Portrait of Milliet, Second Lieutenant of the Zouaves - Arles, September 1888, Oil on Canvas

From Van Gogh's letters (courtesy of Webexhibits.org), a brief mention of this piece in a letter to Eugene Boch:    Your portrait is in my bedroom along with that of Milliet, the Zouave, which I have just finished. I should like to ask you to exchange one of your studies of the coal-mines for something of mine, - but stop! - I myself am going to send you a study first, when I am sure it is one which will seem wholly unknown to you. For if you saw the night studies you might like them better than the sunlight studies. Well, leave it to me. For I hope that our intercourse once started will last forever. In another, this time to Emile Bernard, he mentions the subject:   I know a second lieutenant in the Zouaves here; his name is Milliet. I give him drawing lessons - with my perspective frame - and he is beginning to do some drawings and, honestly, I've seen far worse. He is keen to learn, has been in Tonkin, etc… He is leaving for Africa in October. If you were to join the Zouaves, he would take you along and guarantee you a fairly large measure of freedom to paint, at least if you were willing to help him with his artistic plans. Might this be of any use to you? If so, let me know as soon as possible. And to his brother Theo, he writes:   I am also working on a portrait of Milliet, but he poses badly, or I may be at fault myself, which, however, I do not believe, as I am sorely in want of some studies of him, for he is a good-looking boy, very unconcerned and easy-going in his behaviour, and he would suit me damned well for the picture of a lover.

The Night Café in Arles - September 1888, Watercolor

From Van Gogh's letters (courtesy of Webexhibits.org), a letter to Theo says: In my picture of the “Night Café” I have tried to express the idea that the café is a place where one can ruin oneself, go mad or commit a crime. So I have tried to express, as it were, the powers of darkness in a low public house, by soft Louis XV green and malachite, contrasting with yellow-green and harsh blue-greens, and all this in an atmosphere like a devil's furnace, of pale sulphur. And all with an appearance of Japanese gaiety, and the good nature of Tartarin. But what would Monsieur Tersteeg say about this picture when he said before a Sisley - Sisley, the most discreet and gentle of the impressionists - “I can't help thinking that the artist who painted that was a little tipsy.” If he saw my picture, he would say that it was delirium tremens in full swing.