Adventures with Van Gogh

Adventures with Van Gogh is a weekly blog by Martin Bailey, The Art Newspaper's long-standing correspondent and expert on the Dutch painter. Published on Fridays, stories range from newsy items about this most intriguing artist, to scholarly pieces based on meticulous investigations and discoveries. 

Explore all of Martin’s adventures with Van Gogh here.

© Martin Bailey

In 1884 Vincent van Gogh helped set up a band in the village of Nuenen, where he was living with his family and developing his skills as an artist. His name has been discovered among the 68 honorary members who established the musical group known as Harmonie de Vooruitgang (Harmony of Progress).

The band, which would sometimes march through the village streets, gave their first performance at a golden wedding celebration in March 1885. At that time they had about 30 musicians, with mainly brass instruments.

Register of honorary members of the Harmony of Progress band, with “V. van Gogh” as number 64, 1885 © Brass Band Nuenen archive

It is now very rare to uncover fresh documentary evidence about the artist’s life, but the 1885 record of the band’s first honorary members lists “V. van Gogh” as number 64. The discovery was made by Arie van Kuijk, an architect and bass trombonist.

Arie van Kuijk © Ming Jiang, De Nuenense Krant

Van Kuijk found the register in the band’s archive, which is housed in the Catholic rectory of Nuenen, now almost a suburb of the city of Eindhoven in the south of the Netherlands. He was astonished to come across the name since so many colleagues had advised that “there is no point in looking for Vincent in the band’s archive because it has been properly checked”.

Vincent lived in Nuenen, then a farming community, for two years, from December 1883 to November 1885. Until now accounts of his stay have suggested that it was marred by scandal. He had an affair with a neighbour, Margot Begemann, and in September 1884 she tried to commit suicide by poisoning herself, but was rescued at the last minute by Van Gogh. The following year the Catholic priest accused him, quite wrongly, of making Gordina de Groot pregnant. She was one of his models and appears in his painting of The Potato-Eaters (April-May 1885), as the woman towards the left.

The discovery of the register is significant because it suggests that the image we have of Van Gogh as “an outsider” in Nuenen may be something of a myth. As Van Kuijk points out, honorary members of the band were supposed to be “reasonably well-to-do and of impeccable behaviour”, putting him “in the upper echelon of Nuenen society”.

Honorary band members were obliged to make financial contributions twice a year. Vincent is always seen as impoverished, relying on an allowance from his brother Theo, but he may have been reasonably well off, at least in Nuenen.

Ton de Brouwer, a distinguished expert on Van Gogh’s Nuenen period who helped establish the local Vincentre visitor centre, believes that the artist was probably nominated for membership by Johannes Schafrat, the organist at the local Catholic church.

Although Van Gogh apparently never played in the band, during his Nuenen period he did take piano lessons from Hein van der Zande. In 1912 Anton Kerssemakers, an Eindhoven friend of Van Gogh, recorded his memories. Vincent was “was always comparing painting with music, and so as to get a better understanding of the gradation of tones, he started to take piano lessons with an old music teacher”.

But Vincent did not prove to be a good student. As Kerssemakers added: “During the lessons Van Gogh kept comparing the notes of the piano with Prussian blue and dark green or dark ochre to bright cadmium, and so the poor man thought he must be dealing with a madman and became so afraid of him that he stopped the lessons.”

Three years later Vincent mentioned his efforts in a letter to Theo, saying that in Nuenen he had “made a vain attempt to learn music”, since he strongly felt the connection between the colours in his paintings “and Wagner’s music”. A few years later he wrote to his sister Wil that “one can speak poetry just by arranging colours well, just as one can say comforting things in music”.

Vincent always regretted his lack of success in music: “Someone who can really play the violin or piano is, it seems to me, a mightily entertaining person. He picks up his violin and starts to play, and a whole gathering enjoys it all evening long. A painter has to be able to do that too.”

Brass Band Nuenen © Brass Bank Nuenen

The band which Van Gogh helped establish in 1885 still survives, now renamed (and with its title in English) Brass Band Nuenen. Van Kuijk has been their bass trombonist for 44 years.

Martin Bailey is a leading Van Gogh specialist and special correspondent for The Art Newspaper. He has curated exhibitions at the Barbican Art Gallery, Compton Verney/National Gallery of Scotland and Tate Britain.

Martin Bailey’s recent Van Gogh books

Martin has written a number of bestselling books on Van Gogh’s years in France: The Sunflowers Are Mine: The Story of Van Gogh's Masterpiece (Frances Lincoln 2013, UK and US), Studio of the South: Van Gogh in Provence (Frances Lincoln 2016, UK and US), Starry Night: Van Gogh at the Asylum (White Lion Publishing 2018, UK and US) and Van Gogh’s Finale: Auvers and the Artist’s Rise to Fame (Frances Lincoln 2021, UK and US). The Sunflowers are Mine (2024, UK and US) and Van Gogh’s Finale (2024, UK and US) are also now available in a more compact paperback format.

His other recent books include Living with Vincent van Gogh: The Homes & Landscapes that shaped the Artist (White Lion Publishing 2019, UK and US), which provides an overview of the artist’s life. The Illustrated Provence Letters of Van Gogh has been reissued (Batsford 2021, UK and US). My Friend Van Gogh/Emile Bernard provides the first English translation of Bernard’s writings on Van Gogh (David Zwirner Books 2023, UKand US).

To contact Martin Bailey, please email vangogh@theartnewspaper.com

Please note that he does not undertake authentications.

Explore all of Martin’s adventures with Van Gogh here

Adventures with Van GoghVincent van GoghVincent van Gogh
Share
Subscribe to The Art Newspaper’s digital newsletter for your daily digest of essential news, views and analysis from the international art world delivered directly to your inbox.
Newsletter sign-up
Information
About
Contact
Cookie policy
Data protection
Privacy policy
Frequently Asked Questions
Subscription T&Cs
Terms and conditions
Advertise
Sister Papers
Sponsorship policy
Follow us
Instagram
Bluesky
LinkedIn
Facebook
TikTok
YouTube
© The Art Newspaper

Related content

Adventures with Van Goghblog
6 November 2020

New book solves the mystery of Van Gogh's lost harmonium portrait

Vincent scrunched up a study for a second portrait of Marguerite Gachet, the daughter of his Auvers doctor

a blog by Martin Bailey
Adventures with Van Goghblog
8 October 2021

Van Gogh’s Potato Eaters: Mistake or Masterpiece?

Amsterdam museum opens exhibition on Vincent’s early painting of a peasant family gathered for a meal

a blog by Martin Bailey