Question: At what point did Van Gogh reside with his brother?
About the article "Sunflowers (Van Gogh series)", section "The Paris "Sunflowers"".

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In 1880 when he was 27 years-old, Van Gogh decided to become an artist.
In October of that year he moved to Brussels and began a beginner's course of study.
Van Gogh returned to Etten in April 1881 to live with his parents and studied art on his own.
His younger brother Theo, an art dealer at the main branch of Goupil & Cie, encouraged him and started covering Van Gogh's expenses.
Van Gogh used images from illustrated magazines to teach himself how to draw.
Charles Bargue, a French artist, wrote two books on drawing that were a significant source of study for Van Gogh.
Both written in 1871, one is "Cours de dessin" and the other "Exercises au fusain pour préparer à l’étude de l’académie d’après nature," Van Gogh created copies of the drawings or adapted nude images for clothed depictions.
In January 1882, he settled in The Hague where he called on his cousin-in-law, the painter Anton Mauve (1838–88).
Mauve introduced him to painting in both oil and watercolor and lent him money to set up a studio.
Van Gogh began drawing people from the working poor, including the prostitute Clasina Maria "Sien" Hoornik (1850–1904, with whom he would become involved.
Van Gogh dreamed his studio would one day become a form of respite for the poor where they could receive food, shelter and money for posing.
His work was not well received; Mauve and H.G.
Tersteeg, manager of Goupil & Cie, considered the drawings coarse and lacking charm.
Van Gogh likened the subjects "unrefined" characteristics of his drawings to harsh "yellow soap" made of lye.
Van Gogh's relationship with Sien changed as they lived together with Maria, her five-year-old daughter, to the great disappointment of his family.
Mauve appears to have suddenly gone cold towards Van Gogh and did not return a number of his letters, Van Gogh supposed that Mauve did not approve of his domestic arrangement with Sien and her young daughter.
Van Gogh created a number of drawings of Sien and her daughter.
Having ended his relationship with Sien, Van Gogh moved to Drenthe in September 1883 and painted landscapes.
Three months later, he moved back in with his parents, who were at that point living in Nuenen.
In 1884, Van Gogh created the weaver series, works of rural life and landscapes.
For a brief period of time, he gave painting lessons in Eindhoven.
Near the end of the year, Van Gogh began experimenting with complementary colors, influenced by the color theories of Charles Blanc.
Vincent made many studies of peasants in 1885, culminating in his first major painting, "The Potato Eaters."
In his works, Van Gogh used particularly somber colors and colors mixed with black, which he felt was like that of 17th-century masters, such as Frans Hals.
His brother, Theo van Gogh (art dealer) had asked him often to lighten up his work, referring to the work of the Impressionists.
Once Van Gogh went to Paris, he did open up his palette to color and light and admitted that his works from this period were old-fashioned.
Theodorus van Gogh, Vincent's father, died March 26, 1885.
In November, Vincent moved to Antwerp. 
Van Gogh did not have a close relationship with his oldest sisters or Cornelius his youngest brother. 
[[File:George Hendrik Breitner - Distribution of Soup.jpg|thumb|left|200 px|alt= A watercolor of a group of people standing in front of a courtyard.
Some are carrying pots.|George Hendrik Breitner - "Distribution of Soup", watercolor, 1882, Stedelijk Museum, Amsterdam.
In the early months of 1882, Breitner came into contact with Vincent van Gogh.
Van Gogh appears to have been introduced to him by his brother Theo, and the pair sketched together in the working-class districts of The Hague.
Breitner was motivated to do so because he regarded himself as a painter of the common folk.
Van Gogh, initially at any rate, was more intent on recruiting models.
It is likely that Breitner introduced van Gogh to the novels of Émile Zola and the cause of social realism.
Breitner was hospitalised in April.
Van Gogh visited him in hospital, but Breitner did not return the visits when van Gogh himself was hospitalised two months later, and they did not meet again until the following July when van Gogh was on the verge of leaving The Hague and Breitner spending more time in Rotterdam than the Hague.
At that time van Gogh gave Theo a less than flattering account of Breitner's paintings as resembling mouldy wallpaper, although he did say he thought he would be all right in the end.
For his part, there is no evidence that Breitner saw anything notable in van Gogh's work.
He later reminisced that sketching with van Gogh was problematic because, whereas Breitner sketched discreetly in a notebook, van Gogh came laden with apparatus and attracted hostile attention.
Two years after van Gogh's death, Breitner wrote that he did not like van Gogh's paintings:"‘I can’t help it, but to me it seems like art for Eskimos, I cannot enjoy it.
I honestly find it coarse and distasteful, without any distinction, and what’s more, he has stolen it all from Millet and others."
On 22 February 1890, Van Gogh suffered a new crisis that was "the starting point for one of the saddest episodes in a life already rife with sad events."
This period lasted until the end of April, during which time he was unable to bring himself to write though he did continue to draw and paint.
Hughes writes that from May 1889 to May 1890 he, "had fits of despair and hallucination during which he could not work, and in between them, long clear months in which he could and did, punctuated by extreme visionary ecstasy.
"On 27 July 1890, aged 37, Van Gogh is believed to have shot himself in the chest with a revolver (although no gun was ever found).
There were no witnesses and his location when he shot himself is unclear.
Ingo Walther writes that "Some think Van Gogh shot himself in the wheat field that had engaged his attention as an artist of late; others think he did it at a barn near the inn."
Biographer David Sweetman writes that the bullet was deflected by a rib bone and passed through his chest without doing apparent damage to internal organs—probably stopped by his spine.
He was able to walk back to the Auberge Ravoux and was eventually attended to by two physicians, neither of whom was qualified to remove the bullet by surgery.
The physicians left Van Gogh alone in his room, smoking his pipe.
The following morning (Monday), Theo rushed to be with Van Gogh as soon as he was notified and found him in surprisingly good shape, but within hours Van Gogh began to fail due to an untreated infection caused by the wound.
Van Gogh died in the evening, 29 hours after he supposedly shot himself.
According to Theo, his brother's last words were: "The sadness will last forever.
"Van Gogh was buried on 30 July in the municipal cemetery of Auvers-sur-Oise at a funeral attended by Theo van Gogh, Andries Bonger, Charles Laval, Lucien Pissarro, Émile Bernard, Julien Tanguy and Dr. Gachet amongst some 20 family and friends, as well as some locals.
The funeral was described by Émile Bernard in a letter to Albert Aurier.
Theo suffered from syphilis and his health declined rapidly after Vincent's death.
Weak and unable to come to terms with Vincent's absence, he died six months later, on 25 January, at Den Dolder.
The original burial plot was leased for 15 years; the intention was to bury Vincent alongside Theo.
Vincent's remains were exhumed on 13 June 1905, in the presence of Jo Bonger, Dr. Gachet and others, and relocated, eventually for Theo to be buried beside him.
The precise location of the original grave is no longer known.
In 1914, the year she had Van Gogh's letters published, Jo Bonger had Theo moved from Utrecht and reburied with Vincent.
While many of Van Gogh's late paintings are somber, they are essentially optimistic and reflect his desire to return to lucid mental health right up to the time of his death.
Yet some of his final works reflect his deepening concerns.
Referring to his paintings of wheatfields under troubled skies, he commented in a letter to his brother Theo: "I did not have to go out of my way very much in order to try to express sadness and extreme loneliness."
Nevertheless, he adds in the same paragraph: " ... these canvases will tell you what I cannot say in words, that is, how healthy and invigorating I find the countryside.
"There has been much debate over the years as to the source of Van Gogh's illness and its effect on his work.
Over 150 psychiatrists have attempted to label its root, with some 30 different diagnoses.
Diagnoses include schizophrenia, bipolar disorder, syphilis, poisoning from swallowed paints, temporal lobe epilepsy and acute intermittent porphyria.
Any of these could have been the culprit and been aggravated by malnutrition, overwork, insomnia and consumption of alcohol, especially absinthe.
In "Van Gogh: the Life", a biography published in 2011, authors Steven Naifeh and Gregory White Smith argue that Van Gogh did not commit suicide.
They contend that he was shot accidentally by two boys he knew who had “a malfunctioning gun”.
Experts at the Van Gogh Museum remain unconvinced.
Prominent skeptic Joe Nickell also was not convinced.
Nickell analyzed the questions raised by Naifeh and Smith to support their new theory and claimed that they could be addressed with more plausible answers.
He maintained that Naifeh and Smith ignored the well-known psychological state of Van Gogh, as well as reliable testimony from Adeline Ravoux, daughter of the innkeeper Gustave Ravoux, the owner of the gun.
According to Nickell, Naifeh and Smith make many assumptions about the circumstances surrounding the incident.
He asserts that they also misrepresent the remarks of Rene Secretan, one of the two boys, who in 1956 admitted to having tormented the artist, but not to having shot him.
Nickell concludes that their theory is the result of the logical fallacy of 'confirmation bias' – "start the investigation with a supposed answer and work backward to the evidence."
Van Gogh wrote to his brother Theo in November 1882 that he had drawn a portrait of Jozef Blok (F993), a street bookseller who was sometimes called "Binnenhof's outdoor librarian".
Unlike the character studies, the work was detailed in pencil with watercolor and chalk.
At this time it was rare for Van Gogh to use color, as he found it difficult to work with (see early works of Vincent van Gogh).