of a well-known gallery of contemporary art in Amsterdam, asked for drawings of The Hague. Van Gogh's work did not live up to expectations. Marinus offered a second commission, specifying the subject matter in detail, but was again disappointed with the result. Van Gogh persevered; he experimented with lighting in his studio using variable shutters and different drawing materials. For more than a year he worked on single figures – highly elaborate studies in black and white, which at the time gained him only criticism. Later, they were recognised as early masterpieces. In August 1882 Theo gave Vincent money to buy materials for working en plein air. Vincent wrote that he could now "go on painting with new vigour". From early 1883 he worked on multi-figure compositions. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, he destroyed them and turned to oil painting. Van Gogh turned to well-known Hague School artists like Weissenbruch and Blommers, and he received technical advice from them as well as from painters like De Bock and Van der Weele, both of the Hague School's second generation. He moved to Nuenen after a short period of time in Drenthe and began work on several large paintings but destroyed most of them. The Potato Eaters and its companion pieces are the only ones to have survived. Following a visit to the Rijksmuseum Van Gogh wrote of his admiration for the quick, economical brushwork of the Dutch Masters, especially Rembrandt and Frans Hals. He was aware many of his faults were due to lack of experience and technical expertise, so in November 1885 he travelled to Antwerp and later Paris to learn and develop his skills. Theo criticised The Potato Eaters for its dark palette, which he thought unsuitable for a modern style. During Van Gogh's stay in Paris between 1886 and 1887, he tried to master a new, lighter palette. His Portrait of Père Tanguy (1887) shows his success with the brighter palette and is evidence of an evolving personal style. Charles Blanc's treatise on colour interested him greatly and led him to work with complementary colours. Van Gogh came to believe that the effect of colour went beyond the descriptive; he said that "colour expresses something in itself". According to Hughes, Van Gogh perceived colour as having a "psychological and moral weight", as exemplified in the garish