"I would like you to understand the influence Vincent had on my life. It was Theo and Vincent who helped me shape my existence so that I could be at peace with myself."
— Johanna Bonger
This article explores the extraordinary life of Johanna Bonger — the woman who preserved Vincent van Gogh’s legacy and changed the art world forever.
Without Johanna Bonger, the World Might Never Have Known Vincent van Gogh
When we think of Vincent van Gogh’s fame, the first name that often comes to mind is his brother Theo — the art dealer who devoted his life to promoting Vincent’s genius but he did not live long enough to see the world recognize it. Tragically, Theo died just months after Vincent, leaving behind his young widow, Johanna Bonger.
With remarkable vision and determination — a true example of female entrepreneurship avant la lettre — she dedicated her life to preserving her brother-in-law’s legacy. Without Johanna Bonger, the world might never have known The Sunflowers, The Starry Night, or The Potato Eaters.
Early Life of Johanna Bonger
Born in Amsterdam in the late 19th century into a well-off family, Johanna was curious, independent, and far more emancipated than most women of her time. She had a strong drive for independence and a deep passion for learning. She studied English which she used to teach and translate literary works. Johanna wanted to work — a rare choice for women in her era. For a period, she lived in London, where she worked at the British Museum Library, immersing herself in culture, knowledge, and the intellectual circles that would shape her future.
Marriage to Theo Van Gogh and The Legacy
Theo and Johanna met in Amsterdam. For Theo, it was love at first sight — but for her, it was not. Still, Theo persisted, and they married on 17 April 1889. Their marriage, however, would last barely two years.
Widowed at just 28, with a one-year-old baby — Vincent Willem, born on January 31, 1890 — Johanna’s life changed completely in less than twelve months. First, she lost her brother-in-law, Vincent van Gogh, who died on July 29, 1890. Then, only a few months later, her husband Theo died on January 25, 1891, from complications of syphilis, compounded by grief over his brother’s death.
Inside the Letters of Vincent Van Gogh and Theo
From Theo, Johanna inherited their small Paris apartment and a vast collection of Vincent’s artworks — “Our apartment was full of them, in the living room, everywhere: under the bed, under the sofa, under the cupboards, in the guest room…” At the time of his death, Vincent van Gogh had left behind around 850 paintings and some 1,300 drawings — most of them unknown to the public at the time.
There was more: over 600 letters from Vincent, carefully preserved by Theo. While Theo had kept all of Vincent’s letters, the opposite was not true — in the chaotic life of the artist, it seems the only things he consistently preserved were his paintings.
The Turning Point That Led Johanna Bonger to Shape Van Gogh’s Legacy
Social conventions of the time dictated that Johanna should return to her wealthy parents’ home. But she wanted more — independence, freedom, and a future not dictated by others. She read and reread those letters, trying to find Theo in them. Through Theo’s words, she began to understand Van Gogh himself — his art, his struggles — and even overcame the resentment Vincent had once felt toward her, as well as the violent outbursts that had greeted her engagement, her marriage, and the birth of her child, whom they named Vincent Willem in his honor.
Without neglecting her duties as a mother — and after mourning her husband’s death — she realized the time had come to reclaim her life. In one of her diaries, which she kept all her life except during her marriage, she wrote:
“It is time to leave my parents’ home… Within three months, I want to have settled somewhere more or less permanently. I want to escape this dull, constant distance that separates us from the people we are most connected to. It will never be the right moment unless I start now.”
With rare determination, Johanna decided the time for redemption had come. She would not wait for it to arrive — she would go out and claim it.
Villa Helma: A Home for Art
Johanna convinced her father to finance the purchase of a large country house in Bussum, near Amsterdam: Villa Helma.Located at 4 Koningslaan, the property was bought, renovated, and transformed from a private residence into a guesthouse. “On May 1, I will open a small pension in Bussum… it will be perfect for the boy, the paintings, and me” .
This place would go down in history as the stage for the moral triumph of a woman ahead of her time — a woman unwilling to accept the marginal role society had assigned her. Villa Helma became a vibrant crossroads of creativity. Johanna herself was surprised by the energy of the place. In her diaries, she admitted she was guided by the poetry and insight found in Vincent van Gogh’s letters. Even when she upgraded the guesthouse by buying new dishes and ceramics, she recalled Vincent’s artistic reflections on color harmony: “A saffron-yellow rice deserves a purple or blue service; a golden roast chicken looks better on a bright green plate. A beautiful white potato purée, served on garnet-colored ceramics, gains in elegance.” Her son later recalled: “Our home in Bussum, Villa Helma, was often full of people. Many of my mother’s deepest friendships began in those years. Many figures from the artistic and intellectual life of the time stayed in our home.”
From Villa Helma to the World: How Vincent van Gogh Became a Legend
Johanna’s dream was never just about herself. The name Vincent, would echo forever in the history of art. “Today I hung many canvases at Villa Helma. This was the first gesture: to reveal the paintings to the world.” The house’s walls were adorned not only with works by Van Gogh, but also by Gauguin, Pissarro, Toulouse-Lautrec, Léon Lhermitte, and Jean-François Millet — paintings then valued at just 200 francs each. Her path followed the very strategy Vincent had outlined in his letters: "Exhibit as much as possible, sell only enough to fund more exhibitions, and never disperse the work." The real battle was with the art market — harsh, male-dominated, and uninterested in Vincent’s paintings, and even less so in a woman promoting them. But Johanna refused to give up. She asked Émile Bernard to select some canvases left in Pigalle and bring them to Villa Helma for display. Every guest was struck by the atmosphere: corridors, dining rooms, and bedrooms illuminated by Vincent’s colors. The guesthouse became a draw in itself, and with the first earnings Johanna framed drawings to send to galleries, following Theo’s advice: “Exhibit often and sell only what’s necessary.” And when art dealers began knocking on her door, Johanna’s answer was always the same: “These paintings are not for sale.”
The Legacy Lives On
Johanna Bonger turned a dream into reality. Guests came in large numbers to Villa Helma. The constant flow of artists, eccentric travelers, and art lovers filled the house with life. Johanna grew tired from the work, but she was happy — she had no boss, and she was becoming financially independent. Just four months after opening, she wrote to her parents that she would soon no longer need their support.
For Johanna, a place could mark a turning point in life. Villa Helma became exactly that — the starting point for a new chapter beyond grief. She achieved independence and carved out a place for herself in a world that resisted the idea of a woman as an art dealer, all while remaining a devoted mother in her own way. In the final pages of her diary, Johanna reflected: “I would like you to understand the influence Vincent had on my life. It was Theo and Vincent who helped me shape my existence so that I could be at peace with myself.”
The Sunflowers and the National Gallery
Johanna never parted with Vincent’s Sunflowers series. Only in 1924 did she make a single exception, selling one to the National Gallery in London — a painful decision, but one that greatly amplified her brother-in-law’s fame. The following year, Johanna died, leaving her son, Vincent Willem, the extraordinary collection of paintings that would later form the heart of the Van Gogh Museum in Amsterdam.
About the Author
Roberta Pinna is an art consultant and art manager who helps artists, collectors, and institutions navigate the art market and develop strategic projects. For personalized insights, guidance, or collaboration opportunities feel free to get in touch.