Abstract

In contrast to several recent studies that align Vincent van Gogh's plans for a “Studio of the South” with entrepreneurial capitalism, this essay considers the scheme in the context of nineteenth-century cooperative socialism. It traces the artist's experiences among striking miners in Belgium and impoverished weavers in the Netherlands, and it examines the artworks that these encounters inspired. In the process, I identify basic principles that would inform Vincent's plan for a producers' cooperative in Arles in 1888. Working from Vincent's letters, I identify two stages in the development of the artist's proposal. In the winter and spring, Vincent discussed a strategic “association” of Impressionist artists and dealers. By the fall, he had combined this concept with his long-standing desire for companionship; the resulting conception was a cooperative avant-garde atelier in which member artists and dealers would dedicate themselves to maintaining communal working and living spaces and providing materials for production. The essay then explores Vincent's plan in the context of mid-nineteenth-century discussions of cooperative organization. I conclude that Vincent's scheme should be understood as a revival of the reformist, even socialist, literature that was current at mid-century.