Question: What art historian claims Van Gogh's "Starry Night" is representative of his nocturnal fascination?
About the article "The Starry Night", section "Recent commentaries".

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"The Starry Night", made by Dutch artist Vincent van Gogh, depicts his memory of the view outside his sanitorium room window at Saint-Rémy-de-Provence (located in southern France) at night.
Although Van Gogh was not very happy with the painting, art historian Joachim Pissarro cites "The Starry Night" as an exemplar of the artist's fascination with the nocturnal.
One of Van Gogh's most popular pieces, the painting is widely hailed as his "magnum opus". 
Simon Singh, in his book "Big Bang", says that "Starry Night" has striking similarities to a sketch of the "Whirlpool Galaxy", drawn by Lord Rosse 44 years before Van Gogh's work.
The painting has been compared to an astronomical photograph of a star named V838 Monocerotis, taken by the Hubble in 2004.
The clouds of gas surrounding the star resemble the swirling patterns Van Gogh used in this painting.
Art historian Joachim Pissarro cites "Starry Night" as an exemplar of the artist's fascination with the nocturnal.
One of Van Gogh's most popular and widely known series are his Cypresses.
During the Summer of 1889, at sister Wil's request, he made several smaller versions of "Wheat Field with Cypresses".
These works are characterised by swirls and densely painted impasto, and produced one of his best-known paintings, "The Starry Night".
Other works from the series include "Olive Trees with the Alpilles in the Background" (1889) "Cypresses" (1889), "Cypresses with Two Figures" (1889–1890), "Wheat Field with Cypresses" (1889), (Van Gogh made several versions of this painting that year), "Road with Cypress and Star" (1890), and "Starry Night Over the Rhone" (1888).
They have become synonymous with Van Gogh's work through their stylistic uniqueness.
According to art historian Ronald Pickvance,Hoping to attain a gallery for his work, his undertook a series of paintings including "Still Life: Vase with Twelve Sunflowers" (1888), and "Starry Night Over the Rhone" (1888), all intended to form the "décorations for the Yellow House". 
Perhaps no other painting in Western Art has enjoyed such a varying array of intriguing interpretations.
Academic theories tend towards two schools: "the literal" and "the literary."
The "literal" includes both "he painted what he saw" and the "hallucinatory genius" arguments (as an individual's hallucinations are indistinguishable from real life) while the "literary" suggest that inspiration blossomed from some written source; most often cited for van Gogh's "Starry Night" are The Bible, Walt Whitman and Victor Hugo.
Legendary 20th century art historian Albert Boime is generally credited with the best "literal" theory by proving, in conjunction with three Astronomer colleagues at UCLA the position of the stars from van Gogh's window in the asylum at Saint-Rémy-de-Provence at 4 a.m. on June 19, 1889, the day van Gogh wrote his brother that he had completed the painting.
In a 1985 lecture to the American Astronomical Society, Boime compared the positions of the moon and Venus that night and showed that they corresponded to the positions of the celestial objects in the painting.
While Boime and his lead astronomer, Charles Whitney agreed the large star above the horizon is the Morning Star, they failed to agree on the arrangement of the other stars.
Boime claimed they constituted the constellation of Aries, while Whitney argued it was Cygnus.
Boime further attempted to make the argument that van Gogh had likely seen an image of a spiral galaxy from Camille Flammarion's "Astronomie populaire", in an attempt to explain the existence of van Gogh's celestial spiral jetty.
In his 800-plus existing letters, however, van Gogh makes no mention of ever reading Flammarion.
As to the leading "literary" theories: those about The Bible range from van Gogh painting a passage out of Genesis 37 describing a dream of Joseph to an apocalyptic depiction out of the twelfth book of Revelation to a "sublimated Christ in the Garden of Gethsemane"; while those from Whitman attempt to correlate the painting's poetic vision within Song of Myself; and (what has been mistakenly attributed to Hugo's Les Miserables) as an inspired depiction of God as "a lighthouse in eclipse.
"This bevy of interpretations has helped keep van Gogh's "Starry Night" firmly within the discussions and lively debates of both public and academic art history. 
Jan Hulsker (2 October 1907, The Hague – 9 November 2002, Vancouver) is a Dutch art historian especially noted for his work on Vincent van Gogh.
He studied Dutch literature in Leiden and was promoted with a thesis on the author Aart van der Leeuw.
In 1953, he was appointed to the Ministerie van Cultuur, Recreatie en Maatschappelijk werk, in charge of the art department.
In 1959, he became general director in charge of culture at large (directeur-generaal voor culturele zaken).
The establishment of the Vincent van Gogh Foundation and the Van Gogh Museum in Amsterdam were among his major tasks.
From the 1950s, Hulsker contributed to Van Gogh research, concentrating on the dating of Van Gogh's correspondence.
In 1973, Hulsker's most important study was published, "Van Gogh door Van Gogh", which has not been translated from the Dutch.
He is the author of an acknowledged "catalogue raisonné" of Van Gogh's work, published in 1978 and revised in 1989.
His catalogue numbers are preceded by a 'JH': thus JH1731 refers to the 1889 oil painting "The Starry Night" (previously catalogued by Jacob Baart de la Faille as F612).
In the 1980s, Hulsker left the Netherlands and settled in Vancouver, Canada, where he died in 2002.