TRANSCRIPT
    Narrator: The Place Lamartine    was a relatively new part    of town.   
    Having developed after    the arrival of the railway       in 1840, this neighborhood       was used to the comings    and goings of strangers.   
    Vincent soon became friends    with the owners       of the Café de la Gare,    the station café.       And it was these café owners,       Monsieur and Madame Ginoux,    who found Vincent       the home where his triumphs    and tragedies would play out.   
    Unfortunately, the building    was destroyed in World War II.   
    Murphy: He spoke    to the Ginoux family,       and they said, 'You can stay    here for a few months       until the house is ready,'    and so Vincent took over       a house that was a bit run-down.   
    The plan was that it was    going to be restored,       and Vincent chose the color    of green for the shutters       and the butter yellow    of the walls.   
    Narrator: For Vincent,    the yellow house was not just       a home, but a base    for his far greater ambitions       as an artist, which were,    like everything else,       financed by Theo, his brother.   
    Meedendorp: Vincent had had    some extra money from Theo,       and he could buy chairs    and table, he could buy beds.   
    He is making a decoration    for this yellow house,       so it is a true artist's home.   
    Also for non-artists to visit,    so they can tell that this is       a special place,    this is where art is,       somewhere you can look at art.   
    Narrator: The yellow house    was at the heart       of Vincent's mission to create    a modern artistic brotherhood       in the south of France.   
    Vincent seemed happier    than he had ever been.   
    He began to paint obsessively.   
    Naifeh: What's astonishing    about Arles is that he could,       in a single day,    make a great painting       that is so intense    and so iconic.   
    Narrator: Inspired by the beauty    of the surrounding landscape,       van Gogh created more than    a hundred paintings.   
    Were Vincent's    artistic achievements       in the summer of 1888    the sign of a genius       who'd found his path,       or was this feverish activity       actually evidence    of his mental decline?