Chapters (48)
- PART ONE The Door of Death
- 1. London
- 2. Jerusalem
- 3. Jerusalem
- 4. Vatican City
- 5. Vatican City
- 6. Vatican City
- 7. Rome
- 8. Venice
- 9. Jerusalem
- PART TWO Dr. Gachet’s Daughter
- 10. Ein Kerem, Jerusalem
- 11. London
- 12. Tel Megiddo, Israel
- 13. London
- 14. The Marais, Paris
- 15. The Marais, Paris
- 16. McLean, Virginia
- 17. Georgetown
- 18. London
- 19. London
- 20. London
- 21. London
- PART THREE The Night Journey
- 22. Harbor Island, Bahamas
- 23. Off the Bahamas
- 24. Gustavia, Saint-Barthélemy
- 25. Gustavia, Saint-Barthélemy
- 26. Pointe Mangin, Saint-Barthélemy
- 27. Gustavia Harbor, Saint-Barthélemy
- 28. CIA Headquarters
- 29. Off Saint Maarten
- 30. Saint Maarten
- 31. Kloten, Switzerland
- 32. Zurich
- 33. Zug, Switzerland
- 34. Canton Uri, Switzerland
- 35. Canton Uri, Switzerland
- 36. Zug, Switzerland
- 37. Vatican City
- 38. Rome
- PART FOUR The Witness
- 39. Washington
- 40. Tiberias, Israel
- 41. Paris: August
- 42. Istanbul: August
- AUTHOR’S NOTE
- ACKNOWLEDGMENTS
“The day before Vincent shot himself, he came to Gachet’s house. The two quarreled violently, and Vincent threatened Gachet with a gun. What was the reason for the argument? Gachet later claimed that it had something to do with a picture frame, of all things. I believe it was over Marguerite. I think it’s possible it had something to do with Marguerite Gachet at Her Dressing Table. It’s an exquisite work, one of Vincent’s better portraits. The pose and the setting are clearly representative of a bride on her wedding night. Its significance would not have been lost on a man like Paul Gachet. If he’d seen the painting—and there’s no reason to believe he didn’t—he would have been incensed. Perhaps Gachet told Vincent that marriage to his daughter was out of the question. Perhaps he forbade Vincent ever to paint Marguerite again. Perhaps he forbade Vincent ever to see Marguerite again. What we do know is that Marguerite Gachet wasn’t present at Vincent’s funeral, though she was spotted the next day tearfully placing sunflowers on his grave. She never married, and lived as something of a recluse in Auvers until her death in 1949.”
They passed the entrance to Isherwood’s gallery and kept walking.
“After Vincent’s death his paintings became the property of Theo. He arranged for a shipment of the works Vincent had produced at Auvers and stored them at Père Tanguy’s in Paris. Theo, of course, died not long after Vincent, and the paintings became the property of Johanna. None of Vincent’s other relatives wanted any of his work. Johanna’s brother thought them worthless and suggested they be burned.” Isherwood stopped walking. “Can you imagine?” He propelled himself forward again with a long stride. “Johanna catalogued the inventory and worked tirelessly to establish Vincent’s reputation. It’s because of Johanna that Vincent van Gogh is regarded as a great artist. But there’s a glaring omission in her list of Vincent’s known works.”
“Marguerite Gachet at Her Dressing Table.”
“Precisely,” said Isherwood. “Was it an accident or intentional? We’ll never know, of course, but I have a theory. I believe Johanna knew that the painting may have contributed to Vincent’s death. Whatever the case, it was sold for a song from the storeroom at Père Tanguy’s within a year or so of Vincent’s death and never seen again. Which is where my father enters the story.”
THEY COMPLETED THEIR first circuit of the yard and started a second. Isherwood’s pace slowed as he began to talk of his father.