The exhibition, The Real Van Gogh: The Artist and His Letters, which finished yesterday, has been hugely popular. Unfortunately, it meant the queues to get in during normal opening hours were over three hours long at times. And the crowds inside made it difficult to view the paintings, drawings and letters that were on display, according to a friend who went last month.

So the invitation to a press party and private viewing – organised by the exhibition’s sponsor The Bank of New York Mellon – was too good an opportunity to miss. Having the space and time to amble around uninterrupted, reading the inscriptions and admiring the paintings in close detail, was a real delight (not to mention the free cava and canapés).

Of particular interest was the insight the exhibition gave into Van Gogh the expatriate. His formative years as an artist in the Netherlands produced a series of dark and dour paintings drawn from the people and landscapes around him. However, once Van Gogh moved to Paris colour began to infuse his palette. At last he was at the centre of the artistic world, and the influence of the Impressionists, and pointillists such as Georges Seurat, is visibly evident in his development as a painter.

But it was Van Gogh’s relocation south, and the inspiration he found in sun-blessed Provence, that marks the real turning point in his career. It is from this period that his most famous paintings date: Bedroom in Arles, Irises, Cypresses, The Starry Night, Cafe Terrace and the Sunflowers series.

Unfortunately, this time in Provence also saw a pronounced deterioration in Van Gogh’s mental health, an illness that led to his eventual suicide.

On second thoughts, perhaps a life in the sun isn’t such a great idea after all!

No related posts.

At the time I remember thinking ‘Blimey, that’s the life.’ Writing a few hours a day and then trailing around the French countryside the rest of the time.

Hardly a deep, or unique reaction I know. Everyone thought the same, which was why the book went on to sell so many copies and turned Peter Mayle into a rich and famous man.

What was perhaps different was my next thought – ‘That’s what I want to do.’ Become a writer, first and foremost. And live abroad.

Well, I’ve done the moving bit all right – first to the States, and then six years ago to Spain. But now, at last, I’ve got a book coming out too, which I hope will be the start of an even more wonderful journey.

There is, after all, a certain kudos to being a writer.

Millionaire novelists like J.K. Rowling, John Grisham and Stephen King spring to mind. Or perhaps the literary cool of an Ernest Hemingway, Jay McInerney or Zadie Smith.

And the non-fiction arena is an even bigger market. Self-help bibles, business success stories, health and fitness guides, even cookery books have the power to turn their authors into celebrity figures.

And even if it doesn’t make the New York Times bestseller lists, a book can act as a badge of status that a writer can leverage for speaking engagements, workshops, coaching programmes and a host of other money-spinning activities.

No wonder so many people dream of becoming an author.

But the traditional publishing world has an uncertain future.

There are the big success stories of course, with millions of copies of certain titles – not least the Harry Potter series – flying off the shelves.

Nevertheless, reports indicate that for years the general public as a whole has been reading less and less. It doesn’t bode well for your business then if demand for your product is steadily falling.

Plus publishing has an idiosyncratic business model. For while the publishers bear the expense of producing and – less frequently these days – promoting their books, any unsold ones can be returned by the retailer without having to pay for them. The publisher then has to find warehouse space to store them, or pay for them to be pulped.

In other words, they face all the risk for the success or otherwise of their products. Can you imagine any other business working that way?

So it’s no wonder publishers are keen to focus on what they think will be surefire successes – the celebrity writers with marketable names, and established literary big guns with a track record.

Which isn’t to say new writers can’t break in. Arguably those that are good enough, and keep submitting, will get noticed by agents and publishers, who are full of talented people as keen to sign the next literary superstar as the writer is to be one.

But it’s not easy for the aspiring debutant. And the rewards for all that work are often pitiful.

Meanwhile a mass of mediocre books continue to hit the display stands, largely on the strength of the author’s name blazoned across the top.

But an alternative future is emerging … which I’ll come to in Part II.

Related posts:

1. Expat Book: The Long and Winding Road
2. Expat Living By the Book
3. Endless Summer – The Postcards Tour Finale