Question: How many versions are described in Van Gogh's letters?
About the article "Bedroom in Arles", section "Abstract".

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Bedroom in Arles (; ) is the title given to each of three similar paintings by 19th-century Dutch Post-Impressionist painter Vincent van Gogh.
Van Gogh's own title for this composition was simply "The Bedroom" (French: "La Chambre à coucher").
There are three authentic versions described in his letters, easily discernible from one another by the pictures on the wall to the right.
The painting depicts Van Gogh's bedroom at 2, Place Lamartine in Arles, Bouches-du-Rhône, France, known as his Yellow House.
The door to the right was opening to the upper floor and the staircase; the door to the left served the guest room he held prepared for Gauguin.
The window in the front wall was looking to Place Lamartine and its public gardens.
This room was not rectangular but trapezoid with an obtuse angle in the left hand corner of the front wall and an acute angle at the right.
Van Gogh evidently did not spend much time on this problem, he simply indicated that there was a corner, somehow.
In his final letter to Theo, Van Gogh admitted that as he did not have any children, he viewed his paintings as his progeny.
Reflecting on this, the historian Simon Schama concluded that he "did have a child of course, Expressionism, and many, many heirs."
Schama mentioned many artists who have adapted elements of Van Gogh's style, including Willem de Kooning, Howard Hodgkin and Jackson Pollock.
The Fauves extended both his use of color and freedom in application, as did German Expressionists of the Die Brücke group, and as other early modernists.
Abstract Expressionism of the 1940s and 1950s is seen as in part inspired from Van Gogh's broad, gestural brush strokes.
In the words of art critic Sue Hubbard: "At the beginning of the twentieth century Van Gogh gave the Expressionists a new painterly language that enabled them to go beyond surface appearance and penetrate deeper essential truths.
It is no coincidence that at this very moment Freud was also mining the depths of that essentially modern domain – the subconscious.
This beautiful and intelligent exhibition places Van Gogh where he firmly belongs; as the trailblazer of modern art.
"In 1957, Francis Bacon (1909–1992) based a series of paintings on reproductions of Van Gogh's "The Painter on the Road to Tarascon", the original of which was destroyed during World War II.
Bacon was inspired by not only an image he described as "haunting", but also Van Gogh himself, whom Bacon regarded as an alienated outsider, a position which resonated with Bacon.
The Irish artist further identified with Van Gogh's theories of art and quoted lines written in a letter to Theo, "painters do not paint things as they are...
They paint them as "they themselves" feel them to be."
An exhibition devoted to Vincent van Gogh's letters took place in the Van Gogh Museum in Amsterdam from October 2009 to January 2010 and then moved to the Royal Academy in London from late January to April.
The Van Gogh Museum hosted an exhibition "Van Gogh at Work" featuring 200 paintings and drawings, 150 of them by van Gogh and others including Paul Gauguin and Émile Bernard; from May 1, 2013 until January 12, 2014.  
Various symptoms are described in Van Gogh's letters and other documents such as the asylum register at Saint-Rémy.
The symptoms include: poor digestion and a bad stomach, hallucinations, nightmares, stupor, absent mindedness, impotence, insomnia, and anxiety.
Van Gogh suffered from some sort of seizures or crises, and in one of these attacks, December 23, 1888, he cut off a part of his ear.
Following that attack, he was admitted to hospital in Arles, where his condition was diagnosed as "acute mania with generalised delirium".
Dr. Félix Rey, a young intern at the hospital, also suggested there might be "a kind of epilepsy" involved that he characterised as "mental" epilepsy.
These attacks became more frequent by 1890, the longest and severest lasting some 9 weeks from February to April 1890.
Initial attacks of confusion and unconsciousness were followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters.
One of the most frequent complaints in Van Gogh's letters is the problems he endured with his stomach and digestion.
Van Gogh suffered from hallucinations and nightmares at times.
He often reported that he was suffering from fever.
At various times he reported bouts of insomnia.
He was unable to sleep for three weeks prior to his diagnosis of gonorrhea in The Hague (sleeplessness and fever probably due to infectious disease).
On occasions he sunk into a kind of stupor.
Van Gogh reported his impotence to Theo, his brother, in the summer after he arrived in Arles, and a month later when he wrote to Bernard it seemed to still be very much on his mind.
Van Gogh mentioned suicide several times in his letters towards the end of his life, nevertheless Naifeh and Smith note that van Gogh was fundamentally opposed to suicide. 
The most comprehensive primary source for the understanding of Van Gogh as an artist is the collection of letters between him and his younger brother, art dealer Theo van Gogh.
They lay the foundation for most of what is known about the thoughts and beliefs of the artist.
Theo provided his brother with both financial and emotional support.
Their lifelong friendship, and most of what is known of Van Gogh's thoughts and theories of art, is recorded in the hundreds of letters they exchanged between 1872 and 1890: more than 600 from Vincent to Theo and 40 from Theo to Vincent.
Although many are undated, art historians have generally been able to put them in chronological order.
Problems remain, mainly in dating those from Arles, although it is known that during that period, Van Gogh wrote 200 letters to friends in Dutch, French and English.
The period when Vincent lived in Paris is the most difficult for historians to analyze because the brothers lived together and had no need to correspond.
In addition to letters to and from Theo, other surviving documents include those to Van Rappard, Émile Bernard, Van Gogh's sister Wil and her friend Line Kruysse.
The letters were first annotated in 1913 by Theo's widow Johanna van Gogh-Bonger who explained that she published them with 'trepidation' because she did not want the drama in the artist's life to overshadow his work.
Van Gogh himself was an avid reader of other artists' biographies and expected their lives to be in keeping with the character of their art. 
Hirschig lodged with Vincent van Gogh at the Auberge Ravoux from around 17 June 1890 to shortly after Van Gogh's death.
He occupied the attic room next to Van Gogh's and these two rooms can still be seen at the inn.
It is not documented whether Hirschig was taking lessons from Van Gogh.
Anton Hirschig is mentioned in three of Van Gogh's letters.
At first Van Gogh thought Hirschig too "gentil" to be an artist and questions whether he would ever amount to anything.
However in what was to be Van Gogh's last letter (to his brother Theo), he softens his position and says that he thinks Hirschig has begun to understand things a little better.
Curiously that was also destined to be the last judgement he ever made on an artist in his letters.
Adeline Ravoux, the daughter of the innkeeper at the Auberge Ravoux, described Vincent's stay at the inn in a memoir.
She was some 12 years old at the time and approaching 80 when her memoir were published.
In the memoir, Adeline Ravoux recalls Hirschig as apparently more interested in beautiful girls than painting.
She recalls him as speaking French very badly and that consequently he and Van Gogh were obliged to speak Dutch together.
She didn't think Van Gogh took him very seriously.
She records Hirschig as leaving the inn shortly after Van Gogh's death.